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Oculus3D Arrives, on Film!

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A New ‘Avatar’ of Cinema...!

Rebirth of a Seminal Theater Kinoton Initiative

180-Degree Screen at Fraunhofer TW-

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Review - CineAsia Preview - ShoWest

World’s Second Largest Cinema

Cinema Feast in Middle East CINEMA SYSTEMS

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Whither Movie Entertainment?

World’s First Imax Dome Sounds Big

SPECIAL FEATURE TW-

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Digital Design-age Projection Series - XXVIII

Health and Safety at Work

F U T U R E R E L E A S E S

MINDSHARE TW EDITORIAL

The Game Changer I broached about the‘game changer’ in these columns 12 weeks ago and I see it happening already. Global cinema has got a new spec - 3D. The spec, impressive though, is quickly in for speculation. Intriguing it might be, considering the fact that even as the digital 3D is taking the global show business in its stride, the industry’s hitherto-mainstay – film – also came up with similar, yet, cheaper option. Now, the global cinema stage has practically become one for both, digital and film 3D, for a possible show of strength. One is seeking to redefine the very perspective of entertainment with new age technology while the other is trying to relive the tradition with a blend of technology-

more or less to the same effect. It is interestingly, a mind game now rather than technology. A game of gauging the business viability and prospects. While each of them have their own strengths, it appears at this moment in

time that digital 3D has an edge since it has already proved its strength, and with what results! US$2.5 billion revenues in ten weeks and still counting! Plus a huge buzz around! I’m hoping it will find a good match in its ‘film’ competitor. And television too is not far behind! The next few months will be interesting. I inferred one game changer, and here is two-in-one. 3D in digital and film (with tv in tow)!

Sandeep Mittal Editor / Publisher


Value - INR 150 (US$ 15)

TW TheatreWorld

Issue # 45 / April-June 2010

Never doubt that a small group of thoughtful committed people can change the world. Indeed, it is the only thing that ever has.

CONTACT DETAILS POSTAL ADDRESS 231, 7th Cross, Indiranagar 1st Stage, Bengaluru 560 038, India COMMUNICATIONS Phone +9180 2521 5107 / 2527 2812 Fax +9180 2520 5094 EDITORIAL Bhavanashi Ramakrishna (Ram) ram@sandy.in Mobile +9198 4587 2794 ADVERTISING Bobby Chetia bobby@sandy.in Mobile +9198 9250 4871 CIRCULATION Yashodhara S info@sandy.in

TEAM SANDY (in alphabetical order)

CINEMASCOPE

Bhavanashi Ramakrishna Bobby Chetia Mohanraj P Raghavendra T Yashodhara S Printing Ramya Reprographic, Bengaluru Published by Sandeep Mittal on behalf of Sandy Media 231, 7th Cross, Indiranagar 1st Stage, Bengaluru 560 038, India Phone +9180 2527 2812 Fax +9180 2521 5094 info@sandy.in www.sandy.in Regional Offices 51 Regency Chambers, National Library Road, Bandra (W), Mumbai 400 050 Phone +9122 2643 9732 Telefax +9122 2640 5023 67 Masjid Road, Jungpura Bhogal, New Delhi 110 014. Phone +9111 2437 8061 Telefax +9111 2437 4848 B5, 2nd Floor, Gems Court, 14 Khader Nawaz Khan Road, Nungambakkam, Chennai 600 006 Phone +9144 2833 0906 Telefax +9144 2833 0907 RNI # KARENG02795/10/1/2002-TC Layout & Graphic Design Raghavendra T

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It’s been eleven years now since TW (TheatreWorld), began showcasing the Show Business in its own inimitable style. Evidently, it’s been a kaleidoscope of the global motion picture exhibition industry, as well as an effective interactive platform between the industry and the wide spectrum of professionals associated with it: architects, acousticians, interior designers, technocrats of sound and projection, ticketing, concessions consultants, and, of course, the cinema builders! Due to the kind of content it has been churning out issue after issue, there had been a persistent demand from discerning readers that the magazine should have a letters column through which they could express their views and share information. Admittedly, we did not realise that our effort would be valued so high, which was why we did not contemplate having a letters column so far. It’s been a fulfilling factor too for us. On completion of a decade of striving existence, we are pleased to commence a Cinemascope column under which our discerning readers can share their views. We invite all our readers to send their opinions as well as suggestions relating to the industry and our effort in making it better. It may kindly be noted that for convenience of lucidity, the letters may be edited suitably, and Cinemascope retains the right to accept or reject any letter depending on the merit of the subject discussed. So, please do send in your views to Cinemascope. Mail your feedback to ram@sandy.in

Theatre World is a quarterly publication, on the motion picture exhibition industry, for private circulation. It reaches out to subscribers, mainly theatre owners and trade professionals in India, also subscribers in select Asian cities. Additional copies are being promoted at major international industry events. Theatre World 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. Theatre World 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 Theatre World. Theatre World is a trademark under registration. The contents of Theatre World 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. Theatre World does not take responsibility for the absolute accuracy of information published.


A Box Office 'Avatar' in China James Cameron's epic sci-fi making Avatar made waves in an unexpected market too, in Asia. Despite several 'systemic' hassles like the Chinese administrations stringent guidelines as well as natural hassles like snowfall and bitter cold, Avatar burned up China's boxoffice, earning about 400 million Yuan ($50 million) and appears set to break the box office record set by 2012. In the process, it confirmed China as the 21st century's second-highest-grossing territory for Hollywood blockbusters outside the U.S. The hype around the Avatar release was so high that nearly a foot of snow blanketed the Chinese capital on the movie's release day, and it didn't premiere until midnight that night, moviegoers still lined up in near-zero temperatures for half-price 40 Yuan tickets ($5.85) and sold out the show at the Sanlitun Megabox theater. The Avatar excitement peaked in the run-up to Christmas and yearend holiday when Cameron visited Beijing on December 23.

Avatar was estimated to have netted four million Yuan ($586,000) came in from the midnight showings- 3.5 million Yuan ($513,000) more than that earned off midnight premieres of Transformers: Revenge of the Fallen. In a very short time, China has become the world's second-largest market for Hollywood blockbusters, attracting a growing number of the nation's swelling middle class.

The director is well-known to Chinese for Titanic, which grossed 360 million Yuan ($52.7 million) here in 1998, a record that was only broken last July, by the Transformers.. The Transformers‌sequel earned 400 million Yuan ($59 million), making China its No. two territory outside the U.S. Its China box office record was topped in December by 2012, which made 460 million Yuan ($67 million).

A 3D China: As in the West, 3D is helping to boost the Chinese box office earnings. According to China Film - the sole authorised body to distribute foreign movies in China in two months to the Avatar run-up, China experienced a 20 per cent rise in the number of 3D screens totalling to an estimated 700 screens nationwide. That as much as 54 per cent of Avatar prints in China were 3D goes to prove the growing fascination for 3D digital format in the country.

China Renames 'Avatar' Mountain A Chinese mountain has reportedly been renamed in honour of the scifi film Avatar, after claims it had inspired scenery in the fantasy blockbuster. The SouthernSky Column in Zhangjiajie, Hunan province, will now be known as the Avatar Hallelujah Mountain. Local officials said photographs of the mountain had been used as the basis for Avatar's fictional world of Pandora. Avatar has become the most popular film ever in China, making $80m (ÂŁ50m) at the box office so far. Xiaoxiang Morning News said the mountain was officially renamed at a ceremony recently.

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The paper said a photographer from Hollywood had visited the Wulingyuan Scenic Area, the location of the mountain, in 2008. "Many pictures he took then become prototypes for various elements in the Avatar movie, including the 'Hallelujah Mountains'," Reuters quoted the website as saying. Avatar tours: The renaming of the mountain is one of the several attempts by Zhangjiajie to capitalise on the success of Avatar. According to agency reports, the tourists are being offered special tours to the locations that reportedly inspired the movie.

The municipal government website has also adopted the slogan "Pandora is far but Zhangjiajie is near," which is said to be taken with much excitement, and churning out significant returns.


Christie Leads the Show With Series-2 DLP Projectors Christie, the leader in digital cinema projection technologies, announced full production, shipping and installation of its latest generation of 4K-ready DLP Cinema projectors, the Christie Solaria series, beginning with the Christie CP2220. The Christie CP2220 digital cinema projector features Texas Instruments' next generation Series 2 DLP Cinema technology. Shipments began early January to North and South America, Europe and Asia and are now installed and showing feature films worldwide, including Australia, Canada, Korea and the United States. With orders arriving daily, Christie continues its lead in digital cinema deployment resulting in 70 per cent of all digital cinema installations worldwide since the introduction of DLP Cinema projectors - which Christie was also the first to market. Designed to meet all DCI specifications, the Christie Solaria is fully upgradeable to 4K digital cinema and features Christie Brilliant3D technology, providing the ultimate, most realistic 3D experience with the lowest cost of operation. "Our manufacturing facilities are in full production ensuring that we keep pace with this overwhelming demand for the new Christie Series 2 projectors," said Craig Sholder, vicepresident of Entertainment Solutions at Christie. "With the spectacular success of 3D movies like Avatar, exhibitors realize that digital cinema is no longer an option, it is a strategic imperative. The Solaria Series is the most practical, cost-effective solution today, based on time-tested, highly reliable DLP Cinema technology." Manager Vince Butler of CLACO Equipment and Service Inc., a specialist in new cinema installations, upgrades, and maintenance of both the projection booth and auditoriums, observed, "in order to remain competitive, exhibitors have to be proactive when deciding which projector to buy today, and upgradeability to the right 4K technology is important. The main

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advantage of Christie DLP 4K vs. LCOS 4K is its light output capabilities. The DLP chip can handle the heat build-up better. LCOS technology does not allow for extreme heat to be dissipated, and this can affect the light output in larger venues." Integrity Entertainment Systems, LLC, an authorized digital-cinema reseller for Christie, placed hundreds of orders for the new Solaria Series 2 projector, which it will install throughout the United States. Integrity president Gary Engvold wanted to provide his customers with the largest selection of 2K and 4K cinema projectors on the market. He also wanted to ensure that his customers' technology investment is future-proof.

"Some of our customers specifically requested Christie's next generation of cinema projectors because they offer a 4K upgrade option," remarked Engvold. "It's inevitable that 4K is the future of cinema, but I truly believe that Christie DLP Cinema projectors are the best choice for our industry because they produce more light with less energy. In fact, the energy and lamp savings from using Christie versus the LCOS technology over a ten year period is huge. It's almost enough to pay for the projector itself." In addition to the Christie CP2220, the new Solaria Series of 4K-ready digital cinema projectors also includes the Christie CP2210 and the Christie CP2230.

Christie, FTT Deal for 300 Solaria Series Projectors Christie and German integration and service provider Film Ton Technik Hannsdieter Rüttgers GmbH (FTT) have struck a major deal for a framework of 300 Christie Solaria series projectors to be deployed across European cinemas. The Christie Solaria series consists of three new 2K DLP Cinema models upgradable to 4K and two 4K models. They feature different brightness and resolution levels offering the ideal solution for different cinema sizes and needs. Hence the reason the contract only stipulates the overall number of projectors but does not specify the models in order to allow a flexible adaptation to the specifics of each environment. "Our customers had the best experiences with Christie projectors and we ourselves, a long term partner, are pleased with the quality and technical support Christie offers," says Thomas Rüttgers, Managing Director of FTT. "Since many customers went for Christie products, entering into this agreement was simply a logical step for us." The cooperation with Christie dates back to 2004, when the first small DCinema rollout started. Since then, FTT installed numerous 2K DLP Cinema projectors of Christie's CP Series in

many different cinema environments as well as in studios or post production facilities. Stefan Müller, Business Development Manager Cinema for Christie EMEA, welcomed the continuation of this intense cooperation with FTT: "We are, of course, very happy that FTT is showing such confidence and counting on us for the next conversion phase.” These 300 Christie projectors are primarily going to be installed in German cinemas of various operators but also in other countries in Central and Eastern Europe where FTT operates. They will be used in ongoing projects like the digitalisation that already started in 2009, but also in new upcoming projects. All Solaria Series projectors are planned to be in use by mid 2011, a third of them for 3D screenings.


‘Academy’ Awards to DLP Cinema Team The Academy Board of Governors bestowed the 2009 Scientific and Engineering Award (Academy Plaque) to four individuals responsible for the color accuracy of Texas Instruments DLP Cinema projectors. Acknowledged during a private award ceremony, D. Scott Dewald, Greg Pettitt, Brad Walker and Bill Werner were recognized for their contributions furthering the design and refinement of the TI's DLP Cinema projector, achieving a level of performance which enables coloraccurate, digital intermediate previews of motion pictures. "As the technology leader in producing precise DCI compliant colors, superior contrast ratios and the light output necessary to illuminate the largest auditoriums, the Academy of Motion Picture Arts and Sciences is proud to recognize DLP Cinema for this achievement," said Richard Edlund, Academy Governor and chair of the Scientific and Technical Awards Committee. "Texas Instruments, DLP Cinema has redefined the movie going experience with an incredible picture." "For the first time in the over 100 yearold cinema history, filmmakers and audiences around the world are ensured they will see colors the way the moviemaker intended every showing when enjoying a movie or content projected with DLP Cinema technology," said Nancy Fares, business manager for Texas Instruments, DLP Cinema Products. The technology awarded the 2009 Academy Scientific and Engineering Award for achievement in Color Accuracy is exclusive to DLP Cinema products; however, Texas Instruments works with the world's leading manufacturers to deliver top-quality and related technology to a variety of front projectors, pico projectors, HDTV models and more. The highly reliable and full-color imagery in all DLP products is achieved by the fast switching speed of the mirrors on the DLP Chip.

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"Leveraging the Cinema technology offers our customers the ability to manufacturer world class projectors for home, business and classroom use with high reliability and superb color accuracy," said Roger Carver, business manager for Texas Instruments, DLP Products. The DLP Cinema solution provides the capability to light up theatre screens as big as 100 feet and 3D screens as big as 75 feet, which has been a challenge for competing technologies. As the technology provider offering solutions with low operating costs, DLP Cinema remains dedicated to providing the cinema industry with the widest variety of technology offerings to fit their growing needs. DLP Cinema projection technology is installed in over 17,000 screens worldwide. Today there are nearly 10,000 worldwide screens that offer DLP Cinema digital 3D technology which uses every pixel array in the frame for the brightest picture unlike other technologies in the industry. Since last year's introduction, IMAX digital projection systems powered by DLP Cinema have reached a total of 155 locations worldwide.

Strong Expands into Taiwan; Plans Office Ballantyne Strong, Inc., a provider of digital cinema projection equipment and services, cinema screens and other cinema products reported that it has expanded its Asian distribution rights into Taiwan for the NEC Line of digital cinema projectors. The company has already begun active sales and marketing efforts in

Taiwan. Ballantyne plans to open an office in Taiwan in the first half of 2010 to provide sales training, service and support for all digital cinema products sold in the territory. Ballantyne's Asian distribution territory now includes Indonesia, Hong Kong, Malaysia, the People's Republic of China, Singapore and Taiwan. Ballantyne president and CEO, John P. Wilmers, commented, "Taiwan is an important extension of our digital projector footprint in Asia that also provides cross-selling opportunities for other products and services. Taiwan has approximately 500-screens, roughly 90% of which have yet to be converted to digital technology. We look forward to working with leading exhibition companies in the region and serving their digital cinema needs." ISO 9001:2008: Ballantyne also announced that its cinema screen subsidiary, Strong/MDI Screen Systems, Inc., has earned International Organization for Standardization ISO 9001:2008 certification for its quality management standards and procedures. The certification encompasses all key business processes tied to quality control and product traceability, including record keeping, monitoring, regular review and evaluation of procedures as well as methods to facilitate continual improvement. The ISO certification complements the Company's significant recent capital investment in cutting-edge technology, plant infrastructure and staff development. The ISO is a network of the national standards institutes of 162 countries with a Central Secretariat in Geneva, Switzerland. Wilmers, added, "we are proud to announce our cinema screen division's ISO 9001 certification. Strong/MDI has been working toward this quality standard for the past 12 months. The certification is an important milestone that provides a globally respected acknowledgement of Strong/MDI's quality standards, which should further support its worldwide sales and marketing efforts."


Dolby Plays Red Bull’s First 3D Movie Dolby Laboratories, Inc. provided digital cinema mastering and technical support for the screening of Red Bull’s first 3D movie at the recently held 70th annual Hahnenkamm World Cup Alpine ski event in Kitzbühel in Austria. Filmed in the days leading up to the celebrated World Cup race, the new movie features spectacular views of the famous Streif downhill course, including 3D point-ofview footage shot by a downhill skier, giving a unique perspective on what it’s like to tackle one of the world’s toughest ski pistes. The movie, produced by Red Bull Media House GmbH, was shown for the first time to invited guests in Dolby 3D at the Red Bull Next Generation Media event, which is designed to showcase innovation, and celebrate Red Bull’s participation in the Hahnenkamm event – the sporting and social highlight of the year in Kitzbühel. “We were very excited to be able to give our guests this stunning 3D view of what is recognized as the Alpine skiing world’s most difficult competition piste,” said Andreas Gall, Chief Technical Officer of Red Bull Media House. “Red Bull gives wiiings to innovations, so when we needed support to help us realize the presentation of this technically challenging project we turned to Dolby, who we consider to be the most innovative brand in audio and cinema.” With only a few days to capture, edit and prepare the footage before the start of the Hahnenkamm event, Dolby Production Services Group provided digital cinema mastering of the 3D footage captured by the Red Bull media house team. Working onsite in Kitzbühel, the Dolby team used the Dolby SCC2000 Secure Content Creator JPEG 2000 encoder to produce a 3D Digital Cinema Package (DCP) of the exciting action. They then facilitated pristine digital screening of the movie via a Dolby 3D digital cinema system for the invited guests at the Next Generation Media event. “The Dolby technical team is used to providing technical support to world premiere screenings all over the globe,” said Julian Pinn, Director Distribution

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Services, Production Services Group, Dolby Laboratories, “but we were all very excited to work with Red Bull Media House to assist with such an unusual project. Working on location presented a few challenges, but we were delighted to help Red Bull ensure everyone enjoyed an outstanding 3D cinematic presentation of what is some truly spectacular action.” Invited guests were also treated to a showing in Dolby Digital Cinema 2D of the dramatic and awe-inspiring feature documentary Mount St. Elias, which follows three ski mountaineers to the imposing Alaskan mountain in their attempt to realize the longest ski descent of the world.

New Silver Screen Option from Sonic Sonic Equipment Company took the exclusive distributorship for the Etoniq Silver Screen in the United States and Canada. The Etoniq screen, made in Asia, has been approved for use with the RealD Cinema System. “With the recent success of 3D movies and our new arrangements with Cinedigm and CBG for the Phase II rollout, the opportunity to have a complete one-stop package for the independent exhibitor that includes the silver screen is exciting”, says Sonic’s Director of Operations Eric Olson. The Etoniq screen meets all codes required for installation in North America and comes in a steel tube that helps insure safe delivery anywhere. “As the demand for 3D continues to rise we will work hard to give our customers fast, professional service and provide accurate delivery dates and shipment tracking” say Olson. Sonic Equipment Company, located in Iola, Kansas, has become a leader in the cinema industry’s conversion to digital. Sonic has been servicing independent exhibitors for over 30 years and as built a complete package for converting 35mm booths to digital, including PM Service, installation, equipment choices and

financing options. Sonic Equipment Company has also worked with independent theatre owners from consultation to Grand Opening on their new theatre projects. Sonic Equipment Company has till now installed over 80 digital systems, dozens of silver screens for 3D presentations and is an experienced installer of the RealD Cinema System.

UGC, Ymagis in Pact for Massive Digitisation European exhibition major UGC Group has signed an agreement with another European service provider Ymagis for one of the largest digital roll-outs in recent times, outside the US. Ymagis will act as a third-party investor and a third-party VPF collector. The agreement will allow UGC's 600 screens to switch to digital exhibition within 24 to 36 months. The rollout calendar initially will focus on digital projection in 3D, and subsequently expand to complete conversion of all theatres. UGC is one of the leading European cinema groups, active in France, Belgium, Spain and Italy. It is also one of the major players in European cinema production and distribution. Ymagis, on the other hand, is one of the main third-party facilitators for digital projection in Europe. The company occupies a leading position in France and is already the partner of operators in Spain, Belgium, Luxembourg and Germany. The agreement will enable the implementation of this technological breakthrough without hindering UGC's investment and innovation capacities. The group's transition to digital will thus be compatible with the investments required to expand and upgrade the circuit. In view of various initiatives emanating from the supervisory authority and competitors, and of the adoption by the public of 3D projection, which requires digital projection, the group believes this is the right moment to optimise the conditions of this conversion.


IMAX Expands in Russia IMAX Corporation, and Rising Star Media, one of Russia's leading international exhibitors, announced an agreement to expand their relationship by installing two more digital IMAX theatre systems by spring 2010. The deal follows a highly successful run of IMAX titles at the exhibitor's two existing IMAX locations. Under terms of the deal, Rising Star will add a new digital IMAX location in Moscow, and upgrade its existing film-based IMAX location in St. Petersburg with an IMAX digital projection system. During the current run of Avatar in Russia, IMAX theatres generated 5 per cent of the movie's total Russian box office on 0.3 per cent of the screens. The two Kinostar IMAX screens, which are operated by Rising Star Media, have both passed the $1 million box office mark. On other recent 3D releases, including Sony Animation's Cloudy with A Chance of Meatballs and Disney's A Christmas Carol, Kinostar enjoyed similar market leading box office success. "We have a long and successful history with IMAX and it is great to see our relationship grow to new heights in Russia," said Shari E. Redstone, Chairwoman of Rising Star Media. "The incremental box office returns from our Kinostar venues with IMAX, combined with the growing number of Hollywood blockbusters released in IMAX's unique format makes the decision to expand our relationship an easy one." "Through our experience with a range of 3D technologies we have learned that IMAX 3D resonates with Russian moviegoers, and they are seeking out the premium IMAX experience at our theatres," said Paul B. Heth, Chief Executive Office of Rising Star Media. "Our partnership with IMAX has become very important to us as we continue to strive to offer the best movie going experience in our industry." "Russia remains a key part of our European expansion strategy," said IMAX CEO Richard L. Gelfond. "Our strong film slate and digital projection system continues to drive interest from existing partners as well as exhibitors who are not

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yet in the IMAX business. This expanded relationship with Rising Star Media, one of the top exhibitors in the region, fuels that interest and reinforces our cache with Russian consumers."

Shaw Brothers’ $200M Digital Upgrade Legendary Film company Shaw Brothers, founders of Hong Kong’s movie industry and shareholders of the Shaw Studios Project – a state-of-theart audio post production facility – chose Digital Projection International for all their projector needs. After extensive global research on the highest-performing projectors available today, Shaw chose the Award -Winning TITAN series projectors. The TITAN series has a full spectrum of light output units, capable of producing from 1600 lumens to 11,000 lumens, while also offering the most lumens produced from the lowest wattage consumed of any projector range today. From the compact TITAN 1080p-250 to the CEDIA Expo award-winning TITAN 1080p-Dual 3D, the TITAN line is fully HD and offers numerous Active 3D capable displays. Eric Stark, Chief Technical Officer, Shaw Studios said, “we spent a great deal of time researching all projectors on the market and finally chose Digital Projection’s TITAN displays based on the compact form factor and low noise which lends itself perfectly to the studio environment where space is a premium and noise levels are critical.” Stark continued, ‘the advanced ColorMax’ colour processing gives the user full control over primary and secondary colors, plus white point control. This advanced color control

allows us to color match every projection system in house in order to attain a complete color science solution at Shaw Studios. Another deciding factor for us is the ability to use the projector in 2D or 3D modes which enable us to take on a wider range of projects, as more 3D movies are produced.” The studios boast one of the largest, fully sound and vibration-insulated soundstages in Asia. They offer a fullservice color lab and digital imaging facility with over 20 sound and editing suites. Additional amenities in the production facility include a 400-seat dubbing and screening theatre, executive and production office space, plus workstations for visual effects and animation design. In all, the Shaw Studios space offers over a million square feet of digitally-wired and secure facilities dedicated solely to film production and post-production. Founded in 1989, Digital Projection International (DPI) has been instrumental in the development and application of Digital Light Processing technology by Texas Instruments for projection systems. DPI introduced the world’s first 3-chip DLP projector in 1997, and has since delivered expert system engineering and world-class customer services, thus maintaining its position as a digital imaging pioneer. DPI’s groundbreaking projection research and development has garnered the admiration of industry professionals around the world. This has earned the company many awards, including two Emmy® Awards for Outstanding Achievement in Engineering Development by the Academy of Television Arts and Sciences. DPI remains the first and only projector manufacturer to win the coveted award. Today, DPI manufactures and distributes an extensive line of ultra highperformance 3-chip and single-chip DLP projection systems. These projectors are the reference standard for demanding applications such as large-venue, liveevent staging, fortune 5000, education, medical and scientific research, command and control, digital cinema, commercial entertainment, worship and elite home cinema.


Historic ‘Beacon’ Light Beckons Cinemagoers Christie, the world’s leader in digital cinema projection installations, was a star attraction at the recently inaugurated, all-digital Beacon Cinema complex located in downtown Pittsfield, Massachusetts. One of the most highly anticipated events in Pittsfield, the new $23-million complex, whose six screens are powered exclusively by Christie CP2000-ZX DLP Cinema projectors, is reviving the city’s core. Built within a restored centuryold historic building, The Beacon Cinema brought the excitement of the movies back to the downtown area after a 15-year absence. “It took us several years to complete the project, including the planning, design, gutting and rehabilitation of the existing structure. Early on, I saw the direction in which cinema was moving, with studios releasing everything in digital and alternative content emerging. I decided to take the wider view, and go ‘all digital’ with Christie DLP Cinema projection systems,” said Richard Stanley, managing partner of The Beacon Cinema. “Along with sporting events, live concerts and special events, as well as corporate and business activities increasingly taking place in a theatre environment, I see myself not only in the cinema business but in the entertainment industry.” The mixed-use facility incorporates offices, retail space and the 850-seat Beacon Cinema, which resides over three floors, with auditoriums on the first and third floors and projection booths on the first and third floor mezzanines. It features all-stadium rocking seats, a state-of- the-art data network that includes security, phone, Internet, and digital cinema distribution from two data control rooms. There are two concession areas, which also serve wine and beer. They also boast all digital concession menu boards, digital poster cases and digital box office signage. Stanley noted that Beacon’s opening night was sold out, with the midnight showing of “The Twilight Saga: New

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option for a third 3D projector,” he said. “Christie’s proven digital expertise, along with the brightest, highest performance projectors and the lowest cost of ownership, make it the projector of choice.”

Moon” on all six screens. Their opening celebrations with the 3D showing of “A Christmas Carol” also attracted full houses, even though the movie had premiered several weeks before at competitive theatres, which drew only a fraction of the audience when it was shown in 2D. Integrity Entertainment Systems, LLC, an authorized digital cinema reseller for Christie, handled the sales and installations. Gary Engvold, president of Integrity Entertainment Systems, explained that his organization supplied all the components necessary for the complete installation. “We recommended Christie CP2000-ZX digital cinema projection systems for all six auditoriums. Two screens are equipped for 3D presentations and, since 3D is driving market momentum, there is an

Pittsfield’s Mayor James M. Ruberto participated in the ribbon cutting ceremony, which used 35mm film in place of ribbon to signify the theatre’s “cutting of the cord” with old technology and embracing digital cinema. He remarked, “The Beacon Cinema complex will become the cultural hub and entertainment center of Berkshire County once again. Pittsfield’s downtown is now open for fun, families, and tourists.” “Independent theatres serve an important niche in the cinema industry, since they cater to local audiences and provide a connection to their communities,” observed Craig Sholder, vice-president, Entertainment Solutions, Christie. “By working closely with certified Christie dealers who sell, install and service the independent theatres, Christie can offer a broad range of support and the most advanced and cost-effective digital projection solutions available.”

Georgia Theatre Selects Christie Christie announced that its CP2000-ZX DLP Cinema projectors will be installed across the entire circuit of Georgia Theatre Company, a cinema chain with over 270 screens in 27 locations, including Georgia, Florida, South Carolina and Virginia. Part of Cinedigm’s Phase 2 digital cinema deployment programme, Georgia Theatres plans to install over 250 Christie projection systems throughout its circuit. Having done a significant digital roll-out during the Year End holiday theatrical releases in December, and during the run up to the 3D magnum opus Avatar, the Georgiabased exhibitor intends to continue its digital roll-out through out 2010.

“Service and experience with digital equipment installations are two major factors in our selection of Christie digital projectors and Christie Managed Services,” noted Aubrey Stone, president of Georgia Theatre Company. “We tested their units for a year and we were very impressed. The picture on the screen was excellent. Along with their technology and lowest cost of operation, Christie’s track record of installing thousands of screens worldwide was also an important consideration in our decision.” Stone added, “Christie is the undisputed leader in digital cinema because they fully understand the


Pryde noted that Movie Palace plans to equip all their locations with Christie DLP Cinema projectors. “Offering the brightest and most reliable products in the industry, Christie greatly enhances our customers’ movie viewing experience,” he observed. According to Pryde, Movie Palace conducted extensive research on the older, classic theatres, and then merged the glamour and architecture of these legendary movie theatres with the ultimate in digital projection technology and state-of-the-art sound systems.

needs of the exhibitors and know how to deliver quality products in the fastest timetable. One of the things that impressed me most is dealing with the people at Christie. Not only are they professional, but also they are a pleasure to work with. The speed with which we’ve been able to bring the systems online is a tribute to Christie’s commitment to first-rate customer service and support.” Third-generation family-owned Georgia Theatre Company has specialized in motion picture exhibition for over 80 years. According to Chairman and CEO, Bill Stembler, “From our early roots to becoming one of the top 20 circuits today, we pride ourselves on providing our patrons with the finest facilities,

including state-of-the-art digital projection, stadium seating and the best sound systems available.” Craig Sholder, vice-president of Entertainment Solutions at Christie commented, “we look forward to working with Georgia Theatre Company as it continues to upgrade to the world’s most preferred, and proven, line of digital projectors. When ‘the show must go on,’ no other projection system meets the standards of reliability set by Christie. We have the right solution for every size screen and the trained staff to resolve every installation challenge because we bring our own 80 years of experience working with exhibitors, anticipating and meeting their needs around the world.”

Movie Palace Wyoming Chooses Christie Christie announced that it has been selected by Movie Palace, Inc., as the exclusive digital cinema provider for its new all-digital Studio City Stadium 10, a 10-screen classic multiplex theatre in Casper, Wyoming. It is the second Movie Palace theatre in Casper to use Christie digital projectors. The company has also installed the Christie CP2000 series projectors – the world’s most popular digital cinema projector – in its other locations in Cheyenne and Rock Springs, Wyoming. “We chose Christie based on three key criteria: reliability, brightness and customer service. Since we built our

reputation on presenting high quality images on the screen and providing the best service in the community, we depend on the flawless performance and customer care that Christie products and their staff provide us,” remarked Randy Pryde, president of Movie Palace.

Andrew Houck, the manager of the new Studio City Stadium 10, noted: “We installed six Christie CP2000-ZX projectors, three Christie CP2000-M projectors and one Christie CP2000-SB projector in our multiplex because they not only project stunning images on the screen, they also deliver the most cost-effective digital solutions in the industry. As well, Christie continues to set the standards for 3D, in both resolution and brightness. We anticipate that we will be utilizing these digital projectors in the future for concerts, sporting events and corporate activities.” CLACO Equipment and Services, Inc., one of the region’s leading cinema dealers, was responsible for the installation. According to Vince Butler, digital technician and installations manager at CLACO, Christie’s strong reputation for superior service before and after the sale and the lowest cost of ownership were important factors in their decision to install Christie projectors. “In addition to its world-class customer support, Christie equipment is both top notch and among the most reliable in the industry, making our job much easier,” said Butler. “Movie Palace has had excellent experience in the past using other Christie equipment, such as Christie consoles, automations and 35mm lamp houses, and have found them extremely reliable. Digital cinema is the next frontier, and we look forward to working with Christie to deliver the most visually exciting movie presentations in the industry. “

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SFG Chooses Christie for Second Phase Roll-out Christie announced that Shanghaibased United Circuit – a subsidiary of the Shanghai Film Group (SFG) Corporation – has purchased an additional 100 Christie DLP Cinema projectors for its second phase roll-out. The CP2000 Series projectors are expected to be installed in the circuit’s theaters in China within the year. The success of SFG’s first phase installment of Christie projectors re-enforced its decision to continue exclusively with the company. After conducting a comprehensive and an in-depth industry analysis, United Circuit selected the Christie CP2000 Series cinema projectors to kick-start its digitalization plan. Over the last year, the Christie projectors have been performing superbly and delivering excellent picture quality, while maintaining a low cost of operation. These factors prompted the group to continue with them for their second roll-out. As the world’s most popular digital cinema projector, the Christie CP2000 Series is industryrenowned for its sheer brightness, resolution, color reproduction and quality. There are currently more than 7,000 digital cinema projectors installed worldwide, serving more than 70% of the global digital cinema industry. Xu Xiaoping, general manager for United Circuit, said: “Christie has fulfilled its promise by delivering reliable projectors that provide superior picture quality. This goes hand-in-hand with Christie’s outstanding technical support and services. The company’s technical team is always responsive, ensuring that all its digital cinema projectors operate smoothly in our theaters. We’re very pleased with our collaboration with Christie and look forward to continuing our work with them. Our partnership with Christie continues to ensure the quality of China’s digital films.” “United Circuit plays an important role in China’s cinema market,” said Lin Yu, vice-president, Christie, Asia Pacific.

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“The second phase of SFG’s digital cinema plan will enhance the quality of China’s digital films. We’re very honoured to be chosen again by SFG to work with United Circuit. Christie will continue providing comprehensive support to United Circuit and its other Chinese customers, ensuring their smooth transition to digital cinema.”

Barco, Kerasotes Partner on Luxury Multiplexes Digital projection leader Barco announces that Kerasotes ShowPlace Theatres LLC has purchased 48 digital cinema projectors to be distributed throughout multiple markets. Locations include three new multiplexes in Secaucus, New Jersey, Minneapolis in Minnesota and Chicago in Illinois, plus standalone 3D installations in Denver, Colorado and Illinois. Kerasotes, once a large player only in the Midwest, is now truly a coast-tocoast exhibitor with a national footprint. With the opening of the new 16-screen multiplex in Chicago’s ‘Roosevelt Collection’ and a new 14screen multiplex in Minneapolis, Kerasotes unveils their innovative ShowPlace ICON Theatre design, a multi-sensory experience of lounge, dining and digital widescreen picture and sound. The Chicago multiplex opened in December 2009. True to their name, each ICON multiplex offers unprecedented levels of amenities and design. In a glamorous atmosphere reminiscent of Hollywood, guests 21 years and older

can enjoy food and beverages in the lounge or VIP Premium seating areas. Additional amenities include reserved seating, specialty foods at the concession stand, stadium seating for perfect viewing, and the brightest presentations in the market with Barco projection. ”Kerasotes’ new ICON multiplexes have a beautiful and sophisticated urban vibe,” said Scott Freidberg, Vice President of Sales for Barco’s Digital Cinema business, “and they’ve become destination locations that encompass movies and so much more.” Each new Barco-equipped Kerasotes multiplex offers both 2D and 3D capability, using the industry’s most sophisticated and advanced projection equipment. Barco provides a full line of digital cinema projectors, purpose-built for screen sizes ranging from 12m (40 feet) wide up to 30m (98 feet). Customers such as Kerasotes select Barco projectors not only for their superior image quality, but also for their efficient power consumption, ease of use, modular design, sealed optics, high reliability and low cost of ownership. ”When it comes to projection and audio, I always buy state-of-the-art technology” said Fred Walraven, Kerasotes’ Technical Director. “That’s the driving force in each of these installations, from the Barco projectors to the QSC audio amplifiers and the Dolby servers. The important factor is that our customers get the best performance and I get the best product reliability,” continued Walraven. “Whether it’s 2D or 3D, our customers have a theatre experience that’s unbeatable.” ”We are very pleased that Kerasotes has selected Barco as their digital cinema technology provider for these remarkable premiere theatres,” said Todd Hoddick, Vice President of Digital Cinema, for Barco N.A. “Kerasotes has a reputation for providing a customer experience that’s beyond compare, and now, we’re honored to provide Kerasotes with our own expertise — the brightest images, the highest reliability, and the most comprehensive levels of service and support in the industry.”


Barco, Cinema West Partner in CA’s Largest 3D Cinema Cinema West, an independent California exhibitor, chooses Barco DP2000 digital cinema projectors for every screen in their new Palladio 16 multiplex in Folsom, California. With a total seating capacity of 3000, built around an efficient “green” energy concept, the all-digital venue includes six 3D-capable theaters. Barco Digital Cinema announced that California-based independent multiplexer Cinema West has selected Barco DP-2000 projectors for their new Palladio 16 Cinemas site located in Folsom, California. Six DP-2000s are 3D-equipped, using 3D technology from RealD making the Palladio 16 the largest single-site 3D installation in California, if not the West Coast. The digital servers and theatre management systems were supplied and installed by Dolby while the 5.1 surround-sound digital audio system was supplied and installed by both QSC and Dolby. With a current chain of 12 theatre locations throughout northern and central California, Cinema West has a long history of innovation — and the new Palladio 16 is no exception. Each theatre in the complex offers sports stadium seating and wall-towall screens, with individual capacities ranging from 140 to 300 seats. Installation was provided by Theatre Equipment Construction and Service (TECS), based in Santa Rosa, California. “Cinema West has a great policy of wall-to-wall screens, wherever possible, and these screens are enormous” said Robert Hawthorne, Senior Technician for TECS. “To install a 53-foot screen in a room that’s 55 feet wide was a challenge, but the installation went very well and the DP-2000s certainly fill the screens. I’m a big fan of the Barco projectors,” continued Hawthorne, “and the Cinema West team has been just thrilled with what they’ve seen. From my standpoint, the picture is better, they’re easier to work with, and much easier to use.”

Nate Alchesky, General Manager for the Palladio 16 Cinemas, commented on the selection of Barco projectors. “It was the quality and the ease of use,” said Alchesky. “Once we saw the pictures on screen, we realized that this was the best way to go. The picture quality is amazing, and the install couldn’t have been simpler. They were almost plug and play.” Continuing with the spirit of innovation, Cinema West is positioned at the cutting edge of “green” theater installations. Once final implementation is complete in January, the Palladio 16 Cinemas will be able to boast the largest solar system on the roof of any movie theatre in the world. “Presently, our theater in Livermore, California has the largest solar installation of any theater,” said Dave Corkill, Owner of Cinema West, “but once our rooftop installation is complete, this site will be the largest. All the lighting products used in the theater are LED-based. Even the poster cases are backlit with LED lighting, and what appears to be neon is actually LED rope lighting. It uses about 10% of the power. The savings are significant,” continued Corkill, “and our goal to be energy efficient extends to the Barco products as well. Barco projectors use far less power than standard 35mm projectors, so it all adds up, and it makes good business sense.” ”We’re honored to have been selected by Cinema West for their new installation, which is noteworthy on many levels,” explained Terri Westhafer, Director of Business Development for Barco Digital Cinema. “Not only are we part of the largest 3D installation in California, but we also play a part in the company’s high regard for ‘green’ energy use. This all-digital complex in Folsom is a showplace for customers who are visiting our Sacramento offices. Cinema West’s high presentation standards align with our own, and Barco is proud to partner with such an innovator in digital technology.”

Barco Chosen for 60th Anniversary Berlinale Barco Digital Cinema announced that it has once again been chosen as the exclusive digital cinema projector supplier for the Berlinale’s 60th anniversary edition. The Berlin International Film Festival was launched on 6 June 1951. Over the years, it has become one of the most important film festivals in the world, with almost 300,000 visitors. For this prestigious film festival, Barco supplies six digital cinema projectors from its renowned DP series platform to ensure the audience sees the highest quality movie image on screen, exactly as the director intended. ”We are glad to be working with Barco’s digital cinema projectors for our anniversary edition,” says Berlinale Director Dieter Kosslick. “We have worked with them on the four previous editions and know we can trust the projectors to perform flawlessly for the festival’s entire duration.” ”Barco is proud to have been chosen once again as the exclusive digital cinema projector supplier for the Berlinale,” comments Tim Sinnaeve, Market Director Barco Digital Cinema. “Barco’s digital cinema projectors offer an unparalleled image quality both in 2D and 3D projection and the technology is revolutionizing the cinema industry. We find it important to support film festivals like the Berlinale, which make such an important contribution to our industry as a whole.” All of Barco’s 2K digital cinema projectors are based on the pioneering

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DLP Cinema® technology from Texas Instruments, guaranteeing perfect reproduction of film, time and time again, and ensure movie goers enjoy the highest quality film experience with consistent picture brightness, contrast and vibrant colors. Thanks to a revolutionary modular design, the projectors deliver the lowest total cost of ownership for a maximal ease of use. The Berlin International Film Festival was organized from 11 to 21 February in various venues throughout Berlin. The important venues include cinemas in Urania, Berlinale-Palast, CinemaxX 7, Delphi Filmpalast, Friedrichstadspalast and Kino im MGB.

RealD Supports Kinoton’s DCPs RealD, the 3D cinema technology leader, is supporting DCP Digital Cinema Projectors by offering a designated holder for the RealD XL Cinema System. Now RealD’s XL larger-screen technology can be mounted fast and easily in the front of DCP projectors. The optical array of the 3D system is on a rail, making it simple to slide it off the lens to project 2D content. With their extraordinary brightness, Kinoton DCP projectors are perfectly suited for brilliant 3D cinema even on large screens. And the RealD XL Cinema System delivers the most light of any 3D projection technology, enabling a 3D experience on screens up to 24 meters (80’) in width with a single high-performance DCP Digital Cinema Projector – while using the same lamp and lamp power as for 2D presentation. A silver screen is needed to maintain the polarization of the right-eye and left-eye pictures.

Sigma Designs Integrates SENSIO SENSIO Technologies Inc. announced that Sigma Designs has selected the SENSIO 3D format decoder for integration into its next generation of media processors. A leading provider of highly integrated, highperformance system-on-chip (SoC) solutions for entertainment and control throughout the home, Sigma is licensing SENSIO 3D technology to allow set-top box, AV receiver, HDTV, and Blu-ray player manufacturers to provide their customers with an optimal 3D viewing experience. “The SENSIO 3D format is widely known and respected for its image quality and for its broad compatibility with existing technologies and infrastructures,” said Ken Lowe, vicepresident of strategic marketing for Sigma Designs. “In developing our new line of 3D-video capable chips, we are incorporating many different technologies and formats, so it makes sense that SENSIO would be one of the first considerations.”

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“Sigma’s licensing of the SENSIO 3D format will make it widely available to the market in an integrated chip, in turn enabling any manufacturer to take advantage of our advanced video processing algorithms,” said SENSIO’s president and CEO Nicholas Routhier. “We’re very proud to be working with a leader in SoC design and manufacture, and we look forward to the first deployment of the new Sigma Designs media processor.”

Texas Digital, Sign-A-Rama in Digital Signage Pact Texas Digital Systems Inc., and Sign-ARama, the world’s largest sign franchise, announced a partnership naming Texas Digital as the exclusive preferred provider of Dynamic Digital Signage for Sign-A-Rama. Under this partnership, Sign-A-Rama’s nearly 1,000 franchisees will greatly expand the scope of their signage offerings to customers by complementing their existing line of static signage solutions with the addition of a versatile and engaging digital signage solution. Texas Digital’s VitalCAST digital signage software features an easy-to-use, scalable platform that allows users at an organization to manage displays at multiple locations – from across town to the other side of the world – either from one central workstation or from scattered locations across the globe. Attentiongrabbing, professional content can be created within the software or easily imported into the system and deployed in a matter of

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SENSIO 3D is a distribution technology that enables the broadcast and storage of stereoscopic (3D) content for home viewing, transforming the conventional home theater experience into a rich, immersive stereoscopic experience. Delivering true 1080p HD picture quality, the SENSIO 3D format meets the exacting demands of highperformance 3D systems including the latest HDTVs, receivers, and set-top boxes.

minutes to one or more indoor and/or outdoor LCD or LED displays. SignARama will work closely with Texas Digital to offer its franchisees creative design services and expertise in managing graphics and content. “Sign-A-Rama believes this is a great partnership to bring the latest technology to our store’s customers. This partnership will insure Sign-ARama’s position in the digital signage market for the foreseeable future,” said Dan Bonner, Sign-A-Rama Vendor Relation Manager.


The partnership is claimed to be timely, as the Digital Out-of-Home market is strong, with the size of the market projected to have grown 33 percent in 2009 alone, according to a study conducted by ABI Research. Sign-A-Rama will now be able to better address customers’ needs for realtime, easily modified signage applications. “We’ve been forerunners in the digital signage arena for the past few years. Many of our locations have already been offering solutions to their customers and now have a complete and solid partner to expand their offering and services

through our alliance with Texas Digital,” said Sign-A-Rama President Jim Tatem. “Texas Digital is delighted to partner with Sign-A-Rama to bring a digital signage solution that will help their customers communicate more effectively,” said Dennis Davidson, Texas Digital president and COO. “Through VitalCAST, our partnerships with hardware vendors such as NEC, Samsung, LG and Dell, and our installation and support capabilities, Texas Digital offers Sign-A-Rama franchisees a turnkey solution that greatly complements their static signage solutions.”

Cobb Choose Barco for Luxury Theatre Barco Digital Cinema announced that Cobb Theatres of Birmingham chose and installed Barco digital projectors into its first three ‘CineBistro’ theatres located in the Tampa and Miami, Florida regions. For Cobb Theatres, CineBistro is a new entertainment concept that combines premium dining services with luxury moviegoing and reserved seating. While enjoying gourmet cuisine and premium wines and cocktails, customers can view first-run or independent movies in their own luxurious leather rocking chair. Cobb Theatres, based in Birmingham, Alabama, is a progressive motion picture exhibitor operating 193 screens at 14 locations throughout the southeastern United States. The new concept cinema chain is now being created by Cobb Theatres across the USA. A CineBistro consists of an intimate lounge and restaurant area in a boutique setting, surrounded by multiple theatres — each seating

between 80-100 customers. After dining, the tables are rolled back and patrons enjoy a movie in what Cobb Theatres describes as a true ‘private Hollywood movie screening experience.’ When designing the CineBistro concept, Cobb Theatres chose to go ‘premium’ in every way possible, with digital projection and sound as a key component. After carefully evaluating their projector options, Cobb Theatres selected Barco as their CineBistro projector provider. As a long time Barco customer, Cobb Theatres was familiar with the superb quality, high efficiency and proven reliability of Barco digital cinema projection systems. With Texas Instrument’s DLP Cinema technology at the core, Barco DP-1500 and DP-2000 projectors were installed in the first three CineBistro venues, enabling Cobb Theatres to offer customers both 2D and 3D movies with ease. In addition, for the Hyde Park in Tampa, Florida, CineBistro, a Barco ACS-2048 alternative content

switcher was also installed. This specialized switcher effectively expands the theatre’s display capabilities beyond movies, with the ability to input and scale “alternative content” formats (such as DVDs or satellite feeds) directly into the projector. With this addition, the CineBistro venue becomes an attractive option for private corporate events and screening of live telecasts such as boxing bouts and concerts. According to Jeremy Welman, Chief Operating Officer for Cobb Theatres, Barco is Cobb’s preferred partner as his company advances their digital projection deployment. “Barco has been our choice for digital cinema projectors for several reasons,” Welman explained. “The superior image quality, energy efficiency, and Barco’s desire to work closely with us and to stand behind their products — these are the important factors. In the CineBistro, where we’re selling a premium dining and viewing experience, we naturally had to provide our patrons with the very best image quality, just as we do in each of our theatres. All in all, it was a pretty easy decision for us to continue using Barco in the CineBistros.” Welman’s comments were amplified by Joe DeMeo, Director of Sales for Barco’s Digital Cinema business. “Cobb Theatres’ preference for Barco is a testament to our quality and reliability” noted DeMeo. “These first three CineBistros are just the start of a very popular trend in digital cinema and family entertainment, and we’re honored that Barco is a part of it.” Currently CinéBistro has locations in Miami and Tampa and is under construction in Colorado and two sites in Virginia.

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TECHNOLOGY

Oculus3D Arrives, on Film!

The expected has finally happened. Even as a significant section of the movie exhibition industry, particularly in Hollywood, had been looking at Thomson-Technicolor for its muchtouted film-based 3D projection systems, the other stakeholder – who was playing it rather low but steady – came to the fore recently. Oculus3D, who made the first wave at ShowEast 2009, recently announced its first offering. Know what it is: Oculus3D, a company focused on filmbased 3D projection technology, announced its first product, the OculR system, a low-cost 3D lens and print format for the installed base of 35mm movie projectors. The OculR system eliminates the need for exhibitors to purchase a new digital system to play 3D films. The OculRsystem also does not require exhibitors to pay per-seat or per-show royalty fees. The OculR lens provides exhibitors with a 3D solution that works with all standard 35mm projectors, delivering superb quality film-based 3D presentations that are equal to or better than more costly digital options. The OculR 3D system consists of the OculR lens for the theater’s 35mm projector, a “silver” movie screen and low-cost plastic frame linear polarizer eyewear, delivering the finest 3D image at an affordable price. The OculR lens can be installed rapidly, eliminating theater downtime and providing a minimum brightness of 6 foot lamberts, which equals or exceeds the brightness of most digital and single-

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projector film systems to ensure flawless 3D performance for exhibitors. ”The team at Oculus3D has created a cost-competitive and projectionistfriendly 3D film-based delivery system that bypasses the problems of the resurrected, discredited, and obsolete ‘over/under’ film-based approach of the 80’s that plays inside-out images much of the time,” said Lenny Lipton, president and chief science officer, Oculus3D. Economic Benefits to Theater Owners and Studios: Exhibitors and studios will benefit equally from the

The OculR attachment

OculR system because the industry is unable to meet current audience demands for 3D presentations as the number of 3D feature releases will continue to grow in 2010. The motion picture industry is missing out on millions of dollars of revenue because of a shortage of 3D screens. ”We see a substantial worldwide market for the OculR 3D system and estimate some exhibitors could save $150K per screen in equipment, 3D software conversion and installation costs while the studios could add a meaningful number of new 3D screens in 2010,” said James Marsh, analyst, Piper Jaffray & Co. “Exhibitors who have been concerned about the cost of switching over to a digital cinema system now have an interesting new option to consider.” Oculus3D estimates that it can get theater owners up and running with the OculR system (the lens and upgraded movie screen) for approximately $20,000 - $25,000 per screen. This is 85 – 90% less than investing in a digital projector approach.


The OculR print format is created by applying an algorithm to the final digital intermediate file to produce a master negative. Release prints are then made using standard lab techniques and costs are identical to making a standard print, making conversion from 2D to 3D a seamless process for the labs, exhibitors, and studios. ”Our product stops the forced marriage between digital and 3D as many exhibitors are being pushed into replacing workhorse film projectors to take advantage of the boom in 3D movie releases,” said Marty Shindler, founder and CEO, Oculus3D. “OculR will help meet movie patron demands for 3D while saving an estimated $150,000 to $175,000 in per screen set up costs and eliminate hardware and software ongoing maintenance expenses.” ”There is a pressing need for 3D film systems on a global basis for two key reasons including a higher volume of 3D theatrical releases as well as the high import duty costs associated with digital projectors in many parts of the world,” said Albert Mayer Jr., executive vicepresident and chief technology officer, Oculus3D. “With OculR, exhibitors can help meet movie patron demand for 3D.”

Oculus Mission: Low Cost, High Value The mission of Oculus3D is to offer quality 3D projection at lower cost with higher profits for exhibitors and studios. The principals, Lenny Lipton, Al Mayer, Jr. and Marty Shindler bring to the company and to the market a combined experience of a good 100 years in the movie business. This should spell good for the company, its business model and the exhibition community worldwide. Lenny Lipton is a Fellow of the Society of Motion Picture and Television Engineers (SMPTE) and holder of 41 granted and over 50 pending patents that are central to the 3D projection system. Lipton is the inventor of the ZScreen, a polarization modulator that enables a single DLP projector to show 3D movies. The ZScreen is the device that is at heart of the most widely used 3D digital projection system, the Real D system. Albert Mayer, Jr. is a veteran camera designer and Academy Award and Prime Time Emmy Award recipient, each for Scientific and Technical Achievement. His industry leading cameras include the Panaflex Millennium XL camera system, Panavision’s current flagship film product and the Genesis, the first full chipped digital camera system. Marty Shindler, a 30-year film industry veteran, has held key executive positions at 20th Century Fox, Lucasfilm’s Industrial Light & Magic, Kodak, MGM and the entertainment practice at the erstwhile Coopers & Lybrand (now PriceWaterhouseCoopers). For over 14 years, The Shindler Perspective, Inc. consulting practice has provided a range of advisory and analytical services to companies in the entertainment and entertainment technology industries regarding visual effects, camera technology and 3D stereoscopic presentation.


TECHNOLOGY World’s First Imax Dome Sounds Big

Rebirth of a Seminal Theater

Cinema is growing really big- visually and aurally. Driven by a passion to better the best and powered by technology that continues to push the frontiers of innovation to fascinating levels. In tune with this cinematic order, the Reuben H. Fleet Science Center, home to the world’s first, and San Diego’s only, IMAX Dome Theater, is celebrating the completion of its state-of-the-art renovation. Featuring a unique 6.1 surround sound system designed by QSC plus ProTools HD 3 Accel playback, the audio system design may presage a new era in theater sound systems. TW reports: The 6.1 surround system install comprised:

The Fleet Center often runs six different films per day, requiring very different audio settings for each performance. Program material varies widely, from the Center’s primary focus on educational material to pure entertainment IMAX presentations such as The Rolling Stones - At The Max, Chronos, and Stomp Odyssey. With the new design, levels and other settings can now be programmed well ahead of time, ensuring both smoother operations and spontaneous elements including announcements, inserts and customized for walk in/ walk out music via iTunes.

Equally crucial to delivering an audience experience unerringly faithful to the director’s vision is the 6.1 surround audio delivered by the world class audio system designed by San Diego-based Michael Krewitsky of Pro Sound, Inc., solely around QSC Audio components.

Two benefits of using the film industry’s standard audio production system for automated playback are giving film mixers the ability to use the facility as a sort of ultimate real time surround mix facility, and, for composers and producers, a more efficient way to transfer tracks and stem mixes directly to the theater for test screenings. In the typically crazed, last minute environment caused by a director’s need for music and soundtrack changes, this theater-as-mix-stage capability removes an important level of uncertainty for film producers.

Interestingly, the “6” in this unique surround setup has earned the nickname ‘The Voice of God’ and refers to speakers placed at the very top of the dome. What drives it all? Four Basis Controllers (922AZ and 914), commanding six DCA 1644 amplifiers and two DCA 3422 sub amplifiers that drive six SC-424-8F 4-way dual 15-inch full range speakers and four SB-7218 dual 18 subwoofers. According to the designer, the combination renders whisper quiet to thunderous dynamics and exceptionally accurate audio playback.

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Two Basis 922az controllers

Two Basis 914 controllers

Six DCA 1644 amplifiers

Two DCA 3422 sub amplifiers

Six SC-424-8F 4-way dual 15-inch full range speakers with custom horn pattern

Four stock SB-7218 dual 18-inch subs

Pro Tools HD 3 Accel for Mac

Barry Ferrell, QSC’s Senior Director of Cinema Solutions, explains the theater’s hallmark level of accuracy with the reason why the company viewed the achievement as mission-critical: “QSC Audio has long been the mainstay in movie theater power amplification because of our reputation for reliability and, to some extent, transparent sound. But some of our more demanding customers have become increasingly unhappy with their older speaker systems because film producers have been raising the bar for what needs to be reproduced accurately in theatrical releases. That pushed us not just to enter the theater speaker market but to do so with a very high bar in mind.”


That forward leaning strategy, and a reputation for exceptionally close working relationships with consultants, gave QSC Audio the edge to provide the amplifier, processing, and speaker solution for the “flagship dome of its type on planet earth,” states Michael Krewitsky. “QSC was the place to go because the products, first of all, sounded the best, and they were the most responsive company as far as coming back and saying ‘yes, we’ll build you what you want,’” John Young, A/V specialist for the Center. Although there were significant cost efficiencies in the purchase, John adds, “cost savings wasn’t the first thing on our list. We wanted the best thing we could possibly get. QSC Audio has rock solid gear.” The decision to go with QSC wasn’t a spur of the moment choice for the renovation team. Over the course of two years, John and Mike carefully compared audio systems and capability from every major player in the industry. Krewitsky explains: “This is another reason why QSC got it, is because the company has really been focusing on the cinema speaker business - speakers for actual movie theaters. And these are a specialized version of their cinema line. This is theater stuff that’s adapted especially for surround and IMAX. QSC has been really pushing the envelope on this kind of new technology.” How did the job turn out for Pro Sound? “We’ve become aware that several people who have heard this newest IMAX have stated it’s easily the best sounding IMAX theater in the world. Unfortunately, I don’t think that, paired with the fact the finished audio installation cost the facility owners 15 percent less than some other IMAX theaters, is the good news you might think it would be,” Krewitsky remarked. QSC Cinema Sales Director Francois Godfrey adds another dimension of the dilemma his customers face: “Industry observers point out that if theater owners don’t exceed the level of quality people experience in their own home theaters it’s a recipe for declining theater attendance. Since there’s every reason to believe the audio challenges from the film community won’t get any easier, we saw establishing a clear lead in accurate reproduction as a strategic necessity.” Ferrell adds, “If you’re marketing to owners competing on exceptional theater experiences, there’s really no point offering prosaic ‘me too’ solutions.” Continuing on the business need at the core of QSC’s cinema speaker vision, Ferrell admits not every theater owner now believes better-than-prosaic audio quality is a business necessity. “But there’s substantial agreement among theater industry analysts that it’s just a matter of time before the combined hammer of slimming margins and attendance declines force a change,” he asserts with concern.


TECHNOLOGY Kinoton Initiative

180-Degree Screen at Fraunhofer Technology Cinema is going places. Two of the biggest and potential players in global (cinema) technology domain – Kinoton and Fraunhofer Institute – have come together for yet another technology exploit. Having done with digital cinema install some time back, the two German technology referral majors have this time done the 180-degree screen IOSONO 3D sound system at the institute.

The highly acclaimed German film and media research institutions Fraunhofer Heinrich Hertz Institute (FHHI), and Institute of Digital Media Technology (IDMT) opened their new ‘Tomorrow’s Cinema’ with the premiere of Germany’s first 180-degree short film ‘Orlac reloaded.’ Tomorrow’s Cinema is a showroom created on the premises of FHHI with high-resolution digital 180-degree panoramic projection. The core of this innovative technology is a 180-degree screen installed by Kinoton, and an IOSONO 3D sound system from the IDMT itself. The Heinrich Hertz Institute pursues information technology research and development. The core competencies of HHI are in the areas of Photonic Networks and Systems, Mobile Broadband Systems, Photonic Components and Electronic Imaging. In the field of Image Processing, HHI was significantly involved in the development and standardization of the H.264/AVC video coding method and its usage for mobile services. HHI’s video codecs and crypting solutions for DVB-H are in use all over the world. Ilumenau-based IDMT, on the other hand, conducts applied research in the field of digital media and works on leading projects and topics in the field of audio visual applications. Besides sound solutions for home and professional users, software technologies for analysis and characterization of multimedia content as well as audiovisual applications for medical engineering are being developed. Furthermore interactive AV

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applications for entertainment and knowledge management and the design of architectures for digital online distribution are in the institute’s research focus. The special screen consists of a glass fiber fabric specifically designed to support high-resolution digital projection of up to 6K. In addition, the material is characterized by a high acoustic transparency that brings the IOSONO surround sound system to bear. The installation of a 180-degree screen is always a challenge since the vertical and horizontal tension of the screen must be very carefully attuned to each other in order to achieve an immaculate semi-circular curve. Any deviation from the correct curve may awfully disturb the image geometry. Given their long experience, though, the Kinoton service technicians achieved a flawless result even with this unusual and demanding screen installation. The 180-degree images are projected by six high-resolution video

projectors, each reproducing a 30degree section of the complete picture. The images overlap in a small area, creating a seamless panoramic image. ‘Orlac reloaded,’ an adaptation of the movie classic ‘Orlac hands’ from 1925, is the first 180° short film produced in Germany. The panoramic shooting, utilizing a special camera rig with six HD cameras, took place within the scope of the PRIME research project in which eight leading companies and research facilities develop future technologies and viable business models for the introduction of 3D media consumption in cinema, TV and video games. PRIME is an abbreviation of Production and Projection Techniques for Immersive Media. Apart from the Fraunhofer Institutes HHI and IIS and the Academy of Film and Television (HFF) ‘Konrad Wolf’ in Berlin, Kinoton GmbH is among others also part of this project funded by the German Federal Ministry of Economics and Technology BMWi.


SPECIAL FEATURE

Whither Movie Entertainment?

A New ‘Avatar’ of Cinema...!

The 3D cinema, per se, is nothing new to the world. It’s rather a century old tryst with human passion for entertainment. What began with the Power of Love in the 1920s – the earliest confirmed 3D movie –now appears to be the ‘power of passion’ for the format, albeit in the digital model, that is seeking to change the specs of

– By Bhavanashi Ramakrishna

modern movie exhibition business. With moviemakers in Hollywood changing their gear and guard for an energised journey into 3D realm, the global cinema is taking a new Avatar, or so it appears. A TW perspective.

Avatar sinks Titanic record scaling alltime high collections... Avatar shatters all box-office records; grosses over $2.55 billion and still counting... Avatar bags top honours at the Golden Goble Awards – ‘Best Motion Picture’ and ‘Best Director’ awards... Avatar sweeps honours at the International 3D Society Awards ceremony...

Hollywood is suddenly finding itself in a 3D frenzy- caught in the pre- and post-Avataric ballyhoo that is likened by some to the filmy scenario ushered in by The Wizard of OZ during late 1930s-early 1940s - so much so that the Titanic director’s magnum opus movie is called the seminal movie for the new digital 3D genre. The trend, dominantly seen at the moment in the heartland of global cinema, has actually been impacting the very manner Hollywood churns out movies. •

One- it is throwing off-track subsequent new movie releases, relegating them to a number two spot on their opening weekend itself. The best case to prove this was Mel Gibson’s Edge of Darkness whose collections were $13 million lower than Avatar’s $30 million. The movie was slated as The Patriot hero’s celebrated return to the big screen but it ended up netting much lower than expectations at $17 million.

Two- Big time moviemakers are actively contemplating conversion of their 2D releases into 3D digital. This is best exemplified by Warner

Avatar awarded the first Lumiere Award as the ‘Live Action 3D Feature of the Year’ by the International 3D Society... Avatar glows in Oscar glory...bags three awards – Best Visual Effects; Best Art Direction and Best Cinematography awards... There may be more such exclamations before this piece is read in print.

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SPECIAL FEATURE

Bros.’ decision to convert their remake of Clash of Titans from 2D to 3D digital, and push its release by one more week from its originally scheduled March last week. The 3D digital version of the remake is now slated for April 2. •

Three- There is an apparent digital congestion that- despite the increased rapidity of 3D digital roll-outs by exhibition chains, there are more 3D digital movies than the cinemas can take. A situation which can actually undo the box office effect so ambitiously sought after by the studios!

Disney’s Alice in Wonderland is scheduled to hit the big screen on March 5, followed by Dream Works Animation’s How to Train Your Dragon for March 26 release, and Warner Bros.’ Clash of Titans for April 2 release. That these movies are stacked up for almost back to back releases with fewer than 4000 screens in the US and few more outside, and the North American screen count – let alone the other global markets – is very unlikely to go up drastically in time for these release, one or more of these movies are bound to struggle for adequate screen space, indicate reports from Hollywood. “With movies in 3D digital suddenly becoming big money spinners Hollywood studios are cramming them into the theatres despite knowing there aren’t enough screens available to give those movies fullest possible run,” says a media agency report. The American movie exhibition apex body National

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Association of Theatre Owners (NATO) itself admitted to the intriguing

Probably, the hitherto-forgotten, if not ignored, fact is that increased

situation explains the scenario. The year 2010 is already slated for as many as 19 three-D digital movies that include Disney’s Toy Story 3, and Dream Works’ Shrek Forever After and Megamind. Peaking the crescendo of 3D excitement would be the 17 December outing of Tron Legacy and Yogi Bear 3D digital movies by which time the Americas are likely to have around 5000 3D screens, with another 800 to 900 3D screens outside.

pace of 3D roll-out also leads to cluttering of digital screens, and most often adjacent one another- in which case two 3D digital movies would be released in two adjacent screens and they end up cutting into each other’s pie. This is exactly the NATO spokesperson, and many other observers infer. Regal Entertainment CEO Amy Miles recently told his company investors that most Regal multiplexes (will) have two or more 3D screens. The world’s largest movie exhibition company with around 500 3D screens now, expects to have about 1000 more by the end of this year which clearly means juxtaposition of 3D auditoria. So, competition against one another – often on the same premises – is pretty much in the offing. So, getting back to square one?

To beat the apparent shortage of 3D screens, Hollywood, particularly the studio-trio in question now, is releasing 2D versions of its latest ventures so that their revenues wouldn’t fall short. On the tangent, the studios and their 3D champions are ebullient about the current 3D growth graph from what it was a couple of years ago. Clash of the Titans is billed to get at least 50 per cent more 3D screens than the 800 screens Warner Bros. got for its earlier 3D flick ‘Journey to the Centre of the Earth,’ two years ago. Similarly Dream Works’ How to Train Your Dragon, will get double the number of screens from that of its earlier 3D outing Monsters vs. Aliens. The excitement is that the ‘Monsters’ netted $198 million from about 1000 screens, and the ‘Dragon’ is getting twice that number, so its box office would swell that big, if not more. That the moviegoers had been found to be willing to shell extra bucks for a 3D digital movie, studios are more than enthused on making 3D digital movies.

That Avatar collected around $700 million till now in the Americas and more than double that figure – around $1.8 billion – internationally, both the studios and equipment manufactures had been pushing for increased roll out of 3D digital, exactly the way they did for DCIcompliant 2K digital deployment worldwide. Strengthened by some sound financing and comfortable payback business models in place, this might seem a very profitable proposition in the immediate term, but how long would be this joy party?


SPECIAL FEATURE

Imax Avatar Shows up Big in Asia IMAX Corporation and Twentieth Century Fox announced that Avatar, crossed the $35 million mark in gross box office receipts at IMAX theatres throughout the AsiaPacific region. The IMAX release generated $35.2 million from 37 IMAX screens in 10 countries during the movie’s Asia-Pacific run till February 10. Most IMAX screens in the Asia-Pacific region which is claimed to be the company’s fastest growing market have grossed over $1 million each. To date, the IMAX release of Avatar has generated an estimated global total of over $170 million from 262 IMAX screens. Asia-Pacific market honours for IMAX version of Avatar are shared by: •

Hong Kong – $2.9 million from two screens

Taiwan – $2.3 million from two screens

Japan – $4.3 million from four screens

The Asian Scenario It may not be grossly different in most parts of the world, though each of those have their local ‘rules of the game’ helping somehow balance the show. China – billed as the single largest cinema market outside the Americas – is reported to have around 700 3D digital screens (another unconfirmed report put this count to be 900) out of the total supposed digital screen figure of over 2500. It is closely followed by Japan with over 150 3D screens; Singapore and South Korea with about half the figure each; India with about 60 3D screens; and Hong Kong some 10 screens lesser than India. The other mature movie markets like Malaysia, Thailand and Philippines where 3D and animation account for big time entertainment have been reported to have seen significant jump in the number of 3D screens. Except Singapore, which is largely Hollywood-driven market, all other Asian markets have their own domestic content which is predominantly either in film or 2D format. A case in a point is the controversy around the Chinese’ reported

triggered an increased level of interest in the IMAX theatre business throughout the region. We believe the remaining run of Avatar, as well as the rest of our Hollywood slate and mainstream Chinese films that are scheduled to be digitally re-mastered for the IMAX network in the region, will continue to drive that interest.”

“This incredible box office performance represents the strong consumer demand for The IMAX Experience in the Asia-Pacific market, which is very encouraging as we continue to focus on expanding the IMAX network and brand internationally,” said IMAX CEO Richard L. Gelfond. “This success has

“The international distribution team at Twentieth Century Fox has done an exceptional job of incorporating the IMAX brand into its marketing strategy, and it has clearly resonated with Avatar fans in the region who are seeking the best way to experience James Cameron’s revolutionary film,” added Greg Foster, Chairman and President, IMAX Filmed Entertainment. “Many IMAX theatres are still operating at or near full capacity, and we’re looking forward to continued success during the weeks ahead.”

curtailing of the very Avatar’s screening to facilitate nationwiderelease of a biopic on the great Chinese philosopher Confucius. That the Chinese government denied the reports and clarified that the movie was taken out of only the 2D cinemas and the 3D version was not disturbed obviates the forces and factors that influence cinema entertainment in the region. In about six weeks of running before the controversy, the movie had grossed about 400 million Yuan (around $50 million), a record of sorts for Chinese box office.

India, on its part, responded well to the 3D digital call and rolled out as many as 60 screens in time for the Avatar outing. Though still largely fragmented, the Indian exhibition industry - led by the multiplex circuits and some aggressive independent exhibitors - is forging ahead with a high degree of enthusiasm. However, it is the domination of domestic content vis-a-vis that of Hollywood, and the seemingly high conversion costs that are apparently hampering the pace of installs. (Read separate story in TM: Indian Cinema in New Avatar)

Singapore had been methodically ushered into the 3D revolution with some bigger stakes in their docks. The State-owned Media Development Authority (MDA), as part of its policydriven-mission to convert the country into a holistic digital entertainment hub, took the country’s exhibition industry by its stride and pushed in the 3D. Thanks to the MDA efforts- that the country’s largest exhibitor and the hitherto-defiant Golden Village Group got convinced with the 3D digital, meant that the city-state’s industry as a whole endrosed the 3D cinema domain.

The global movie exhibition industry, overall, appears once again in for an intriguing situation. For the last decade or so – since the birth of digital cinema phenomenon in 1999 – the industry had been through the rigours of transformation and defiance for digital (including the DCI-compliant) model. Now, it’s the 3D digital. On the tangent, that the film-based exhibition champions – led by ThomsonTechnicolor – have come back with their own 3D exhibition model as a ‘cheaper alternative’ to digital 3D, it’s indeed getting intriguing.

Australia/New Zealand - $6.3 million from six screens

Korea - $5.1 million from five screens

China – $11.3 million on 13 screens

Whither movie entertainment? April-June 2010

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SPECIAL FEATURE World’s Second Largest Cinema

Cinema Feast in Middle East

Dubai – the nerve centre of property development in the Middle East, and the cynosure of global property planners and abettors – now has yet another ostentatious statement. Probably, the best of all, in cinematic parlance! World’s most ostentatious, and only sevenstar hotel, world’s tallest commercial tower, a cityscape of bizarre architectural models, and now, one of the world’s most grandiose, and Asia’s biggest cinema multiplex! A very unbecoming statement for the realty h(e)aven that it might seem in its own right, Dubai has now joined the big cinematic league with a bang. A 22-screen cinema multiplex, with an Imax large-format theatre! That itself is a big statement. An exclusive boutique style Picturehouse meant for art movies, a luxurious Platinum lounge, and world-class sound and projection- bringing them all is the coming together of two major entertainment groups from two parts of the world. A TW essay. Reel Entertainment LLC – a joint venture formed by Dubai-based realty giant Emaar Retail LLC and Singaporebased premier entertainment provider Cathay Organisation Holdings Ltd – unveiled recently in Dubai what is obviously the second largest multiplex in the world by screen count. A 22screen grandiose cinema multiplex,

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with an aggregate seating capacity of 3000, and an exclusive art movie house, besides a Platinum Class lounge and cinema. This, coming from and for a region that had hardly seen the cinematic glitters as comparable with that of the Western or Eastern world! Just as Providence would have it, the ‘Middle East medley’

The Dubai Mall night view: Colours & Dreams


SPECIAL FEATURE

The Dubai Mall, turninig dreams into real(i)ty: A grand view at night (top); a dream-like entertainment fare in the mall atrium (above); the fancy-swathed cinema lobby at level-one (right), Observe the desert symobolism manifested by the digital singage board

is now ‘mid-way’ between the world’s largest in the West and the hitherto second largest in the East. The Spanish exhibition major Kinepolis’ 33-screen multiplex in Madrid continues to be the world’s largest while the Golden Screen Cinemas’ 18-screen Mid-Valley multiplex in the Malaysian capital of Kuala Lumpur was second largest, till this Reel Cinemas emerged like a phoenix from the dunes of the Middle East desert. It is not only the second rank screen count that makes the Dubai Mall Reel Cinemas stand out. There are features more than one that makes it so. It unveiled the first THX-certified

cinemas in the Gulf. It introduced to the region the Cathay Cinemas’ signature model ‘The Picturehouse’ – a dedicated moviehouse to screen critically acclaimed art movies. It also elevated the regions cinematic grandeur by highlighting its cinemafare with four ultra-luxurious Platinum Movie Suites. The Picturehouse has its own unique identity which is epitomized in its logo designed in a 16:9 ratio that symbolizes the commonly used aspect ratio between the height and width of cinematic framing. The logo reflects a sense of independence and uniqueness which are often associated with movies and thereby creates an identity- the soul and essence of The Picturehouse. It is also exclusive in the sense that it seats just over 100 patrons at a time and has its own dedicated lounge which provides an ideal setting for moviegoers confabulate the moviefare over light refreshments.

The Platinum Movie Suites are draped in ultimate cinematic luxury. The experience begins in a private lounge fitted with marble service counters, signature designer furniture and ambient lighting, providing the perfect backdrop for a relaxed drink or bite to eat before your movie. The VIP treatment continues when the patrons are ushered into suite and sink into a supple reclining chair, conveniently equipped with a side table and button for personal butler service throughout the movie. The highlight of multiplex is the introduction of Hollywood’s chic design concept, which embodies a modern cinema experience. The seats are ergonomically designed with the widest legroom for utmost comfort, while the overall ambience is reminiscent of old Hollywood glamour intelligently blended into contemporary interiors using modern materials. Extensive use of mirrors and subtle patterns used to

Enthusiam all around: The patron-filled lobby during the first week(left); The waterfall attraction in the mall atrium

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SPECIAL FEATURE

create shimmering surfaces and reflections while mood lighting adds a touch of drama to the interiors, and in the lobbies a starry sky effect accentuates the ambience. The lobby floors are clad in a geometric pattern of toned grey stone, and the columns form stars on the floor to sweep up in an interpretation of the theatre drape. The lounge seating areas are upholstered in rich fabrics and leather. The Platinum Movie Suites and The Picturehouse have special lounges furnished with plush leather seating and modern design. The sound and projection system are world-class with THX certification – done by German projection major Kinoton – and comprises all the exhibition formats, i.e. film, digital 2D, 3D, and an Imax large format. Probably, no other cinema venue in the region, if not the world boasts such distinction. Reel Cinemas is spread over an area of 110,000 sq ft with direct access from

Grand designs with Classical Cinema fare: One of the multiplex auditorium (top); the box office on level three (top right); the hallway on level four (middle); and the Classic Picturehouse lounge (bottom)

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SPECIAL FEATURE

The Platinum Club Class: The ultimate movie suite (left), the luxurious lounge one (middle) and two (left)

the car park on both levels- that makes it one of the most access-easy entertainment venues. Reel Cinemas is billed to become a popular attraction that further adds to the leisure components of the mall including Dubai Aquarium, Underwater Zoo, Dubai Ice Rink, The Waterfall, and soon-to-open KidZania and SEGA Republic. With 12.1 million square feet, the Dubai Mall is the world’s largest shopping and entertainment destination, and has widest spectrum of retail and leisure choices for visitors. Of the 1,200 retail outlets in the mall, over 900 are already open. There are a total

of 160 F&B outlets offering an array of options for visitors and 14,000 parking spaces. Besides the multiplex, the other big entities include the now world famous and world’s tallest tower Burj Dubai. There would be one more multiplex with eight screens – as part of the Dubai Marina Mall – in the heart of the city’s master-planned waterfront. “Entertainment and leisure attractions have become an integral part of mall developments. The extensive leisure portfolio of the mall has become a social magnet for families, and the opening of Reel Cinemas will further add to the overall entertainment offerings,” Nasser Rafi, Chief Executive Officer, Emaar Malls Group was quoted as saying.

‘Reel Entertainment will redefine the big-cinema experience by employing the latest digital audio-visual technology and offering superior service standards including on-line ticket booking facilities, automated kiosks and box-office counters,’ said Emaar Malls CEO Rashid Zakaria Doleh. For Cathay Cinemas, the venture is doubly prestigious in that it is the first Southeast Asian exhibitor to expand beyond the region’s shores and get into the world’s most hotly contested realty space. More, it sought to make its mark with its signature Picturehouse, and add more glitters with Platinum Class and 3D digital etc. Sasy Suhaimi Rafdi, Chief Executive Officer, Cathay Organisation: “When we were developing the Reel Cinemas brand, there was no doubt that we would introduce The Picturehouse as one of its key unique features in Dubai. The Picturehouse was Singapore’s first arthouse cinema. It has been showcasing cutting edge and critically acclaimed films since 1990 and has played an important role in Singapore’s cinematic history. “Boasting a multi-cultural population, Dubai is the perfect fit for an arthouse cinema with a wide audience of varied nationalities and cinematic sensibilities,” Rafdi said, adding, “we hope it will play an important role in the development of UAE cinemas.”

Technology Entertainment at its best: The swanky lobby in level two (top- observe the digital signages); the grand atrium (above); and the giant acquarium in the mall (left) April-June 2010

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CINEMA SYSTEMS

Digital Design-age It’s a digital age. Cinemas operating in this age are apparently driven by digital technologies. Most cinemas today brace up digital technology to offer a compelling cinematic experienceboth inside and outside the auditorium. In a business where there are hardly any shortcuts, an ingenious ways of capturing the patrons’ moviewatching imagination is to weave a mesmerizing ambience. Digital Signage is one. Here are two cinemas that have done exactly the same. A TW snapshot.

Bow Tie Cinemas Glows in New Appeal Bow Tie Cinemas recently completed digital signage installations at three of its theatre locations. Bow Tie chose Texas Digital’s signage solution and content management software, VitalCAST, for its theatres at Annapolis Mall 11 in Annapolis, Maryland; Movieland 6 in Schenectady, New York; and Movieland at Boulevard Square in Richmond, Virginia. Each of the theatre locations incorporated 40-inch Samsung flatpanel LCD displays. The Annapolis Mall 11 installation includes five displays, while the installation at Movieland 6 includes two and the Movieland at Boulevard Square includes five. Texas Digital’s VitalCAST software runs on each screen, allowing prices, imagery and other features on the displays to be updated automatically and simultaneously from Bow Tie’s corporate office with a few clicks of the mouse. All the screens are in the concessions areas of the theatres, with static menu information interspersed in between the LCD displays. Bow Tie Cinemas is using the displays with VitalCAST video content to push nontraditional food fare and upcoming events, activities and promotions. Bow Tie Cinemas founding partner B.S. Moss opened the Centurion Theater in Times Square in 1936, which was the first motion picture theatre built exclusively for the exhibition of talking motion pictures. Bow Tie Cinemas currently

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owns and operates 145 screens in 18 locations in New York, Maryland, Connecticut, Colorado and Virginia. “We chose Texas Digital’s VitalCAST due to the flexibility of its operation and ease of updating. The interface is very easy to use and update, and can be changed at a moment’s notice from our home office,” said Bow Tie COO Joe Masher. “The industry is trending toward digital signage; the excitement that it creates with eyeappealing graphics and animations will hopefully allow us to see our sales increase significantly at stands where we’ve installed the signage.” “This was an interesting project because two of the theatres we were installing did not have digital signage, while our solution replaced another company’s digital signage solution at

the third,” said Texas Digital COO Dennis Davidson. “This posed a unique challenge in ensuring that our standards and Bow Tie’s expectations were met for all three locations. We are pleased the installations look great and look forward to working with Bow Tie again.”


CINEMA SYSTEMS Marcus Midtown Scores New Marks Texas Digital has completed its VitalCAST Digital Signage software installation at Marcus Theatres’ new Midtown Cinema in Omaha, Nebraska. Marcus Midtown Cinema, which opened in November, is a one-of-a-kind, fourlevel, five-screen entertainment destination located in Midtown Crossing at Turner Park. Texas Digital is a worldwide leader in digital signage technology, and is Marcus Midtown Cinema’s digital signage provider. For the Marcus Midtown Cinema installation, Texas Digital’s software is installed on 26 LCD screens in a variety of sizes as digital menu boards, box office signage, promotional boards and wayfinding signs near the theatre’s escalators. Six of the displays are LG’s new 38-inch stretch displays, which are located at each auditorium entrance. The concessions and box office displays will all be updated automatically via an interface between VitalCAST and Marcus Theatres’ Radiant Systems point-of-sale (POS) system. VitalCAST will give the theatre more signage options than static signage allows, such as dayparting and announcing specials, and the ability to adjust pricing and other features on multiple screens simultaneously from Milwaukee. Previously, Texas Digital worked with Marcus Theatres on a VitalCAST installation in their Majestic Theatre just outside Milwaukee. “The dynamic changes we can make because of Texas Digital’s innovative digital software are very exciting,” said Bob Menefee, vice president of advertising, marketing and food & beverage. “Not only can we quickly adjust menu prices, we can also create and market dining specials quickly and efficiently. Utilizing the other LCD screens located at strategic positions throughout Midtown Cinema, we can easily communicate to customers the amenities we feature on each floor and highlight the unique services our in-theatre dining concept, Cinedine, offers our guests, which is available in all five auditoriums.” “We are pleased to have completed another successful digital signage

installation for Marcus Theatres,” said Dennis Davidson, president and COO of Texas Digital. “We look forward to continuing our relationship with Marcus at their other theatre locations and further expanding their migration to digital signage.”

A division of the Marcus Corporation, Marcus Theatres is the seventh largest theatre circuit in the United States. With the opening of Marcus Midtown Cinema, the company currently owns or operates 668 screens at 54 locations in Wisconsin, Illinois, Iowa, Minnesota, Nebraska, North Dakota and Ohio.


CINEMA SYSTEMS Projection Series - XXVIII

Health and Safety at Work

In Part-II of Unit VII published in the last issue, we discussed various issues in the film projection job that come with legal implications, and how projectionists need to handle them, besides their actual job of movie projection. This time, in the third and concluding part of this Unit, we delve into the various aspects of health and safety at the projection workplace and elsewhere in the cinema premises involving the projectionist. Some of the vital points are discussed here.

Since the beginning of this series of technical features on film projection in cinemas, health and safety issues have been detailed many times earlier as and when they arose independently. Here is one more focused effort - without unnecessary duplication - on the principles which underlie these specific instructions, in the context of the responsibilities of all projectionists. General health and safety must always be the projectionist's first priority. It is largely a matter of attitude - the projectionist should be ever vigilant, spotting possible hazards, rather than reacting to accidents. Staff members are expected to contribute to the health and safety of the working

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Health and safety notices at work - how often do you need them?


CINEMA SYSTEMS flammable, causing many fires and subsequent deaths in the early days of cinema. Today's film does not support combustion but many of the rules still apply, particularly in the projection room. If the projectionist takes a watchful walk around the cinema or complex where one works, it would be quite obvious how much stress is put on fire safety in the building. Every room the projectionist enters would normally have some type of fire appliance visible.

When were these last checked?

The power supply cables need to covered and protected

The power supply cabin cannot be a dumpyard for waste material

environment by assessing risk, controlling risks and implementing procedures to deal with threats to health and safety. They are also expected to coordinate the health and safety of the working environment by coordinating both the risk assessment and the control of risks. Many theatres and cinemas will have a 'Hazard List' which details all unsafe areas of the cinema and areas for special attention. Examples of such hazards could be unsafe stairs that are awaiting repair or loose tiles that require attention. All members of staff including projectionists must pay close attention to this list and keep it updated regularly.

Extinguisher safety pin & pressure gauge

Cinemas are places where the public are admitted, so they are covered by some very stringent fire regulations. Many of them go back to the days of nitrate film which was highly

The projectionist would make out that these appliances are important items in the cinema's license conditions, and that any interference with them is tantamount to violating the law. Most cinemas will have a service contract with the firm who supplied the extinguishers, fire blankets, hose reels, etc. but since their representatives visit the site once or twice a year it is often up to the projectionist to keep a watchful eye on appliances meanwhile. Sadly, members of the public are often responsible for interfering with fire fighting equipment. Unfortunately, the appliances cannot be locked away until required as they must be in ready to use all the time, so it also becomes necessary on part of the projectionist that he must watch for any missing or discharged units.

In many cinemas there are no strict service rotas, rather it is more of a case of tidying up along the way. For example, brushing, vacuuming and mopping up after spillages will ensure a safe working environment for all members of staff as well as the general public. Sometimes responsibility for safety can extend to some less than obvious areas, such as electrical appliances (Kettles, portable heaters, microwaves, cookers etc.). Theses are checked by PAT (Portable Appliance Testing), but you should keep an eye on the state of such appliances all the time.

Use a guide like this to ensure that you use the right extinguisher

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CINEMA SYSTEMS In time, the fire extinguishers fall below specification, either by use or by leaks. Many extinguishers will have indicators which normally show green while they are in specification, or red when out of specification. Some have locking pins which have to be removed before operating them. In the event of the projectionist noticing an empty fire extinguisher or any fire appliance that had been tampered with, he must immediately report it to his superior. He should not assume that someone else will. Understandably, it will be hard to forgive oneself if there is an emergency and someone is injured or killed because the appliance malfunctioned, and the projectionist even after noticing it just ignored it. If cinema carries spares for faulty extinguishers, the projectionist must ensure that every replacement extinguisher is of the correct type for its situation. Different types of extinguisher are used for different types of fire. He must take time out to study each type of extinguisher and how to use it correctly. When there is a fire there may not always be time to read the instructions, and if there is smoke about, one may not be able to see them at all. The projectionist's job is not always confined to mere projection room alone. As a member of the cinema operations, or even otherwise, it becomes part of his duty to ensure that no one panics in the event of an eventuality. He should not run, shout fire or do anything else which may cause alarm. He should rather communicate speedily with a senior member of staff and use any prearranged 'code words' to indicate the situation. Every cinema must have an agreed procedure to follow if there is a outbreak of fire or some other event requiring evacuation of the building. The projectionist must be aware of the procedure and ensure that he partakes in any fire drill organised by the management. There are of ten special

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quickly as possible to shut down the show and light the auditorium so the audience can see the staff indicating the correct exits. Under no circumstances the projectionist must attempt to tackle an outbreak of fire on his own, without

informing others first. Only then should he attempt to extinguish the fire, if he feel safe in doing so. Failure to follow these two rules may result in nothing but overcome with fumes, putting his life in danger and allowing the fire to spread. Conversely, the projectionist should not panic and run from the building - he has a responsibility for the safety of all the cinema patrons. The most important rule is: to act quickly and not to panic. Threat every alarm as another drill, and all should be well.

extinguisher safety pin & pressure gauge

tasks that the duty projectionist has to carry out over and above those of the floor staff, such as playing a fire record or announcement tape to alert all the other members of staff that there is a situation which requires a certain drill to be brought into action. Any such tape must be kept in special place and be ready for immediate use. In a multiplex, the auditoria are often not all evacuated at the same time, to prevent congestion in some areas of the building, and strains on the staff. It is common to evacuate first the auditorium closest to the area of the fire and under the greatest threat, guiding the public to an exit which steers them clear of any danger. The projectionist on the job must follow the duty manager's instructions as

In every organization, and particularly one where there are members of the general public visiting on a regular basis, staff members including projectionists must learn first aid procedures. This includes all aspects of first aid such as resuscitation and treatment of burns and spillages on the skin. To assist the need for first aid treatment for skin problems, projectionists must be aware of all paints, white spirit and sulphuric acid used within the building and know how to treat a victim who has come into contact with liquid. Above all, the projectionist should be very familiar with the health and safety policies in force at the cinema. These policies must be posted in a prominent place, but it is unwise just to take them for granted. The projectionist must be able to act quickly and appropriately in an emergency there is no time to read notices or manuals. (To be concluded)


REVIEW

8-10 December 2009 Hong Kong Convention & Exhibition Centre, Hong Kong CineAsia 2009 - the 17th edition of Asia's premier convention and tradeshow on motion picture exhibition industry - was held from 810 December at the Hong Kong Convention and Exhibition Centre, Hong Kong. Hoping to beat the recessive pressures and be in tune with wider participants' demand, the threeday convention has moved back to Hong Kong, after almost a decade. Notwithstanding the global market pressures, the event went into indepth deliberations on digital cinema and 3D, besides other important subjects- but with a prime focus on the Chinese exhibition industry that had been one of the biggest promises of the global industry.

The three-day convention opened with a focused seminar on 'A New Dimension to China,' that had as its panellists Michael Archer, vice-presidentDoremi Digital Cinema; Yang Buting, ChairmanChina Film Distribution and Exhibition Association; Dr. Man-Nang Chong, CEOGDC Technology; Y.C. Chu, Deputy General Manager, Media Asia Group; and Dr. David Chung, Head of Information Technology OperationsHong Kong Cyberport Management Company Ltd.

The opening day had product presentations from United International, Paramount Pictures, and Universal Pictures, followed by the post-lunch opening of the tradeshow. The evening had two movie screeningsWalt Disney's 'The Princess and the Frog,' followed later in the night by Paramount Pictures' 'Up in the Air.' Day two opened with a joint seminar by CineAsia and ICTA (International Cinema Theatres' Association). The technical session titled 'A Digital Update,' had the latest industry updates brought to the forum by Tony Adamson, manager-worldwide April-June 2010

TW-41


customer marketing, DLP Cinema; Ray M. C. Seok, general manager-Digital Cinema of Korea; Ranjit Thakur, CEO, Scrabble Entertainment Pvt. Ltd., India; and Naoshi Yoda, managing director, T-Joy, Tokyo. In the following ICTA session, Andrew Robinson of Harkness Hall provided 'screen facts,' Bill Mead of DCinema Today, and Jason Brenek of Disney presented the 3D dynamics, while Michael Archer of Doremi dwelt on maintenance of digital cinema servers. The day-two evening was marked by trailer presentations from the footages of the much anticipated Avatar,

TW-42

besides Alice in Wonderland, How to Train Your Dragon, and Shrek Forever After on the Imax 3D digital format.

been making big waves in Indian exhibition business for some time now, and has ambitious expansion plans.

The much sought after programme of the event of Awards Nite this time, like the previous editions, had a distinct profile. The CineAsia Exhibitor of the Year Award for 2009 was conferred upon the Golden Screen Cinemas. Irving Chee, chief general manager of the Malaysian cinema major received the award.

Besides, Sunder Kimatrai, of 20th Century Fox has been chosen for the 'Distributor of the Year' award, while Media Asia Group Ltd. Chairman Peter Lam was honoured with the Producer of the Year award. The 'Asia-Pacific Copyright Educator Award' was presented to noted producer Raymond Wong.

The most interesting award this time, however, is the DLP Market Achievement Award, given to Sathyam Cinemas of India. The Chennai-based cinema operator had

Overall, CineAsia 2009 deliberated on the issues facing the industry at large and explored some directions to the global and the Asian industry for a recession-proof march ahead.

Christie

Dolby

GDC

Harkness Screens

JBL - Crown

Kinoton

Monee

Osram

Philips

Qube Cinema

USL

Vista

April-June 2010


PREVIEW

March 15-18, 2010 Paris & Bally’s • Las Vegas The 36th edition ShoWest - the most coveted platform of global motion picture industry - will unfold from March 15-18 at Paris and Bally's in Las Vegas. The industry's biggest event, being held while the global motion picture industry is breaking free of the recessive pressures, is also seeking to address the industry with what it calls a 'truly global' approach. According to the neilsen film group, the producers of the event, in the current digital era of simultaneous movie releases across the globe, the world is getting smaller by the hour, and exhibition business, whether in the Americas, Europe, or Asia, is faced with more or less same set of issues such as piracy, digital deployment and customer experiences- which is why ShoWest is also changing in tune with the times to embrace the new era of unified global industry.

More, given the pressures of recession, and challenges that have been commonly impacting the industry across the world, this year's ShoWest assumes more significance than its preceding

events in that it has new, bigger issues to address- so much so to attract industry leaders and aspiring entrepreneurs who have been seemingly cutting their business plans. The organizers

Bobby Chetia of TheatreWorld at ShoWest 2009

April-June 2010

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anticipate that participation at the four-day event will increase from the currently represented 63 countries to an even greater number, and will have sizeable number of delegates. ShoWest normally attracts over 5,000 motion picture industry professionals from across various segments of the industry as this happens to be the biggest opportunity to preview major studio and independent feature films slated for summer 2009 release; see exciting and entertaining product reels of upcoming releases and most importantly network with top industry executives at the sponsored events. With the industry apparently transitioning towards digital, and three-dimensional digital with alternative content regimes, issues like digital cinema, 3D, and 3D digital are surely going to take centrestage of debates and deliberations during the four-day

FLOOR PLAN

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April-June 2010

convention. More, that the industry movements are taken by the recession at a time when the technological norms and standards got almost fully defined, and business lines are taking a clearer shape, the convention assumes the focal point of the global industry. That the event also hosts one of the largest trade shows of the cinema industry products, services and concessions items from across the world, ShoWest has a clear bearing on the industry movements through the year. Every year, it attracts around 250 exhibitors to the tradeshow. However, in the changed scenario, the number of exhibitors and the products showcased is to only be seen. This year's Awardees at ShoWest include: •

Bell Stembler, Georgia Theatre Company -ShoWester of the Year

Sam Worthington - ShoWest Male Star of the Year

Katherine Heigl - ShoWest Female Star of the Year

Jerry Bruckheimer - ShoWest Lifetime Achievement Award

"With billions earned worldwide at the box office, Jerry Bruckheimer has brought outstanding entertainment to movie going audiences for four decades," said Robert Sunshine, managing director of ShoWest 2010. "From the action-packed Pirates of the Caribbean trilogy, to this summer's Prince of Persia, Bruckheimer continues to bring audiences into movie theater seats and provides a movie going experience like no other. We are honored to present Jerry Bruckheimer with the ShoWest 2010 Lifetime Achievement Award." Prince of Persia - a BruckhemerWalt Disney joint production blockbuster would be one of the movie premieres at the ShoWest.


E X H I B I T O R S @ SHOWEST 2010 1better LLC .................................. 511

ConAgra Foods .......................... 1217

Hytex Industries ........................ 1813

ACS Enterprises ......................... 1416

Connie's Pizza ............................ 1115

Immerz ......................................... 506

Adaptive Micro .......................... 1802

Continental Concession ............... 910

Inorca Seating .............................. 514

Advanced Graphics ..................... 707

Crosspoint Fabrics ....................... 522

Advanced Specialty Lighting ...................... 1924/1934

CRU-Dataport ............................ 2017

International Cinema Equipment ........................... 1928

AFP Advanced Food Products .... 121

Data Display USA ...................... 1634

American Cinema ..................... 1429

Datasat Digital ................. PALACE 4

American International .............. 713

International Electrical Wire & Cable .......................... 504

DigitAll ......................................... 829

American Licorice ..................... 1206

Iosono ........................................... 714

Dippin' Dots ................................. 533

American Paper Optics ............. 1834

Irwin Seating Company ............. 903

Dolby ........................ 1605/PALACE 6

Artech ........................................ 1527

Jack Roe USA ............................. 1507

Dolphin Seating ........................... 735

Baer And Associates ................. 1825

JBL / CROWN .............................. 1601

Doremi Cinema ......................... 1921

Ballantyne Strong ........... 1205/1210

JKR Partners .............................. 1200

Durkan Hospitality ..................... 824

Barco-Digital Cinema ................ 1931

Jolly Time Popcorn ...................... 724

DVA Architecture ....................... 832

StudioSystems ........................... 2021

Kernel Seasons ............................ 410

Eisenberg Gourmet .................. 1316

Bass Industries ........................... 1734

Kinoton America ............. 1613/1712

Embedded Processor Designs .... 1627

Big Sky Industries ...................... 1621

Kinoton GmbH ................ 1615/1716

Eomac ......................................... 1614

Blair Communications ................. 811

Konica Minolta .......................... 1913

EyeCatcher Global .................... 1334

Boca Systems ............................... 507

F'REAL! Foods .............................. 532

La Universal Impresora S.A. de C.V. ........................... 1008

Bright Star Systems .................. 1421 C Cretors & Co ........................... 1301

FBD Frozen Beverage Dispensers .............................. 733

Lavazza Premium Coffees ....... 1426

Caddy Products .......................... 1520

Filmack Studios ............................ 609

LBI Boyd Wallcoverings ............. 1728

California Seating + Repair ...... 1535

Fishbeck, Thompson, Carr & Huber ......................... 503

Lighting Images Technology ..... 1220

Camatic Seating ........................ 1915

D-BOX Technologies ................. 1225

International Cinema Technology ........................... 1228

Lancer Corporation ................... 1214

Little Giant Ladder Systems ..... 1121

Changzhou Yuyu Electric Light Appliance ............................. 1327

Fox Blocks ................................... 1722

Christie ....................................... 1705

Funacho ........................................ 602

Cinedigm Palace ............... PALACE 1

GDC Technology ........................ 1824

Cinema Concepts ......................... 409

Gehl Foods ................................... 633

Cinema Equipment & Supplies ... 1500

Gold Medal Products ................ 1821

Menusoft Systems/ Digital Dining ......................... 806

Cinema Hosting ........................... 612

Goldberg Brothers ...................... 807

Meyer Sound ........... 1835/PALACE 7

Cinema Lighting Corp ................. 316

Golden Link .................................. 620

Microvision Optical 3D ................ 515

Cinema Scene Marketing ........... 814

Golterman & Sabo .................... 1317

Mobiliario SA de CV .................... 821

Cinema Solutions ......................... 722

Great Western Products ............ 702

Modular Hardware ................... 1912

Cinema Source ........................... 1623

Greystone International ............ 615

Molinos Morelia, S.A. de C.V. ... 1012

CinemaLive ................................ 1914

Moviead ..................................... 1635

Cinemeccanica ................. 1505/1604

GS Alimentos De Mexico, S.A. de C.V ............................ 1010

City Scape Service ....................... 909

Harkness Screens ...................... 1814

Coast To Coast Cleaning ............. 732

High Performance Stereo ........ 1702

Color Ad Packaging .................... 706

Hollywood Movie Money ............ 734

National Association Of Concessionaires ..................... 411

Component Engineering ............ 803

Hurley Screen .............................. 413

National Ticket Co ...................... 921

Franklin Designs ........................ 1700

Long Range Systems ................... 528 Look3D ....................................... 1021 MARS Snackfood US ................. 1521 Martek Contracts ...................... 1515

Moving Image Technologies ..... 1729 Mundocolor Iluminacion ........... 2019

April-June 2010

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Nebraska Popcorn ....................... 625

SinoCinetech .............................. 1324

NEC Display Solutions ...... PALACE 5

SLS Audio ..................................... 415

Nestle USA .................................. 902

Slush Puppie ................................. 623

Nevada Film Office ................... 1202

Solo Cup Company ....................... 513

MARCH 15-18

Oculus3D Corporation ................ 611

SolSource Logistics .................... 1735

SHOWEST, LAS VEGAS, USA www.showest.com

Odell's ........................................ 1425

Sony Electronics ............... 1129/1905

Omniterm Data Technology ...... 721

Soundfold ..................................... 508

Oreck Vacuum ............................. 928

Stadium Savers .......................... 1800

Osram Sylvania .......................... 1820

Stadium Seating Enterprises ... 1524

Packaging Concepts .................... 412

Stein Industries ............................ 603

Paradigm Design ....................... 1501

Summit Food Enterprises ......... 1600

Paragon International .............. 1626

Superior Quartz Products ......... 1629

Partner Tech ................................ 911

Surveillance Technologies ......... 1534

Pelican Productions ..................... 728

Taste Of Nature ...................... 1516

PepsiCo Foodservice ................. 1805

Taylor Company ........................... 421

Philips Specialty Lighting .......... 1216

Technicolor 3D ........................... 1725

EVENT CALENDER

SPRING 2010

MARCH 16-18 FRAMES, MUMBAI, INDIA www.ficci-frames.com

SUMMER 2010 JUNE 21-24 CINEMA EXPO AMSTERDAM, HOLLAND www.cinemaexpo.com

Photo Research ......................... 1827 Poblocki Sign .............................. 1226 Popcornopolis ............................ 1726

JULY 23-25

Posiflex ......................................... 715

CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in

Pot O' Gold .................................. 502 PowerDirect Marketing ............. 529 Preferred Popcorn ...................... 315

AUGUST 15-19

Premium Performance Sound .... 1204

AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au

Prime Ticket .............................. 1020 PrintTixUSA ................................. 923 Proctor Companies ................... 1715 Progressive - Flooring Services .. 828

AUGUST 23-26

Promotion In Motion Companies .... 720

BIRTV, BEIJING, CHINA www.birtv.com

ProSTAR Industries ...................... 521

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

Qsc Audio Products ................... 1509 Qube Cinema ............................. 1230 Radiant Systems .......................... 703 Rainbow Symphony ................... 1724 RCM Media .................................. 915 Ready Theatre Systems .............. 414 Retriever Software ..................... 726

Texas Titos ................................. 2012 The Cawley ................................ 1526 The Coca-Cola .................. 1305/1405 The Environmental Media ......... 510 The Hershey Company ............. 1328 The ICEE Company ...................... 621 Theatre Lighting Associates .... 2015

TW – TheatreWorld Therma-Stor, ............................... 505 THX ........................................... 1829 TicketPro Systems ..................... 1434 Ticketsoft ................................... 1014 Titan Technology ......................... 626 Tivoli .................................. PALACE 2 TK Architects ............................. 1815 Tootsie Roll Industries ................. 712 Ultra Stereo Labs ...................... 1221 Universal Cinema Services ....... 1528 Vantage / Glassform ................... 608 Variety -The Children's Charity of the U.S.A .............................. 1625

Reynolds & Reynolds ................... 709

Ventura Foods ........................... 306

OCTOBER 11-14

RGS International ..................... 1015

VIP Cinema Seating .................. 1229

SHOWEAST, FLORIDA, USA www.showeast.com

Richardson Oilseed ...................... 725

Vista .............................................. 815

Ricos Products Company ........... 1300

Vistar ............................................ 627

Roney International .................. 1720

Vivian Company ......................... 632

Royal Paper Corporation ............ 604

Weaver Popcorn .......................... 729

Schneider Optics ........................ 1721

Weldon Williams & Lick .............. 607

Schult Industries ........................ 1329

White Castle Food Products ....... 932

DECEMBER 7-9

Schwan's Food Service .............. 1022

Will Rogers Institute ................... 114

CINEASIA, HONG KONG www.cineasia.com

Seating Concepts ....................... 1321

Wulf Installations ........................ 813

Shaw Hospitality Group ............. 520

XpanD ........................................ 1529

Simply Right ................................. 614

ZhetaPricing Chile S.A ................ 610

WINTER 2010

April-June 2010

Texas Digital .............................. 1417

Reward Wall Systems ................. 711

AUTUMN 2010

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Tempo Industries ......................... 321


entertainworld

German XLlence! Germany, they say, where many an innovation germinate. While it is obvious when it relates to engineering automobiles, it also appears pretty much veritable when it comes to entertainment. For, many innovations in entertainment - both in audio and video - took seeding in the rich industrial European nation. What's more, it is characterised by a boastful culture that dominated and influenced human endeavours in diverse domains all through its history. Cinema, in its own right, had been a big gig in Germany, as the country's cinematic genius manifested both in development of innovative product systems and exhibition mechanisms as well as the movie genre. Kinoton, Isco, Schneider, Ernemann…so on and so forth. Topping the league, however, is Kinoton, the projection equipment manufacturer and innovator. Recently, the projection major achieved yet another laurel, installing XL digital cinema install. This, time, for a change, TW brings you, a brief photo essay of the cinemas and the install.

April-June 2010

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entertainworld Taking into the hoopla of run up to the 'Avatar,' two German cinemas have broken new grounds in exhibition exploits when they installed XL 3D digital projection systems to power up their giant screens with the Avtar impact. The two cinemas in the process set a 'big' precedent for other German cinemas for the big time entertainment. The Cineplex Marburg and the Cinedom Koeln multiplexes are the first German cinemas that offer their audience large scale digital 3D Cinema. In the runup for the theatrical release of 'Avatar,' both cinemas have been equipped with Kinoton 3D2P systems, each operating with two DCP Digital Cinema Projectors that bring brilliant 3D pictures even to large screens. The first Dual 3D installation had taken place in the Cineplex theatre, a modern seven-screen multiplex in the city of Marburg. The Kinoton 3D2P system

features two coupled DCP 30 L DCinema projectors with 6500 Watt Xenon bulbs and integrated Dolby 3D color filter wheels provide stereoscopic cinema with an image size of impressive 17 x 7 meters (51 x 21ft.). A Dolby 3D server does the content streaming job to the projector to beam the same on the mega screen. A second Dual 3D installation featuring the same equipment TW-48

April-June 2010


entertainworld performance of the new dual installs as well. Buoyed by the audience response to his new offerings, he complemented Kinoton on the fine picture quality. "Because for me, a silver screen was completely out of question, especially with so large a screen," he said, adding, "after all, we'll keep on exhibiting 2D movies as well, both in digital and 35mm, and I set a high value on uniform image illumination." The Dolby 3D system works offers a great three-dimensional cinema experience at the largest auditorium of the Cinedom Koeln, a renowned 14-screen multiplex in Cologne. The screen here measures an imposing 22 x 10 meters (66 x 30 ft.) - that's more than four times the screen size of the other 3D auditorium at the Cinedom, the BlackBox, which Kinoton had equipped with an XPanD 3D system featuring shutter glasses in 2007. The audience was very enthusiastic on the image quality and 3D effect at the large screen

experience when he had the first

perfectly well with normal

and spontaneously broke into

Kinoton / Dolby 3D cinema

cinema screens, and the dual

applause when the first pictures

system installed in another

version with two extra-bright D-

of 'Avatar' were shown.

auditorium four months ago, in

Cinema projectors guarantees

the run-up to Ice Age 3 release -

brilliant high-contrast 3D

is all the more pleased with the

pictures even in an XL format.

Cineplex CEO Gerhard Closmann - who already had a positive

April-June 2010

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F U T U R E

R E L E A S E S

A glimpse of movies coming to Asia this summer or later… Clash of the Titans Production Warner Bros.

Production Screen Gems

Director Louis Leterrier

Director Neil LaBute

Starring Sam Worthington, Liam Neeson

Starring Loretta Devine, Peter Dinklage

Genre Action, Fantasy

Genre Comedy

Kick-Ass

Date Night Production 20th Century Fox

Production Lionsgate

Director Shawn Levy

Director Matthew Vaughn

Starring Steve Carell, Tina Fey

Starring Nicolas Cage, Aaron Johnson

Genre Comedy

Genre Action, Adventure

Tyler Perry’s Why Did I Get Married Too?

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April-June 2010

Death at a Funeral

Wall Street: Money Never Sleeps

Production Lionsgate

Production 20th Century Fox

Director Tyler Perry

Director Oliver Stone

Starring Tyler Perry, Sharon Leal

Starring Michael Douglas, Shia LaBeouf

Genre Comedy, Drama

Genre Drama


F U T U R E

The Back-up Plan

R E L E A S E S

Babies

Production CBS Films

Production Focus Features

Director Alan Poul

Director Thomas Balmes

Starring Jennifer Lopez, Alex O’Loughlin

Starring Ponijao, Bayar, Mari, Hattie

Genre Comedy, Romance

Genre Documentary

The Losers

Iron Man 2 Production Warner Bros. Director Sylvain White Starring Jeffrey Dean, Zoe Saldana Genre Action, Thriller

MacGruber

Production Paramount Pictures Director Jon Favreau Starring Robert Downey Jr., Gwyneth Paltrow, Genre Action, Adventure

Letters to Juliet Production Rogue Pictures

Production Summit

Director Jorma Taccone

Director Gary Winick

Starring Will Forte, Ryan Phillippe

Starring Amanda Seyfried, Christopher Egan,

Genre Action, Comedy

Genre Romance

A Nightmare on Elm Street

Kenny Chesney: Summer in 3D

Production New Line Cinema

Production Sony Pictures

Director Samuel Bayer

Director Joe Thomas

Starring Jackie Earle Haley, Rooney Mara

Starring Kenny Chesney

Genre Horror

Genre Documentary, Music

April-June 2010

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F U T U R E

Robin Hood

Get Him to the Greek Production Universal Pictures

Production Universal Pictures

Director Ridley Scott

Director Nicholas Stoller

Starring Russell Crowe, Cate Blanchett,

Starring Jonah Hill, Russell Brand

Genre Action, Adventure

Genre Comedy

Shrek Forever After

Production Columbia Pictures

Director Mike Mitchell

Director Harald Zwart

Starring Mike Myers, Cameron Diaz

Starring Jackie Chan, Jaden Smith

Genre Animation, Comedy, Fantasy

Genre Action

Jonah Hex

Production New Line Cinema

Production Warner Bros.

Director Michael Patrick King

Director Jimmy Hayward

Starring Sarah Jessica Parker, Kim Cattrall,

Starring Josh Brolin, John Malkovich

Genre Comedy, Romance

Genre Action, Thriller

Prince of Persia: The Sands of Time

April-June 2010

The Karate Kid

Production DreamWorks

Sex and the City 2

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R E L E A S E S

Toy Story 3

Production Walt Disney

Production Disney Pixar

Director Mike Newell

Director Lee Unkrich

Starring Jake Gyllenhaal, Ben Kingsley

Starring Tom Hanks, Tim Allen,

Genre Action, Fantasy, Adventure

Genre Animation, Comedy


F U T U R E Prince

R E L E A S E S Bumm Bumm Bole

Production Tips Music Films

Production Percept Picture

Director Kookie V Gulati

Director Priyadarshan

Starring Vivek Oberoi, Aruna Shields

Starring Darsheel Safary, Atul Kulkarni

Genre Action / Thriller

Genre Children / Drama

Kites

Housefull Production Eros Entertainment

Production Filmkraft

Director Sajid Khan

Director Anurag Basu

Starring Akshay Kumar, Deepika Padukone

Starring Hrithik Roshan, Kangna Ranaut,

Genre Comedy

Genre Thriller / Romance

ADVERTISERS’ INDEX Company Name

Page no.

Product

Email / Website

Amar AV Anutone Barco Blue Star

TM-28 TW-54 TM-3 TM-5

Screens Walls & Ceilings Projectors Cooling Systems

Christie Digital Cinema Today Datasat Digital

TW-7 TM-27 TW-5

Projectors Tradeshow Audio Processor

DLP Dolby Doremi Galalite Harkness

TW-13 TW-9 TW-3 TM-11 TW-25,27

Digital Cinema 3D Digital Cinema Screens Screens

HDIL Hi Tech Audio

TM-2 TM-9

Cinema Sound

Kinoton Meyer Sound R&S (India) Scrabble

TW-15 TW-37 TM-7 TW-56

Projectors Sound Equipment 3D

Strong USL Vikas

TW-2 TW-11 TM-13

Projectors Sound Lamps

anandb@vsnl.com info@anutone.com / www.anutone.com sales.besl@barco.com / www.barco.com coolingsolutions@bluestarindia.com / www.bluestarindia.com Juliana.Tong@christiedigital.com / www.christiedigital.com info@buysellint.com / www.cinematoday.in cinemainfo@datasatdigital.com / www.datasatdigital.com guns@ti.com / www.dlpcinema.com www.dolby.com/3dcinema info@doremicinema.com / www.doremicinema.com info@galalitescreens.com / www.galalitescreens.com sales@harkness-screens.com / www.harkness-screens.com info@hdilbroadway.in / www.hdilbroadway.in rajan@hitechaudiosystems.com / www.hitechaudiosystems.com www.kinoton.com / welcome@kinoton.de www.meyersound.com/cinema sales@rands-india.com / www.rands-india.com ranjit@scrabbleentertainment.com / www.scrabbleentertainment.com www.strong-cinema.com uslinc@uslinc.com / www.uslinc.com vikascrp@vsnl.com / vikascorporation.com

The next issue of TheatreWorld is our Summer Special. It will be promoted at CinemaExpo - Amsterdam. The last date for advertising orders is 20 May 2010. Email bobby@sandy.in

April-June 2010

TW-53


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