Today’s youth is time-challenged …
The other good news is that new
Finally to end on a positive note,
ever busy juggling three kinds of screens – mobile, computer and
malls and multiplexes are developing at a healthy clip
the promise of technological advancements in the near-term are
television. Attention spans are at their lowest. So do they have time for
across the major markets of Asia, especially China and India.
very exciting. See another lead article, ‘Technological innovations
the fourth … cinema screen? The good news for exhibitors is…
Both countries are not only adding new screens that are all
in cinema exhibition’, on page TW-50. Both picture and sound are
yes they do! It may be a surprising nugget of information but is so true!
digital but also digitising their older screens. The two factors -
in for dramatic transformation in the next few years so that by 2015
If the movie is good it will run … that is the message. (Producers to
affordable equipment and Virtual Print Fee (VPF) model -
you can expect digital cinemas equipped to screen 4K 3D HFR
take note and not blame exhibitors and other factors!)
is fuelling digital cinema in these countries. Digital screens provide
streamed via IMB with laser projection and 3D sound.
more flexibility in programming including alternate content.
Audiences will be fully enveloped and engaged in the story and feel
So sporting events and rock concerts get beamed into
very much in the centre of the movie. The excitement will be same
auditoriums and exhibitors do not lose out in such times. Occupancy
as when silent moving pictures first came to the drama theatres,
rates are up as are overall boxoffice collections. Depending on the
followed by talkies, later colour images, then stereo and surround
region, 10~20 per cent growth is easily anticipated.
sound and now this. The magic of the movies continues.
Theatre World editions
However, everything is not
We missed the January-March
hunky dory. There are challenges to cinema exhibition from the
2012 edition due to a variety of business reasons but we are back
government, the producers and themselves. See lead article,
with this April-June 2012 edition and will continue the rest of the
‘Global trends that threaten cinema exhibition’, on page
year with the next two editions, July-September 2012 and our
In Asia, the movie-going culture has
TW-45. Shorter release windows, a lopsided calendar of releases to
14th Anniversary Special, the October-December 2012 edition,
historically been pretty deep-rooted. It is now a social tradition. Hence,
coincide with holidays, digital and 3D cinema,
number 56! 14 years and counting, Theatre World lives!
despite the many distractions of a tech-savvy world, movie-viewing
ticket pricing, indifferent maintenance … all remain
remain the prime means of entertainment. The only lull comes
challenges for the exhibition community that need to be
in during major sporting events.
overcome … sooner the better!
In fact it has been surmised that the other three screens – mobile, computer and television – actually fuel the need to go to the movies. The other three screens are small, interactive, stressful whereas a movie’s big screen allows you to sit back and relax. Also there are no annoying advertisements that break the viewing momentum and thus allow a two-hour undivided attention span!
Editor / Publisher
This issue of TW has two sets of page numbers - International pages TW-1 to TW-68 for TW, and India pages TM-1 to TM-20 for TM. TM is inserted between pages TW-62 and TW-63 of TW.
150 (US$ 15)
Issue # 53 April-June 2012
SPECIAL FEATURE TW-45 Global Trends that Threaten Cinema Exhibition
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Raghavendra T - Marketing
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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.
Christie Partners with SFM Christie, a global leader in visual display solutions, announced strategic partnership with SF Marketing Inc. (SFM) that will see SFM distribute Christie’s highlyregarded projectors to entertainment and rental staging customers across Canada. Current Christie entertainment and rental staging customers can continue to buy direct from Christie or utilize the low-quantity purchase, added value services of SFM. By partnering with SFM, Christie extends the benefits and reach of its product line to the many smaller firms in Canada who typically purchase smaller volumes of projectors. “Small companies in scores of communities across Canada have been reluctant to approach Christie in the past, given our firm’s global presence and industry dominance,” said Dave Muscat, senior director of sales, Christie Digital Systems Canada Inc., “and so it was logical to call upon an existing, tried-and-true supplier in the form of SFM which also may help finance purchases to interact with these smaller firms and reassure them that they will be looked after in a professional and caring manner,” he added. “We are thrilled to be enabling Christie to reach more customers in this market,” said Randal Tucker, chief operating officer, SFM. “SFM has built a reputation over the last three decades for providing some of the best professional audiovisual products in the business to the entertainment market, and Christie’s reputation for sitting at the bleeding-edge of visual technology represents a perfect fit for us and our customer base.” SFM will resell Christie leading-edge 3 LCD, 1-chip and Christie M Series 3chip DLP projectors, which provide the broadest range of brightness levels and resolutions for customers.
Many small firms who traditionally bought audio and lighting gear are now looking to extend their solutions to include projectors, so the Christie – SFM alliance will be welcome news to them. Christie products are now available from SFM.
The Great Hall of the People Chooses Christie Christie, a global leader in digital cinema projection, announced that it will soon deploy its CP series digital cinema projectors in the Great Hall of the People in Beijing, China. According to Frank Xiao, general manager, Christie China, the Great Hall of the people has inked an agreement with Christie to install two Christie CP series digital cinema projectors in one of its auditoriums. Installation of the projectors is slated to begin as early as 2012. “The Great Hall of the People is one of the most important and prestigious government buildings in China. Christie is extremely honored to be associated with such an exalted organization and even more honored that our latest CP series digital cinema projectors have been selected for this momentous deployment. We are immensely pleased that the Great Hall of the People has supported Christie all these years,” said Lin Yu, vice president, Christie Asia Pacific. The Great Hall of the People, located on the western side of Tiananmen Square, in Beijing, is the political hub of China and home to the National People’s Congress and the Chinese People’s Political Consultative Conference, held annually in March. It is also used for ceremonial events and in recent years, this historic venue has hosted several nonpolitical conventions and concerts.
Christie 3D Projection at InfoComm India InfoComm India at New Delhi on February 13, 2012 Christie, a leader in visual solutions, showcased the ultimate Pro-AV products and display solutions this year’s InfoComm in New Delhi on February13, 2012 with stopovers in Mumbai and Bangalore on February15 and February17 respectively. “Christie’s objective at InfoComm India 2012 was to introduce select display solutions that are more relevant to the needs of the India market. For example, Christie MicroTiles have proven to be an extremely popular display solution since we launched them in Asia almost two years ago; they are highly modular, easy to deploy, and have very low operating and maintenance costs. These are considerations that most Indian customers look for when they are in the market scouting for digital signage solutions or compact video walls,” said Rajesh Patkar, deputy general manager of Christie India. Among the exhibits at the 15 squaremeter Christie booth was the projector delivering up to 6,300 ANSI lumens and the Christie Roadster HD10K-M 3-chip DLP projector that offers 10,000 ANSI lumens. Also on the booth were the multiple awardwinning Christie MicroTiles, Christie’s state-of-the-art video wall and digital signage solution. To demonstrate Christie’s state-of-the-art projection solutions, 3D content was shown at the booth using the Christie Mirage WU7K-M projector. According to Lin Yu, vice president, Christie Asia Pacific, “India has shown
very encouraging growth trends for Christie, especially in the last three years. India is one of our most important markets in Asia and we expect this market to register strong demand for Christie’s range of Pro-AV and display solutions in the coming years.”
Christie Collaborates with Shanghai Film Group at the Shanghai Film Museum Christie announced its collaboration with Shanghai Film Group to showcase the latest entertainment solutions at the new Shanghai Film Museum, slated to open by the end of 2012. "Shanghai is the cradle of Chinese film art," said Xiaojun Wang, vice president, Shanghai Film Group. "With the establishment of the Shanghai Film Museum, we envision bridging the past, present and future of the Shanghai film industry through the seamless integration of technology and film arts. As the museum chronicles our past, we also hope to feature the most advanced cinema technology available." The technological showcase at the Shanghai Film Museum includes: Christie Solaria series of digital cinema projectors, Christie's fully integrated media block (IMB) solution with 4K and HFR capabilities, Christie SKA-3D, a processor that connects digital cinema projectors to the widest possible range of 3D alternativecontent feeds and Christie Avias-TMS, a Theatre Management System (TMS) software application designed specifically for cinema operators.
"As the Shanghai Film Museum opens a new chapter in the history of Chinese film industry, Christie will work hand-in-hand with the Shanghai Film Group to provide our advanced digital cinema technologies," said Lin Yu, vice president, Christie Asia Pacific. Shanghai Film Group Co. Ltd. Comprises Shanghai Film Studio, Shanghai Animation Film Studio, Shanghai Dubbing Studio, Shanghai Documentary Film Studio, Shanghai Film Technology Plant, Shanghai United Cinemas, East Film Distribution Company, Shanghai East Movie Channel, Shanghai Film Park, Shanghai Art Designing Corp., and Crowne Plaza Hotel Shanghai.
More2Screen to Release Swan Lake 3D More2Screen has been appointed by Leopard Films to distribute a stunning new 3D film of Matthew Bourne’s iconic Swan Lake to digital cinemas worldwide from March 2012. Perhaps best–known for replacing the traditional female corps de ballet with a menacing male ensemble, it was filmed in 3D at Sadler’s Wells, London in 2011 with a stellar cast including the magnificent Richard Winsor as the lead Swan/Stranger, Dominic North as The Prince and Nina Goldman as The Queen. This is the first time Matthew Bourne’s Swan Lake has been filmed in 3D – in fact it is the world’s first 3D Swan Lake – and the multi-camera 3D shoot has created an illusion of space around the dancers, drawing the spectator onto the stage and bringing a dramatic realism to the story. Dance critic Ismene Brown noted: “It brings immediacy in experiencing dance in theatre that will reach countless numbers who can never see it on stage.” When it premiered at Sadler’s Wells in 1995, Matthew Bourne’s
triumphant re–interpretation of one of ballet’s classic stories turned tradition upside down, taking the dance world by storm. With more than 30 international theatre awards including three Tonys and an Olivier, Swan Lake has been acclaimed as a landmark achievement on the stage, becoming the longest running ballet in the West End and on Broadway. Christine Costello, Managing Director, More2Screen comments: “Following on from our success with the worldwide distribution of the Mariinsky Theatre’s Giselle 3D in 2011, we are delighted to be working with Leopard Films to take Matthew Bourne’s Swan Lake 3D to digital cinemas across the globe. Audiences everywhere will relish the opportunity to see this modern classic in 3D, shown in its full glory on the big screen for the first time.” Fiona Morris, Head of Arts & amp; Performance at Leopard Films says of the association with More2Screen: “With their impressive track record in the alternative content market and previous experience of a global 3D ballet theatrical release, More2Screen is the ideal distribution partner for us to ensure dance fans will be able to watch Matthew Bourne’s Swan Lake 3D in state-of-the-art digital cinemas worldwide.” More2Screen is the leading London based alternative content distributor with more than 5 years of experience acquiring and distributing worldclass opera, ballet, music concerts, theatre and special event films to cinemas across the globe including 22 live broadcasts, over 100 different recorded productions and 3D live/ recorded content.
Are the dialogues muddled instead of crisp? Does the surround sound seem to come from the front instead of rear? Wait! Don’t blame your equipment! It could be the hall acoustics! It is true that the most expensive of cinema gear cannot deliver pristine sound if the acoustical environment is not in sync. So how does one go about it? Anutone is the answer! Anutone’s vast array of acoustical products, systems, solutions and services enables you to optimise cinema audio and realise the best from your equipment for the complete satisfaction of patrons.
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Epic Theatres Selects Barco for 69 Screens Barco, world record holder for the brightest DC projector, has been selected by Epic Theatres of DeLand, Fla. to convert 69 screens to digital projection with its industry-leading DLP Cinema projectors. Included in this deployment is the installation of two DP4K-32Bmodels for two “Epic XL” large-format premium cinema screens in its new Deltona, Florida location. The latest deployment follows on the heels of successful installations of Barco’s DP2K and DP4K digital cinema projectors in Florida and North Carolina. The company’s brand new theatre, which opened December 20, 2011 in Deltona, Florida, now boasts the area’s only cinema with two 69-ft, large-format “Epic XL” auditoriums featuring RealD XLW 3D. Barco installed 12 screens at this location, including six 3D auditoriums, bringing the total to 69 Barco projectors deployed throughout the circuit. “It was an easy decision to continue using Barco, as their team has always been responsive to our needs and has been an excellent partner to us throughout our digital deployment,” commented Clint DeMarsh, VP for Epic Theatres. “Additionally, Barco is the only supplier that could provide the light levels and image quality we needed on our Epic XL screens and the resulting cinema experience is truly world class.” “Epic continues to elevate the cinema experience for their patrons with the latest innovations and careful attention to detail,” commented Terri Westhafer, Director of Business Development for Barco Digital Cinema North America. “It’s exciting to experience full digital projection conversion with this important and long-standing customer. They have been on board with Barco since the beginning of changing from film to digital, and
we appreciate their loyalty and vision as they have equipped their state-of-the-art Deltona theatre with 4K equipment. It has always been my pleasure to work with the DeMarsh family and we look forward to continuing our partnership in the coming years.”
Barco Celebrates Cinemark’s 100 percent Digital Cinema Projector Deployment Digital cinema pioneer and holder of the world record for the brightest DC projector, Barco announced that it has completed Cinemark’s digital cinema projector deployment, shipping and installing the final projector in Cinemark’s national digital cinema roll-outcomprising over 3,400 screens. Cinemark, a long-term exhibitor partner to Barco, completed its digital cinema conversion in December to become the largest theatre chain in North America with 100 percent digital projection in its domestic, first-run theatres in only 18 months. The company holds the distinction of being the first to deploy Barco’s Series 2 projectors, the first to purchaseBarco’s DP2K-B series, and the first to install its DLP Cinema Enhanced 4K projector. In addition to supplying projectors to Cinemark, Barco also performed all of the installation services for the full circuit deployment, delivering and converting every single screen on time and in full. “We requested a very aggressive deployment schedule right from the start, and Barco hit each and every deadline,”
commented Damian Wardle, VP of Worldwide Theatre Technology & Presentation at Cinemark. “They’ve installed thousands of projectors in rapid succession, even as they were literally being introduced.” “Barco has been terrific partner every step of the way,” commented Alan Stock, Chief Executive Officer of Cinemark. “We’ve enjoyed great success with our digital cinema conversion, which attests to the excellent product quality, reliability and ease of use of Barco’s projectors.” The final projector was installed in Greensboro, North Carolina, marking the conclusion of a deployment which began in May 2010. “We are thrilled to join with Cinemark in celebrating their outstanding accomplishment of becoming 100 percent digital,” commented Patrick Lee, VP Digital Cinema for Barco North America. “As they continue their worldwide expansion and conversion to digital cinema, we will continue to provide Barco’s hallmark customer service, technical support and certification training to assure their enjoyment of the best and brightest projectors in the world.”
Barco Digital Cinema Projectors Selected for Brand New Cineplex in Singapore
Barco, a leader in projection technology for the rental and staging industry, is proud to add a new unit to its HDX range of threechip DLP projectors. The HDX-W18 is the latest addition to the successful HDX family, sharing the on-board image processing, compact design, easy servicing, and preview mode features with its W12 and W14
Barco, announced that Golden Village Multiplex Pte Ltd., Singapore’s leading cinema exhibitor, will equip its new multiplex, Golden Village Katong, with Barco’s projector technology. Golden Village Katong is fully digital cinemas multiplex comprising eight auditoriums. The installation includes Barco’s ultrabright DP2K-12C, DP2K-20C and DP2K-23B projector models. “Having researched on the various digital cinema projectors in the market, we have selected Barco projectors as they offer the best value in terms of cost of ownership and performance. As a result, we can offer our valuable patrons an ultimate quality movie experience in any GV Cinema in Singapore,” says Lee Kin Guan, Technical Services Manager at Golden Village Multiplex Pte Ltd. “I have seen and interacted with the Barco South East Asia team and they are always willing to assist in the deployment as well as imparting valuable technical knowledge to my team. Their true spirit of sharing technical knowledge and field experience during the training not only gears up the GV technicians but also increases their confidence to take on any technical intervention.” Kurt Rieder, CEO of the Golden Village Katong, adds: “We are very excited about partnering with Barco at GV Katong, our first all-digital
Barco Adds New Member to its HDX Family
cinema. We will rely on Barco to assist us in this milestone and bring world-class know-how and technology to our team.” Golden Village’s choice for Barco technology affirms Barco’s trusted line of digital cinema products. “With our strong local presence in Southeast Asia, we are committed to offering the highest level of service and support to all our customers. Local certification training, incountry parts depot support and managed services are in place and running – so we’re ready today to deliver the highest level of support that Golden Village requires,” comments Eddie Tan, General Manager, SEA, Entertainment & Simulation at Barco. Golden Village Katong is the 10th cineplex to be opened by Singapore’s leading cinema exhibitor. It will be the world’s first Peranakaninspired boutique cinema. The new Golden Village Katong cineplex consists of eight auditoriums, including two premium Gold ClassTM auditoriums Barco’s DP2K/4K family is known for being the most complete range of DCI-compliant digital cinema projectors in the industry, including 8 different models – all of which are praised for their excellent image quality and ease of maintenance.
cousins, but clocking in at 17,500 lumens. Barco unveiled the HDX-W18 at ISE from 31 January to 2 February 2012. “After our very successful introduction of the HDX-W14 last year, we are excited to expand our HDX range with a 17,500 lumens unit. This new model supports the customer requirements of getting more brightness out of compact projector systems,” says Chris Colpaert, Director of Strategic Marketing ProAV at Barco. “The HDX is equipped with Xenon lamps and contains a high contrast optical engine. This results in stunning color reproductions, presenting audiences with crisp and vivid images on every occasion.” “The on-board image processing technology is based on Barco’s renowned ImagePRO signal processor, which offers high quality and flexible scaling capabilities and has been a reference in the events market for many years,” Mr. Colpaert continues. “This additional feature set boosts creativity and decreases the time it takes to get sources on screen the way users want.” Barco’s HDX projectors consist of only five building blocks, which make them exceedingly easy to maintain. They come with a WUXGA (1920x1200) resolution, which even exceeds industry-standard full HD.
Barco Teams Up with Datasat and THX worldwide optimized picture and sound in designated THX Certified Cinemas,” says Rick Dean, Senior Vice President, THX Ltd. “This is a groundbreaking, yet logical next step for THX and we are excited to be a part of this next-generation theatre audio technology.”
Barco, Guinness World Record holder for the brightest digital cinema projector, announced that it is partnering with THX and Datasat Digital Entertainment to bring Auro3D sound technology to commercial theatres. Datasat is Barco’s partner for the manufacturing of the audio processor and THX collaborates with Barco on enhancements to optimize performance of the Auro-3D system for commercial cinemas. Together, they apply vast experience and proficiency in digital cinema sound to the Auro-3D roll-out. “By partnering with THX and Datasat, we bring unique cinema audio expertise to the table that complements our suite of revolutionary solutions from Auro Technologies allowing 3D sound to be experienced for the first time in cinemas worldwide,” says Brian Claypool, Senior Director Strategic Business Development at Barco. “The result is the most sophisticated and natural audio experience available.” Auro-3D, powered by Barco and Auro Technologies, elevates the cinema sound experience to an amazing level of auditory acuity, enabling movie-goers to hear sounds
from their relative origination point in the theatre, and it does so in a simple and cost-effective way. To achieve this truly enveloping experience, the system incorporates additional speakers deployed in the upper portions of the auditorium that add an extra dimension to the sound experience. The solution is 100 percent backwards and forwards compatible with existing sound systems, requiring minimal hardware investment and installation time. “We are proud to be selected by Barco as OEM partner and supplier for the new Auro-3D audio processing package,” comments Robert McKinley, COO of Datasat Digital Entertainment. “We have an extensive history in audio processing for feature films. The revolutionary 3D sound technology is a new chapter for us, and we’re very happy to be part of this development.” By qualifying Auro-3D technology from a design and technology perspective, THX recognizes Barco as developing a premium quality audio offering to already being a superior brand in digital cinema projection. “For nearly 30 years, THX has been passionate about improving the cinematic experience with its innovative THX Cinema certification program, which has been instrumental in providing audiences
Auro-3D is quickly gaining traction with leading exhibitors on three continents. The system has already been installed at Jam Hall Cinemas (St. Petersburg, Russia); Regal Cinemas (Los Angeles, US); and Wangfujing Cinema (Changsha, China) with additional installations in progress around the globe.
Sundance Film Festival Expands Digital Cinema Footprint with Barco Projectors Barco, the global digital cinema technology leader, supplied four additional projectors for this year’s Sundance Film Festival. “We are thrilled to showcase our Official Festival films with such highquality presentation,” commented Sarah Pearce, Director of Operations for the Festival. “We have used the Barco projectors in our largest venues to screen films including our Day One Screening.” The Festival acquired four DP2K-23B models, ultra-bright DLP Cinema projectors offering a premium movie experience in both 2D and 3D. Excellent image quality combines with true modularity and easy serviceability to provide the lowest total cost of ownership in the industry. In addition to meaningful ongoing operational savings, Barco’s true modularity also allows its customers to take full advantage of new advances in projection technology, futureproofing their investment.
“We are proud to once again support the Sundance Film Festival as they discover and share new cinema talent with the industry,” commented Joe DeMeo, Director of Sales, Digital Cinema for Barco North America. “We look forward to working with them for years to come as they continue their digital cinema expansion.”
First Dual-Stacked 4K Demo in China Christie has successfully completed its first dual-stacked 4K digital cinema projection solution in a theatre in Shanghai. Attended by some 70 cinema owners and exhibitors in China, this was the first demonstration of true DLP 4K resolution in 3D with incomparable brightness level of 68,000 ANSI lumens, using two Christie CP4230 digital cinema projectors on a giant screen in China. With unmatched brightness, highlydefined color contrast and superior 3D images, attendees were among the first to get a sneak preview of what the next generation, largescreen movie experience promises to deliver. The two sets of Christie CP4230 digital cinema projectors were housed on top of each other in a rig and projected onto 19 meters by 10 meters screen. Attendees were shown 2K and 3K content as well as 4K clips to experience the visual difference of high brightness and clarity for large screens. Terry Schmidt of Christie gave a presentation on how the dual-
stacked 4K digital cinema solution works on large cinema screens and how they achieve high brightness for superior 3D applications. Schmidt also conducted a technology preview of Christie’s auto-aligning software that helps to adjust images to gain perfect pixel precision.
when the Louisiana State University (LSU) Tigers take on the Alabama Crimson Tide for the national championship. The network is hosting the event at CES in conjunction with Christie, as well as RealD and Marchon 3D’s EX3D Eyewear.
“With the rapid and significant increase in the screening of 3D movies, theatre owners and exhibitors are increasingly demanding dual-stack projector solutions that allows for very clear and bright 3D displays. We organized this demonstration to send the message that Christie is committed to push conversion to digital 4K as a digital projection option for facilitating 3D movies to continue to gather momentum in the cinema industry around the world,” said Frank Xiao, General Manager, Christie China.
“Watching sports in 3D adds an exciting new dimension to ‘the thrill of victory’ that a 2D image cannot provide,” noted Craig Sholder, vice president, Entertainment Solutions, Christie. “Christie 3D digital cinema projectors are found in theatres around the world, entertaining a new generation of moviegoers with exciting 3D feature movies, as well as alternative content that includes musical performances, theatre and other entertainment and cultural events. Digital 3D is especially ideal for coverage of the world of sports, where fans want action that is literally ‘in your face’.”
Christie 3D Cinema Projectors Display with ESPN Christie announced that it is working with ESPN to project the ESPN 3D telecast of the BCS National Championship game during a viewing party at the Consumer Electronics Show (CES) in the Las Vegas Hilton Theatre. Featuring an elite audience of media and industry leaders from around the world, the event represents the future of livescreen sports television. It takes the audience beyond the flat screen into the third dimension of space, with two powerful Christie Solaria Series CP2230 3D projectors with RealD XL Cinema Systems lighting up the screen.
The BCS National Championship is the final bowl game of the U.S. college football season that determines the national champion of the NCAA Division I Football Bowl division. It pits the two highest ranking college teams as determined by various national and industry polls. This year the LSU Tigers battle the Alabama Crimson Tide in their first meeting since LSU defeated Alabama during regular season play. “The Christie CP2230 was the ideal choice for the venue. It is arguably the brightest digital cinema projector available, offering crisp, clean images from the farthest distance to meet the needs of the most demanding 3D installations,” added Sholder.
ESPN 3D is the first network in the United States to offer exciting and groundbreaking 3D sports coverage 24/7. Fans have caught all the action
USL Announces the LSS-100 Projection and Audio Analyzer
Harkness Launches Foldable Digital 220 Screens
USL, Inc. announced its latest innovation LSS-100 Projection and Audio Analyzer at CineEurope 2012. The LSS-100 allows theatre owners to continuously monitor on-screen technical performance to ensure the highest presentation quality.
Harkness Screens announced the launch of Foldable Perlux Digital 220 screens manufactured from its U.S. plant in Virginia. Foldable Perlux Digital retains all the features of the Perlux Digital line, with the added capability of being folded rather than rolled.
This small compact unit can be easily installed and is designed to continuously measure screen luminance, color accuracy and sound levels to maintain the best possible experience for the audience. The wall-mounted LSS-100 features a microphone that measures the sound pressure level (SPL) from loudspeakers as it simultaneously monitors the quality of light reflected from the theatre screen. In addition, the LSS-100 is a fully networked unit, making it possible for theatre owners to monitor auditoriums continuously from a Network Operation Center (NOC) located anywhere in the world.
“With the costs of packaging and transportation continuing to rise, we recognized a need to assist our customers in managing budgets and launched our Foldable Perlux Digital 140 and 180 screens last year to provide cinema operators and indeed installers with a more cost-effective digital projection screen solution,” said Andrew Robinson, managing director of Harkness Screens. “Adding Perlux Digital 220 to our foldable range means that we have our highestgain white screen available in a format that will help dramatically lower packing and transportation costs compared to traditional screen distribution. Aligned to the cost savings, these screens, which ship inside a box, are much more easily maneuverable into the auditorium, making the installation process potentially less awkward and expensive.”
“We decided to build on the success of our PSA light and PCA color meters to create an automated way to ensure excellent picture quality,” explained Jack Cashin, USL, Inc.’s founder, president and chief technical designer. “Taking it one step beyond our competitors, we added the ability to measure SPL at the same time.” Cashin further stated, “The LSS-100 is fully networked, providing instantaneous monitoring of luminance, chromaticity, and SPL data.” “We are excited to demonstrate our latest innovation that allows exhibitors to understand how each auditorium is performing on a global level with projection and sound,” Cashin added.
Harkness says its Foldable Perlux Digital screens typically realize packaging cost savings of 66% and transportation savings of 20% against standard delivery methods. When installed using Harkness’ prescribed installation techniques, Foldable Perlux screens are guaranteed to provide a creasefree, seamless projection surface. They are currently the only foldable gain screens available in the world.
DCinema Alliance Purchases 400 Christie Solaria Series Projectors DCinema Alliance, Corp., has signed a purchase agreement for 400 Christie Digital Cinema Solaria Series projectors to be deployed throughout the Philippines started in January 2012. The contract was for the Christie CP2220 and Christie CP2230 projectors with installations beginning in Metro Manila before fanning out nationwide. The project is scheduled for completion within two years. “Digital cinema is revolutionizing the cinema-going experience everywhere and converting cinemas from analog 35-millimeter film to digital theatres has been going on globally for many years. We hope this deployment, which will see a minimum of 400 screens digitalised, will support the goals of our exhibitors to provide a more engaging cinematic experience for their patrons,” commented Rey Del Poso, president, DCinema Alliance, Corp, a wholly-owned subsidiary of Array’s Technology, Inc. “Christie has had a very good working relationship with Array for the last fifteen years and we are pleased to be working with them on this crucial exercise. I believe exhibitors who have made the move to convert to digital cinema are already witnessing the positive impact it has in their theatres,” observed Lin Yu, vice president, Christie Asia Pacific.
Dadi Cinema Selects Christie Digital Cinema Projectors for Expansion
Christie has announced that Dadi Cinema Group, in its plans to expand the first of its modern multiplex cinemas, has purchased 150 Christie digital cinema projectors. The order includes the awardwinning Christie CP2210, Christie CP2220 and Christie CP2230 Digital Cinema projectors from the Christie Solaria series. Dadi Cinema Group, one of China’s first cinema chains, is investing aggressively in digital cinema conversion and building modern multiplex cinemas to take advantage of the increasingly affluent and demanding Chinese cinema enthusiasts. Dadi Cinema Group operates over 80 cinemas and has contracts with 100 cinema owners. By 2014, Dadi Cinema Group expects to have 250 cinemas with 1,000 screens. “Christie’s digital cinema solutions continue to be in high demand as Chinese exhibitors move assertively to both convert existing theatres to digital and to expand cinema penetration across the country, especially in fast-developing cities that have become more well-to-do in recent years. We are pleased to forge a new business relationship with Dadi Cinema, a respected cinema chain that contributed largely to China Dcinema development,” said Lin Yu, vice president, Christie Asia Pacific.
The Christie CP2210 is the most compact digital cinema projector available and the projector of choice for the majority of screens in commercial exhibition, while, in its category, the Christie CP2220 is the brightest, highest performance projector with the lowest ownership cost. The Christie CP2220, built on proven and reliable 1.2" 2K DMD DLP Cinema technology, features greater than 2100:1 contrast ratio while displaying up to 35.2 trillion colors. Christie’s CP Series sets a new level of performance for digital cinema technology. Designed for exhibitors, the Christie CP Series delivers high performance images for a variety of screen sizes, and come with a flexible design to accommodate future upgrades.
Southern Theatres to Complete Circuit-wide Digital Conversion New Orleans-based Southern Theatres, operator of the AmStar Cinemas and The Grand Theatres, has agreed to complete the digitization of all of its screens with Christie
Solaria Series DLP Cinema projectors. The agreement, which will provide patrons with the highest quality movie-viewing experience available, covers the purchase of 147 Christie DLP Cinema systems. This includes the Christie CP2210 and Christie CP2220, as well as the Christie CP4230, which features the Christie 4K+4 advantage for the sharpest 4Kresolution images in the industry. “We decided to complete our conversion to 100 percent digital cinema with Christie because we are very comfortable with the company and their quality technology,” said George Solomon, CEO of Southern Theatres. “They offer a first-rate product, backed by a top-notch support team.” Among notable conversions is the historic Dallas AmStar 14, the nation’s first megaplex, which opened in 1995 and features 14 auditoriums with screens lit exclusively by Christie. AmStar’s auditoriums also boast alldigital sound, 3D capabilities, wallto-wall screens, stadium seating and high-back rocking chairs, in addition to a birthday party and game room. The megaplex will now include four new Christie CP 4230 4K-resolution projectors, which provide the highest resolution available in the industry. “Through the years, Christie has demonstrated the highest capabilities, service levels and reporting,” Solomon added. “We look forward to working with them for many years to come.” “Southern Theatres is one of the top 20 independent exhibitors in the country, and they continue to expand successfully because they have earned a reputation for providing a superior movie-viewing experience to their loyal patrons,” said Craig Sholder, vice president, Christie Entertainment Solutions. “Christie values the trust they have placed in us to provide them with the best products, services and technical support in the industry.”
Cinedigm Announces Digital Deployment for Zyacorp Cinedigm Digital Cinema Corp. (CIDM), the global leader in digital cinema, announced a long-term VPF deployment agreement with Zyacorp Entertainment’s Cinemagic Stadium Theatres. The agreement will enable the conversion of Cinemagic’s theatres to digital cinema under the terms of Cinedigm’s long-term agreements with all the major studios. This Cinedigm-financed conversion will deploy 79 CinedigmCertified screens across seven sites. Zyacorp is a member of the Cinema Buying Group, a buying program formed by the independent theatre operators of the National Association of Theatre Owners (NATO) to find cost-effective solutions for converting theatres from film to digital projection. Cinedigm is the digital cinema integrator partner for the CBG. The transition from 35mm film projection, which has been used for 110 years, to digital projection systems is a worldwide motion picture industry effort and the costs to deploy this new technology are covered primarily through the payment of Virtual Print Fees (VPF) from studios to implementation companies. Cinedigm’s Digital Cinema division facilitates the funding, installation and operations support, along with ongoing VPF administration, for the company’s digital cinema rollout plans. Cinedigm has signed long-term VPF agreements with all the major studios and interim agreements with over a hundred of independent distributors. “We strive to provide our customers a state-of-the-art family entertainment venue, and our commitment to digital cinema further demonstrates this promise,” said Mark Adam, president, Zyacorp. “We are confident in the outstanding service that Cinedigm
provides, and we look forward to a mutually beneficial relationship.” “Cinemagic has been very diligent in evaluating their digital cinema options, and we are thrilled we were able to create a solution that works for them,” said Gary Loffredo, Cinedigm’s President of Digital Cinema Services. “We look forward to sharing the benefits of digital cinema with Mark and his team.” Cinedigm offers a new business model to exhibitors by enabling theatres to present engaging alternative programming including live 2D and 3D sporting events and concerts, shorts, cartoons, live Q&A’s, as well as branded entertainment. Recent releases by Cinedigm include the first ever live 3D broadcast of a UFC bout on February 4, 2012, the ground-breaking, worldwide Live 3D broadcast of the FIFA World Cup Championship, the BCS Championship in Live 3D, the Dave Matthews Band 3D concerts, and the sold out 3D Phish concerts. Cinedigm has also released the Kidtoons series for the past six years, a weekly family friendly matinee series that runs in over 150 theatres across the country.
Cineworld Chain to go 4D
UK chain Cineworld will be adding a fourth dimension to selected cinemas with motion seating starting with John Carter. The first site offering this shaky experience will be Cineworld
Glasgow Renfrew Street after signing a deal with D-Box Technologies who offer motion seating with D-BOX Motion Code. Movies embedded with the D-BOX Motion code programming send frame by frame encoded instructions to the seats to move in a synchronised motion to the action on screen. To date, D-BOX Motion Code is available on more than 900 titles and many prominent Hollywood studios have started embedding D-BOX Motion Code on Blue-ray format and theatrical releases. 35 D-BOX MFX seats will be installed in the Glasgow site which is billed as the tallest cinema in the world. Guests will experience forwards, backwards, side to side and up and down movements whilst chomping on their popcorn. The seats will also include “intelligent vibrations which all comes together to create the most amazing, all-encompassing entertainment experience ever.” Cineworld will roll out D-Box seats to other locations including Cineworld Milton Keynes, Crawley, The O2 Greenwich, Castleford West Yorkshire, and Didsbury in Manchester.
Cinema 21 to Open Two IMAX Theatres IMAX and Cinema 21, Indonesia’s largest exhibitor, announced an agreement to install two digital IMAX theatres in Jakarta. Under the terms of the agreement, the first system was installed at Gandaria City, South Jakarta in May 2012, with the second IMAX system to be installed in Jakarta by 2013. “The addition of IMAX theatres to our circuit reinforces our commitment to delivering the best cinematic experience possible to our patrons,” said Mr. Suryo Suherman,
President of Cinema 21. “The IMAX brand is widely recognized among Indonesian movie-goers and we are confident that today’s agreement will be a tremendous success both for our business and the satisfaction of our guests.” “The agreement marks an important step in our international network expansion and we are pleased to partner with one of South East Asia’s largest exhibitors to penetrate a region that is poised for tremendous growth,” said Richard L. Gelfond, CEO, IMAX. “Recent reports indicate Indonesia has a population of approximately 240 million and it continues to grow. With 36 percent of that population being between the ages of 15 and 40, we believe there is a strong demand for Hollywood’s largest blockbusters to be presented in our immersive format.” Commenting on the agreement, Don Savant, IMAX’s Senior Vice President and Managing Director, Asia Pacific said, “Cinema 21 has set the standard for quality in the South East Asian exhibition industry and we are proud to partner with them to bring the first commercial IMAX theatres to Indonesia to head their flagship locations.” IMAX’s digital projection system delivers The IMAX Experience and helps drive profitability for studios, exhibitors and IMAX theatres by eliminating the need for film prints, increasing program flexibility and ultimately increasing the number of movies shown on IMAX screens.
Cinemark Announces New 16-Screen NextGen Movie Theatre in Pharr Cinemark Holdings, Inc. CNK +0.59%, one of the world’s largest motion picture exhibitors, has announced plans to construct a 16-screen, alldigital movie theatre that will feature the company’s new Cinemark NextGen design concept. The new complex will be included in Phase 1 of the redevelopment and expansion plans for the existing Pharr Town Center located at North Jackson & US 83 Expressway in Pharr, Texas. Long recognized as a pioneer in the theatrical exhibition industry, Cinemark is taking the cinema entertainment experience to the next level with the opening of its 10th theatre in the Rio Grande Valley. Slated to open in 2013, the new Cinemark NextGen theatre will offer the latest technology, cutting edge amenities and customerpreferred options all under one roof. All of the stadium-seated auditoriums will offer a state-of-theart viewing environment with wallto-wall screens, 100% digital projection and enhanced sound systems equipped with higher quality speakers and 7.1 capable digital surround sound. Additionally, this theatre complex will contain a Cinemark XD Extreme Digital Cinema auditorium. The lobby will be designed around one of Cinemark’s innovative self-serve concession stands allowing customers to quickly pick up freshlypopped popcorn, Coca-Cola fountain beverages and their favorite candy brands. The Cinemark XD Extreme Digital Cinema auditorium will be the largest in the theatre complex and one of the largest in the valley. This unique auditorium offers a complete entertainment environment featuring a wall-to-wall and ceilingto-floor screen, plush seating and a custom JBL sound system with higher
end components and 7.1 capable digital surround sound. The digital images will be delivered by a Doremi server and a Barco DLP digital projector, which offers the brightest light standards in the industry. The XD auditorium will exhibit the newest movies every week, including 2D and RealD 3D pictures. “Cinemark has been a member of the Pharr community for over 22 years,” states Tim Warner, Cinemark’s Chief Executive Officer. “We are thrilled to construct a new Cinemark NextGen movie theatre for our customers. Its central location will continue to make it easily accessible to the entire market. We plan to move very quickly to achieve an opening in 2013.” When completed, Pharr Town Center will include more than 400,000 square feet of retail, restaurants, office, residential and a first class hotel. Along with Cinemark, Pharr Town Center will have a 52,000 square-foot national entertainment venue, a new state-of-the art free standing Luby’s, and several exciting restaurants. In addition, Levcor Inc. is in the final stage of negotiations with several anchor tenants new to the valley. Levcor Inc., the developer of Pharr Town Center, has been in business since 1980 and has been involved in the development of more than 18,000,000 square feet of retail shopping centers in Texas, Arizona, Tennessee and Florida. Levcor Inc. is excited about being a part of the City of Pharr and looks forward to a great prosperous relationship with the business community for many years in the future. Larry Levine, President of Levcor Inc. has had a relationship with Cinemark for over 25 years. Prior to committing to Pharr Town Center, Cinemark did a thorough study of the whole market
and determined that Pharr Town Center was the premier location to open their premier movie house. Larry Levine stated, “We are extremely excited to be building one of the finest movie theatres in the Valley for Cinemark. With digital projection, 3D capable auditoriums and an XD auditorium, this Cinemark NextGen theatre will be a great entertainment destination.”
Deluxe Expands UK Digital Cinema Operation Deluxe Entertainment Services Group is expanding its UK Digital Cinema operation with a new purpose built facility in Soho. It is hoped that the £4m investment will increase capacity by up to 80% to meet the demand of its theatrical distribution client base. The new facility on Meard Street in Soho should be completed within six months and includes the creation of six new preview theatres accommodating film and digital formats. The facility will include CXFS SAN infrastructure and dedicated storage for Babel, used for 3D subtitling. Over the past five years, Deluxe has invested over £15m into their Digital Cinema offering globally. This latest investment is part of the company’s plans to expand in Europe. “We have been at the forefront of digital cinema for several years,” says Peter Wright Managing Director of Deluxe’s digital operations in Europe. “Our Digital Cinema volume has increased ten-fold since we began offering the services in Europe, and this additional investment will see a substantial increase in capacity once again. This enhanced capacity also allows us to continue to deliver within the ever decreasing timeframe between delivery and release.”
Cinesystem Brazil’s First All-Dolby Cinema Cinesystem, Brazil’s fifth-largest movie chain has announced the grand opening of the first 100 percent Dolby Digital Cinema Multiplex in the state of Rio de Janeiro. The grand opening was at the Via Brasil Shopping, in the Irajá neighborhood. “Cinesystem is the only movie chain in Brazil now with two fully digital DCI compliant complexes and we are excited to be a leading this industry trend for South America, says Marcos Barros, CEO, Cinesystem.”Dolby Digital Cinema brings Cinesystem more flexibility when it comes to programming and scheduling and the Dolby 3D and Dolby Surround Sound will truly amaze our customers.” With capacity for 1160 stadium style seats, the multiplex will feature six Dolby Digital Cinema screens equipped with Dolby Screen Servers (DSS200s) and a Dolby Show Library (DSL100), a high-capacity central server designed to facilitate the networking of the multiplex to meet its content storage needs. The DSL100 will act as the heart of the network and simplify operations. In addition, two of the six screens will have Dolby 3D systems that will bring movies to life with natural colors and sharp, clear images. All six screens will also be equipped with CP750 Digital Cinema Processors that will enable Dolby Digital 5.1surround sound. “Cinesystem looks to set the bar for delivering the premium cinemagoing experience in Brazil and Dolby is honored to be selected to provide our Digital Cinema solutions for their multiplex in Rio de Janeiro, says John Carey, vice president, worldwide sales, products, and services, Dolby Laboratories. “By combining Dolby Digital Cinema, Dolby 3D and Dolby Surround Sound, patrons attending the Cinesystem multiplex will
experience a truly immersing entertainment experience.” Cinesystem, with a total of 4 multiplexes in the state of Rio de Janeiro including Via Brasil Shopping, has generated more than 160 direct and 250 indirect jobs. Cinesystem is proud to bring the movie- going experience to communities where there are no state-of-the-art movie theatres.
FOX International Channels and Dolby Laboratories Bring Cinematic Surround Sound to More Living Rooms in Asia Dolby Laboratories and FOX International Channels (FIC) have announced that the two companies are collaborating to deliver programs in cinematic surround sound through FOX Movies Premium HD, FIC’s recently launched premium pay-TV channel.
FOX Movies Premium HD replaced STAR Movies HD in major markets across Southeast Asia in a seamless on-air transition. The premium listening experience has been available since the transition. “As Asia’s leading satellite TV broadcaster, FOX International Channels aims to provide the very best home entertainment experience for our audience,” said Joon Lee, Senior Vice President, Programming, Creative and Channel Operations, FIC. “Through our collaboration with Dolby, FOX Movies Premium takes television viewing to the next level. Dolby’s high-quality surround sound is a perfect match for our premium channel offering. Together, we provide a true home cinema experience.” “We are excited to strengthen our collaboration with FOX International Channels and to allow more viewers in Asia to enjoy Dolby 5.1 surround sound content from the comfort of their own homes,” said Mahesh Sundaram, Vice President, Asia Pacific, Dolby Laboratories. “Surround sound has become the internationally recognized audio standard for HDTV. Dolby is committed to providing the flexibility and features needed for this new era of broadcasting through extensive collaboration with the entire ecosystem, which includes broadcasters, operators, and device manufacturers.”
IMAX Theatres to be Entirely Powered by Barco Barco, a worldwide leader in the Digital Cinema industry, has announced that it has been selected by IMAX Corporation as the exclusive, worldwide projection technology partner for its IMAX theatres for the
next seven years. Through its selection of Barco’s Guinness World Record winning Xenon lamp-based digital projectors, IMAX will immediately enhance The IMAX Experience in its global cinema network. In addition, IMAX theatres will benefit from a new generation of high-performance, laser-based projectors, which are expected to be deployed in 2013. Over the years, IMAX has established its reputation as the leading provider of awe-inspiring, immersive cinema experiences. In the first phase of the partnership, the parties will integrate an enhancement of Barco’s existing Xenon-based projectors for use in IMAX’s current backlog and new system signings. This solution will be available in the second half of 2012. Simultaneously, the companies will work together exclusively to manage the transition from Xenon-based to high-performance, laser-based projectors, which are expected to be deployed in 2013. “Being selected by IMAX as the exclusive supplier for the world’s most immersive cinema experience is a strong endorsement of our leadership in the Digital Cinema projection business,” explains Wim Buyens, Senior Vice President of Barco’s Entertainment Division. “This partnership will strengthen our position as the premium provider of state-of-the-art cinema technologies that provide the perfect match for every screen, whether small or large. What’s more, it will enable us to further ramp up our manufacturing scalability and to continue setting the standard for future technologies.” “As we continue to expand globally, it is critical that our technology partner keeps pace with our ambitions around innovation and growth,” said IMAX Chief Business Development Officer Robert D. Lister. “Barco is that partner. A leader in advanced digital and laser technology, Barco is well-known for its quality and integrity. We believe the result of this collaboration will
further differentiate the IMAX Experience for consumers, strengthening our value proposition for studios and exhibitors.” Todd Hoddick, Vice President for the Barco Entertainment Division in North America, adds: “We are honored to have been selected by IMAX as their worldwide and exclusive digital projection technology partner. We are both excited and committed to bring the full weight of Barco’s operational excellence, integrity and ability to deliver on the ideals of the IMAX brand. Together we are determined to redefine the immersive cinema experience.” The agreement with IMAX underscores Barco’s commitment to offer exhibitors the most comprehensive suite of products and solutions to create a premium movie experience in their auditoriums at the lowest cost of ownership. This is exactly what has made Barco a valued technology leader, – as illustrated by its long list of industry firsts and its Guinness World Record for the brightest projector – as well as a global market leader – reflected in the company’s 40% worldwide market share, market leadership in China and strong global customer base. In markets, Barco continues to innovate with a full portfolio of pioneering imaging and sound products that optimize productivity and range from compact, reliable projectors for midsized businesses to the most powerful projectors, LED displays and image processors for operation in a broad spectrum of entertainment venues and outdoor events.
IMAX Continues Expansion In Russia With Three New Theatres IMAX announced that it has signed agreements to open a total of three IMAX theatre systems into new construction projects across Russia . The Company will install one system each with existing partner Kinomax as well as new partners Monitor and People's Cinema, bringing to 49 the total number of IMAX theatres open or contracted to open in Russia and the CIS. Monitor, one of Russia's top exhibitors, will install an IMAX theatre in Anapa that is slated to open in July 2012 . The local independent operator People's Cinema will install an IMAX theatre in its multiplex in Ulan Ude, which is scheduled to open in September 2013 . Kinomax will expand its IMAX footprint and install an IMAX theatre in Samara , which is scheduled to open in September 2013 , bringing the exhibitor's total IMAX commitment to five theatre systems. Since IMAX entered the region in 2003 with its first theatre in Moscow , Russia has become the Company's third-largest market and one of its fastest-growing markets globally. At the end of 2009, IMAX had four theatres in operation and one theatre in backlog in Russia and the CIS. Today, there are 24 theatres open (20 in Russia and 4 in the CIS) with 25 theatres in backlog. The region is also home to some of IMAX's highest-grossing theatres in the world, with a 2011 per-screen average of approximately $1.7 million . "Today's agreements show the significant traction we continue to make in Russia and we're delighted to forge new partnerships with these leading exhibitors while also expanding on an existing relationship," said IMAX CEO Richard L. Gelfond. "Audiences across Russia have developed a
deep appreciation for IMAX and we're pleased to bring more audiences across the region the most immersive movie-going experience available."
IMAX Signs Revenue-Sharing Deal with Frank Theatres Imax Corp. has signed a revenuesharing deal with Frank Theatres to install 10 IMAX theatres in new and existing buildings. The companies said their agreement calls for the unit of Frank Entertainment Co. to open four IMAX theatres in November in York, Pa., Southern Pines, N.C., Delray Beach, Fla., and Northfield, N.J. Two more will open in May in Ranson, W. Va., and Kingsport, Tenn. The companies said they haven't chosen the remaining four locations. They didn't disclose the terms of their agreement, but IMAX typically gets a share of ticket revenue at theatres outfitted with its technology. CEO Richard Gelfond said in a joint statement that the deal will help IMAX reach new markets. Bruce Frank, president and CEO of Frank Theatres, said his company is confident the IMAX experience will be popular and boost theatre attendance. Including the 10 new theatres, there are 421 IMAX-equipped theatres operating or contracted to open in North America. Frank Theatres owns and runs 25 theatres with a total of 256 screens in New Jersey, Pennsylvania, West Virginia, North Carolina, South Carolina, Georgia and Florida.
First European Screen for Dolby Atmos Dolby Laboratories announced the first commercial cinema in Europe to be equipped with Dolby Atmos - the new audio platform that will change the experience of sound in entertainment. The Cinesa Diagonal Mar Screen 9 is the first commercial cinema screen in Europe to be equipped to show content in Dolby Atmos and it is expected to be joined in the coming months by a number of premium locations around Europe, including the Empire Leicester Square in London. They are part of a select list of theatres globally, including the iconic Hollywood landmark venue the Dolby Theatre, which will lead the way in screening content mixed in Dolby Atmos, such as the new Disney Pixar animated adventure, Brave. Dolby Atmos introduces a hybrid approach to mixing and directs sound as dynamic objects that envelop the listener, in combination with channels for playback. It enables adaptive rendering to ensure that the playback experience is as close as possible to the creator’s original vision in any given environment, irrespective of speaker configuration in the playback environment. It is an end-to-end solution that takes into account the entire content pipeline and brings together mixers, studios, and distributors to create dramatic improvements in the audio experience. “The Dolby Atmos platform provides content creators with a new creative freedom to tell their stories,” says Andreas Spechtler, EMEA Regional Vice President, Dolby Laboratories., “and demonstrates Dolby’s unwavering commitment to advancing the cinema and entertainment industries with new technologies that help artists realize their creative vision and create the best entertainment experiences for consumers.”
Harkness Digital Screen Selector reaches 1,000 Users The Digital Screen Selector, a freeto-use application available on the Harkness Screens website (www.harkness-screens.com), recently passed the 1,000 mark for registered users. "We are really excited that the Digital Screen Selector continues to prove such a popular tool for the industry since its launch a little over two years ago," said Richard Mitchell, Harkness' worldwide marketing manager. "We created the Selector to identify cost-effective solutions for digital-cinema conversion and encourage theatre operators throughout the world to utilize the insights the application provides. We believe the Digital Screen Selector is still very much achieving this aim and the rate of growth of the user base strongly suggests so. It's clear that these types of applications are of significant value and we'll continue to look at ways to further enhance the Digital Screen Selector and develop other tools to assist cinema operators across the globe over the coming years." Intended as an aid to theatre operators, the Digital Screen Selector is designed to maximize the return on investment in digital cinema by optimizing screen selection based on custom exhibition needs. The Digital Screen Selector has a user-friendly interface with no software download required and uses industry-accepted standards and vendor data to compare different operating scenarios. The Selector is intended to be a guide for theatre operators when consulting with projector, lamp and 3D technology providers.
UFO Moviez Announces Loyalty Program for Audio Upgrade UFO Moviez India Ltd, the world's largest satellite-based digital-cinema network, is offering to install Dolby CP 750 sound processors in select UFO digital theatres at preferential rates. A part of UFO's new loyalty program for its exhibitors, the offer follows UFO's recently announced collaboration with Dolby Laboratories to upgrade the audio experience across UFO's d-cinema screens in India. Dolby will assist UFO with setup for the digital encoding and mastering workflow for UFO Moviez and provide UFO-Dolby co-branded CP750 cinema processors, delivering a complete end-to-end digital sound process. Currently, sound in many digital cinemas in India goes through multiple conversions from digital to analog and back, resulting in loss of sound quality at each conversion. Additionally, audio alignment and calibration of theatres will be conducted.
New Dolby Theatre Sound System Debuted with 'Brave' Premiere Disney/Pixar's Brave premiered on June 18 in Dolby's immersive new sound format, Atmos, as well as as in Dolby 3D, at Hollywood's newlynamed Dolby Theatre, which was introduced with its new branding.
the former Kodak Theatre was rebranded. The mix is being led by seven-time Oscar winning sound designer and re-recording mixer Gary Rydstrom, and with additional mixing by sound re-recording mixer Will Files. Additionally 14 theatres in the North America were slated to show Brave in the new Dolby Atmos format. Here's the full list: AMC BarryWoods 24, Kansas City; AMC Burbank 16; AMC Century City 15; AMC Downtown Disney 24, Lake Buena Vista, Fla.; AMC Garden State 16, Paramus, N.J.; AMC Van Ness 14, San Francisco; ArcLight Sherman Oaks; Brenden Theatres at the Palms, Las Vegas; Centry at Pacific Commons and XD; West Plano, Texas; SilverCity-Yonge Eglington Cinemas, Toronto; Cinetopia Vancouver Hall 23, Vancouver; the El Capitan Theatre; and Kerasotes ShowPlace ICON at Roosevelt Collection, Chicago. Atmos was installed at the Dolby Theatre a little more than one week ago, on a razor-tight schedule as Cirque du Soleil's IRIS is performed there six day a week. The sound system can be used for theatres of any size, but the Dolby Theatre is perhaps the most challenging setup, as the auditorium covers 180,000 sq. feet of space and boasts as 86 ft. high ceiling. Atmos creates a lifelike sound experience by lining speakers along the theatre's front, rear and side walls, as well as overhead. It can play up to 128 channels of sound at once. In contrast, today's widely-used 5.1 and 7.1 surround sound system use five channels and seven channels (plus a subwoofer) respectively.
There was some question about whether the installation and test Atmos mix would be ready in time for the Brave premiere, the first since
Ghost Protocol Makes Singapore Debut in Dolby Surround 7.1 Dolby Laboratories, Inc. (DLB), Paramount Pictures, a unit of Viacom, Inc. (VIA and VIA.B) announced that Mission: Impossible Ghost Protocol premiered on December 14th in Singapore with Dolby Surround 7.1 at Shaw Theatres Lido Cineplex. Directed by academy award-winner Brad Bird and featuring an all-star cast the fourth installment of the mega-successful Mission: Impossible franchise has been described as the most inventive, action-filled and visually arresting yet. Through Dolby Surround 7.1 movie goers watching Mission: Impossible - Ghost Protocol experience more immersive depth and realism through the cinema audio experience. Dolby Surround 7.1 improves the spatial dimension of soundtracks and enhances audio definition, resulting in full-featured audio that better matches the visual impact of the movie. “Mission: Impossible - Ghost Protocol delivers incredible stunt sequences with rich visual effects ideally complemented by Dolby Surround 7.1 to draw audiences into the action,” said Nicholas Yong, Managing Director of the film’s local distributing arm, United International Pictures (Singapore and Malaysia).
“Movie-going is a multi-sensory experience and it is important for us to present great sound with quality projection in a comfortable environment for our customers. That is why Shaw Theatres is proud to feature Dolby Surround 7.1 in our theatres across Singapore. With an action-packed blockbuster like Mission: Impossible - Ghost Protocol, Dolby Surround 7.1 will definitely enhance and complete the overall movie experience,” commented Mark Shaw, Executive Vice President of Shaw Theatres. “We are very excited about Paramount Pictures Mission: Impossible - Ghost Protocol and the Dolby Surround 7.1 experiences it delivers,” said Mahesh Sundaram, Vice President, Asia Pacific, and Dolby Laboratories. “When you combine great content like Mission: Impossible - Ghost Protocol, great presentations by Shaw Theatres, and great technologies from Dolby you are sure to get an amazing audio experience.” Blamed for the terrorist bombing of the Kremlin, IMF operative Ethan Hunt is disavowed along with the rest of the agency when the President initiates “Ghost Protocol”.
Single Screens Struggle as Europe Converts to Digital A new report from the European Audiovisual Observatory and media Salles shows that around 18,500 digital screens had been installed in Europe by the end of 2011. This means that over 52% of European screens are now capable of digital projection, up from just 4% three years ago. While the initial phase of large-scale digital conversion during 2009 and 2010 had been more or less entirely driven by 3D installations, the rollout in 2011 was for the first time driven by 2D screens. This suggests that the rollout has entered its second major phase and is now driven primarily by full conversions of larger circuits under virtual-print-fee (VPF) schemes and by public initiatives ranging from legislation (France), publicly funded industry-wide conversion schemes (Norway and the Netherlands) to direct public funding schemes, 60 of which have been identified at national, sub-national and pan-European level, including the new media 2007 scheme. Analysis based on a comprehensive site-by-site listing of analog and digital cinemas as of 2010 clearly shows that small cinemas and exhibitors have significant problems converting to digital. By the end of 2010, only 11% of single-screen cinemas had installed a digital screen, compared to 89% of multiplexes. These small cinemas, however, form a characteristic part of the European cinema landscape, with single-screen cinemas alone accounting for almost 60% of all European cinemas. Though presumably not vital for overall box-office results, these smaller cinemas play an important social and cultural role in many communities. The fact that these
screens have not yet converted highlights the fact that commercial financing models cannot cover all European cinemas, causing a funding gap for between 15% and 20% of European screens. At the same time, given the high penetration rates in various European markets, the end of 35mm distribution seems to be approaching rapidly. Distributors in Belgium, Luxembourg and Norway, which was the first country worldwide to become fully digital in mid-2011, were expected to end 35mm distribution as early as 2011/2012 and a total of 11 territories had converted at least 50% of their screens by mid2011, including the two leading markets France and the U.K. Once large distributors switch to digital distribution in such major markets, demand for film stock will drop significantly, putting pressure on 35mm economics on a panEuropean level. This could cause financial strain for those distributors and exhibitors still depending on it, the report states. Many of these are presumably small companies now faced with a growing competitive disadvantage: Digital cinema increases the economies of scale related to both film exhibition as well as distribution, so bigger companies stand to benefit more than smaller players from the transition to digital, in terms of both cost savings and increased revenue potential. This economic reality will ultimately lead to fundamental change in the fragmented European theatrical landscape and poses a challenge to the European independent sector, characterized as it is by a large number of small exhibitors and distributors.
Sony Expands its SRMASTER Alliance The Hollywood production community is continuing to adopt Sony’s SRMASTER format, an open platform technology for high-quality motion picture content. Announced in September 2011, SRMASTER is the recording format of Sony’s CineAlta digital motion picture camera F65 system, the industry’s highest quality 8K CMOS sensor camera and SRMemory recorder unit. New members of the SRMASTER alliance include a range of post production companies and manufacturers of content production solutions including on-set dailies, non-linear editing and color grading technology. Sony offers the SRMASTER licensing program to provide technical specifications and software development kits to manufacturers of movie content production solutions. By providing the SRMASTER format as an open platform technology, Sony’s goal is to help SRMASTER format supporting companies achieve improved production efficiency, seamless file-based 4K movie content production workflows and the highest level of image quality. In January 2012, Sony began worldwide deliveries of the F65 CineAlta digital motion picture camera to meet the incredibly high demand from production professionals. Approximately 400 units were pre-ordered, and several high-profile productions are now shooting features with the F65.
The following six companies have released product versions capable of SRMASTER format processing, supporting 4K content workflows for on-set dailies (real-time playback and file transcode on the set), and color grading, composite and conform: ASSIMILATE, Blackmagic Design, Color, front, FilmLight, MTI, and YoYotta. Additionally, the following 10 major Hollywood post-production companies also now support the SRMASTER format. Each company is reinforcing its post-production pipeline to support F65 production. Colorworks, Company 3, Digital Film Tree, EFILM, Encore/Level3, FotoKem, Hollywood DI, Light Iron, and Modern Video Film. Several other companies are also working to support Sony’s 4K format, with new productions and solutions currently in development. “Sony’s open IT platform can provide seamless file-based workflow solutions for 4K motion picture production - from shooting to editing to finishing,” said Alec Shapiro, SVP at Sony Electronics. “Sony is committed to supporting creative professionals and their pursuit of new ways to express their vision. Sony will continue its efforts to revitalize the entertainment market and ultimately enhance consumer’s experience to enjoy movie entertainment through a broad range of professional solutions.”
The 130-page European Digital Cinema Report provides the latest figures on digital screens and penetration rates across 35 European markets.
World’s First Concert Film Release in Dolby Surround 7.1 Dolby Laboratories, Inc. announced that ‘The Chemical Brothers-Don’t Think’, a film by acclaimed director Adam Smith, is the world’s first concert film cinema release mixed in Dolby Surround 7.1. Filmed using 20 cameras at the band’s 2011 headline show at Japan’s Fuji Rock Festival, Don’t Think was envisage to capture the Chemical Brothers’ renowned fusion of visual and audio elements to give a fan’s perspective of the show. The soundtrack, which was mixed by the Chemical Brothers, makes use of the improved panning, sound localization, and enhanced definition provided by Dolby Surround 7.1’s eight channels and four surround zones to realise the creative team’s vision for the film. It has already been well received by the specialist music press. “After 18 years of working on the Chemical Brothers’ live show, we have finally captured it on film. You could almost say its 18 years in the making,” said Adam Smith. “I wanted to capture what it is like to experience the show from right in the middle of the crowd, as well as showing and combining the visuals featured in the show with the footage we captured on one night, to see how the music and visuals emotionally affect and connect with the audience,” he added. “Mixing Don’t Think in Dolby Surround 7.1 certainly helped us to achieve this like never before.” With more than 45 feature films released or set to be released in the format to date and 3,400 cinema screens worldwide supporting the technology, cinemagoers are already experiencing the realism and immersive experience offered by Dolby Surround 7.1. Along with Dolby Digital Plus and Dolby TrueHD, Dolby technologies deliver 7.1
surround sound experiences to consumers across broadcast, streaming, Blu-ray, and home cinema systems, helping maintain the fidelity of the artist’s creative vision, no matter how consumers choose to experience their works. “Since its launch in 2010, Dolby Surround 7.1 has gained an impressive pedigree in helping content creators connect with their audiences through uncompromising entertainment experiences. As the world’s first concert-film cinema release presented using Dolby Surround 7.1, Don’t Think demonstrates another creative application for the technology as artists look for new ways to engage audiences,” said Daniela Bischof, Product and Partner Marketing Manager, EMEA, Dolby Laboratories.
Rave Cinemas has Chosen Vista Vista Entertainment Solutions announced that Rave Cinemas has chosen Vista as its cinema management software provider. Rave will deploy a number of Vista’s software modules across their circuit throughout 2012, which will enable them to improve operational efficiency and further enhance the customer experience. CEO Rolando B. Rodriguez says: “Vista’s innovative approach to our industry will empower us to achieve
efficiencies, and deliver a better offering to our customers. We have been impressed by the fantastic reviews given to Vista by our peers in the industry and I look forward to working with them.” In addition to Vista’s world leading cinema POS and Cinema Management Software modules, Rave will also install Vista’s Internet Ticketing, Loyalty, Facebook, Smartphone applications, Gift Card management and Home Office modules. This will enable Rave to maximize the customer experience and offer new channels for marketing and ticket sales. By moving to the Vista platform, Rave will gain the ability to offer online ticketing for all cinema sites on its own web site, using the Vista Web Ticketing module. This will give Rave full control over the branding and experience for internet ticket sales. Rave will also deploy its own branded Smartphone and Facebook applications, leveraging Vista’s technology. With over 60 sites with 630 screens, Rave Cinemas ranks as the 7th largest cinema company within the USA. For Vista, this announcement from such a wellknown and admired exhibitor, further cements Vista’s place as the leading cinema software provider in the United States and across the world. Since opening its Los Angeles office in 2009, Visa has gained the business of 5 of the Top 10 exhibitors in the United States. Vista also has offices in London, Auckland and Shanghai. The Vista software is installed in over 20,000 screens across 200 customers in more than 50 countries around the world. For more on Vista Entertainment Solutions, or to enquire about the Vista product suite, email the team here.
UK’s first ‘4-D’ Cinema Opens in Glasgow The first of a new type of movie theatre, dubbed “4-D cinema” has opened in the UK. The cinema, part of the Cineworld chain, is in Glasgow. If successful further cinemas will be opened. One of the main cinema chains in the UK has opened what it is calling the UK’s first “4-D” cinema. The concept of “4-D” follows on from 3-D. With its “4-D” concept Cineworld is trialling out 35 D-Box seats, which shake, rattle and roll in time with the action on screen. To be “4-D” the movie needs to be a current 3-D film, with the vibrating seats added as extras. The Guardian reports that Cineworld cinema that has fitted the D-Box seats is at Renfrew Street, Glasgow. The D-Box seats were used for the movie “John Carter”. The Renfrew Street cinema is the biggest in the UK. It has 18 screens over 9 levels, and can accommodate more than 4,300 people. At present it is only a selected number of seats within the theatre that are equipped for “4-D”. Cineworld plans to roll out D-Box seats to other theatres located at Cineworld O2 Greenwich, Cineworld Crawley and Cineworld Milton Keynes. Cineworld have a 24.6% market share of UK cinemas. For the “4D” experience £5.50 (around $8.50) has been added to the price of a normal 3-D movie ticket of £8.90 (approximately$14). The initial experiment seems to have been a success. Business website The Motley Fool notes that Cineworld’s profits for the opening few days of “4-D” increased by 9.9%. There has also been an increase in the chain’s share price. Putting aside the obvious inaccuracy in the title, for as most know time is the fourth dimension, it is an interesting concept designed to increase movie theatre attendances
even further. The D-Box technology has already been used at a number of movie theatres in the USA and Canada. The concept is orientated towards action movies, and even then it will not be to everyone’s taste.
QSC Completes First in Series of Global Cinema Training Seminars QSC recently held the first in a planned series of global Cinema Training Seminars at their office in Hong Kong. The event provided QSC dealers and technical directors from a number of cinemas with the skill set and broader knowledge base from which to more successfully deploy QSC Cinema Audio Solutions. The training seminar held on February 26th and 27th, covered topics such as General Cinema Design and Product Applications, Guidelines for Cinema Installation, System Equalization and the specifics of QSC Digital Cinema Processors. “This first Cinema Training Seminar at the QSC Hong Kong
Office was very well attended by our dealers as well as technical heads of many cinema chains, with especially good participation from India,” says Sushil John, Country Head – SAARC for QSC. “This training was of great benefit to the attendees and will help ensure that QSC advanced Cinema Solutions and performance standards will continue to deliver a gratifying audio experience for cinema goers in the future”.
Cinemark Completes Digital Rollout with Moving Image Technologies Moving Image Technologies (MIT) has completed Cinemark’s DCIP digital-cinema deployment, integrating their entire United States rollout comprising over 3,400 screens. In addition to supplying custom bases to Cinemark, MIT also performed integration services preconfiguring the servers, automations, switches and interface cabling for the full circuit deployment, delivering and converting every single screen on time and in full. “We requested a very aggressive deployment schedule right from the start, and MIT hit each and every deadline,” said Damian Wardle, Cinemark’s VP of worldwide theatre technology and presentation. “We are thrilled to join with Cinemark in celebrating their outstanding accomplishment of becoming 100 percent digital,” commented Tom Lipiec, VP, sales and customer service at MIT. “As they continue their worldwide expansion and conversion to digital cinema, we will continue to provide our high level of integration services, technical support and custom products to Cinemark.”
Golden Village First to Adopt New EAW Line Electronics & Engineering Pte Ltd (E&E) has marked a world first by installing Singapore’s eight-screen Golden Village, Katong cinema complex with EAW’s new generation of cinema loudspeaker systems.
transducer specifications and horn designs to system integration, these are fully professional products. Even the enclosures and the mounting systems have been thoroughly vetted to our highest professional standards.’
‘I had already been working with Golden Village on this project whilst these products were in development,’ explained E&E’s MD Ronald Goh. ‘Both EAW and Golden Village represent the very finest quality, so they seemed like a perfect match.’
Mr Forsythe praised Mr Goh and the E&E team for helping inspire this latest line of cinema products. ‘Basically, Ronald Goh mentioned his relationship with a great cinema chain and that he needed some great cinema loudspeakers to put in this great cinema chain.
Mr Goh and Golden Village originally specified the EAW products for four of the eight screens, but after evaluating them in the actual installation, Golden Village decided that it wanted EAW audio products for all eight screens. ‘We are very proud that we could move quickly to make Golden Village the world’s first installation of this cutting edge audio technology,’ furthered Mr Goh. Lee Kin Guan, technical services manager for Golden Village, was delighted with the cinemas’ new sound systems, which include the latest CB259 two-way systems and SB184C and 284C subwoofers. ‘Golden Village is proud to be the first cinema in the world to install the latest generation of EAW loudspeakers,’ he remarked. ‘This marks yet another milestone for us by providing our patrons with a phenomenal audio experience at the new Golden Village Katong.’ Renowned for loudspeaker systems associated with concert tours, performing arts venues and stadiums, EAW has more recently moved towards the cinema market. ‘Until the 1970s, cinema loudspeakers were the best professional loudspeakers available,’ explained EAW founder Kenton Forsythe. ‘It’s where the industry started. However, EAW brings a higher level of performance to cinema. From
Apollo Cinemas, Screens a New EPoS Solution Locally-focused, independentlyowned multiplex cinema chain, Apollo Cinemas, has turned to two companies that specialise in the cinema sector for a new EPoS solution on which to run its business. Apollo has now equipped each of its fourteen cinemas with a point-of-sale solution comprising PC-based touchscreen terminals from J2 Retail Systems running software from Vista Entertainment Solutions. Between them the cinemas have forty points-of-sale, each a J2 615 terminal running Vista POS and enterprise management software, running ticketing and sales of food, drinks and confectionery. Both J2 Retail Systems and Vista are known for their expertise and extensive installed base in the sector. The companies share many UK cinema clients, including Vue, Empire, Cineworld and Everyman, to whom they supply and support an integrated solution that they tailor to the needs of the cinema operator. Explains Imtiaz Ullah, Head of IT at Apollo Cinemas: "We pride ourselves on being innovative when it comes to
technology. We were the first fully digital circuit in the UK and use equipment such as Sony 4K Digital Cinema projection, Real D screens and Dolby Surround sound that produces a picture detail at the highest level the human eye can see." Continues Ullah: "We are equally demanding when it comes to the systems that run our commercial and customer-facing operations. Efficiency at point-of-sale is critical to keep queues down and customer service standards high. We were influenced by the credentials and experience that both J2 and Vista could offer in our industry. The performance and reliability that the J2 terminals give us is critical, as is the range of functionality at front-ofhouse and in the back-office that Vista provides to run our business." With 83 screens over 14 sites, Apollo Cinemas is the UK's 6th largest operator in screen terms. The company's vision is to be a local entertainment hub and to achieve this it is extending the range of its non-film screen performances to include concerts, sporting events, opera and ballet. It is also developing existing and new cinemas to include café-bars, lounge areas, gaming and Wi Fi. Apollo Cinemas can be found nationwide, from Torbay in Devon to Barrow-in-Furness in Cumbria. London's Piccadilly Circus is its flagship venue, and additional openings are planned this year in Brentwood and Bicester.
DLP: More Than 50,000 Theatre Screens Major milestone represents tipping point for Global Digital Cinema Transition; China Leading Asia Pacific Region with nearly 8,000 DLP Cinema Screens to date following exceptional growth in installations
over the past two years, Texas Instruments DLP Cinema, the worldwide leader in digital cinema imaging technology, proudly announced that more than 50,000 movie theatre screens across the globe are illuminated by projectors from its OEM licensees, Barco, Christie and NEC, utilizing DLP Cinema technology. With this staggering update, the transition to digital cinema has crossed a threshold with over 50 percent of the estimated worldwide commercial cinema screens having been converted to digital cinema, and the industry now estimates to reach near completion by the end of 2015. Whether looking to have the brightest, high frame rate 3D viewing available or the brightest color accuracy, exhibitors in every region rely on DLP Cinemaâ€™s broad product offerings to help deliver the best movie going experiences possible on screens from small to 105 feet wide. To celebrate this momentous achievement, DLP Cinema provided each of its licensees, Barco, Christie and NEC, with a commemorative DLP Cinema chip representing the 50,000th 3-chipset manufactured, which will be installed at three cinemas. Barco has selected the Cinemark El Tesoro in Medellin, Colombia; Christie has chosen the Shanghai Film Group Corporation (SFG) in China and NEC has picked the Majestic Cinema in Milwaukee, WI USA as the worldwide representatives of this 50,000th milestone. DLP Cinema 3D screens have risen 65 percent to 30,290 in total (from 18,367) during the same 12 month timeframe. The total DLP Cinema worldwide screens do not include IMAX digital powered by DLP Cinema, which separately grew to 410 sites globally (256 in North America, and 154 internationally). The switch to digital projection has reached an especially fevered pitch in China, with 7,745 DLP Cinema screens an amount that is nearly 60 percent of all digital screens in the Asia Pacific region, which includes India, Australia and New Zealand and 4,409 of the screens are 3D-enabled. This latest research estimates that China will have a nationwide footprint of all-digital commercial cinemas by the end of 2013.* In the Asia Pacific region as a whole, between December 1, 2010 and November 30, 2011, there was 92 percent growth in DLP Cinema screens to 13,365 (up from 6,972), and a 82 percent jump for 3D screens (from 4,583). Europe, the Middle East and Africa (EMEA) experienced similar growth to Asia Pacific during this same 12 month period, with a 91 percent increase for DLP Cinema screens (17,670 total), and 56 percent increase with 3D (10,848 total). In Latin America, DLP Cinema screens grew to 2,424 (an 83 percent increase), and 2,343 (83 percent change) with 3D capabilities. This continued global success further affirms DLP Cinemaâ€™s longstanding leadership position in the digital cinema space and represents a positive outlook for the months and years ahead.
James Cameron’s Titanic 3D World Premiere Projected By Christie Duo Solution at Royal Albert Hall In co-operation with James Cameron’s Lightstorm Entertainment, Inc., Christie supplied its Christie Duo dual-projector solution to bring the bright, vivid scenes of Titanic in 3D to life at its world premiere last week at The Royal Albert Hall. “I am pleased to have Christie continuing to accompany me on my ‘journey of discovery,’ which will see studios and theatre owners providing stirring 3D and, in due course, high frame rate movies, to fully immerse their audiences in experiences that best represent the creative excellence of today’s producers and directors,” said James Cameron. “It truly is an honor for Christie to be working alongside James Cameron on such a prestigious world premiere. This is not only a great testimonial to the trust put in our digital cinema solutions, but also confirms Christie’s role as the world leader and a pioneer in this field. With more than 80 years of history in cinema, Christie continues to push the boundaries with major digital innovations, including 3D deployment and high frame rates,” said Dale Miller, vicepresident, Christie EMEA. The multi-party effort includes Fox Filmed Entertainment, Bell Theatres Services, Britannia Row Audio and a full orchestra, with Jon Landau appearing onstage with James Cameron at the premiere. The Christie Duo solution was announced in February 2012 to enable exhibitors to deliver the brightest 2K or 4K movie experiences in 2D or 3D on the largest screens. Coupled with automated features that easily calibrate, align and optimize the images from both Christie Solaria Series 2K or 4K digital cinema projectors, Christie Duo delivers a completely seamless, premium movie experience to moviegoers worldwide.
When combined with world-leading 3D systems, exhibitors can achieve 3D image brightness levels up to twice as high as what can be achieved using the current large-format market leader at a significant overall cost saving. The announcement has represents the continuing co-operation between the two firms, epitomized by the two firms signing a milestone, five-year agreement to exchange research, testing, development and technical support on high frame rate (HFR) projection the industry’s most exciting new technology. The cooperation between these two Hollywood digital cinema powerhouses officially announced on September 12, 2011 heralded a significant shift in how movies will be made and shown in theatres. Christie was also selected by Oscarwinning filmmaker James Cameron to assist him in showcasing the first “mass audience” demonstration of high frame rate (HFR) cinema projection at CinemaCon 2011 in The Colosseum of Caesars Palace on April 4, 2011. Using two Christie projectors, Cameron demonstrated the higher frame-rate delivery necessary for the next generation of 3D films. Cameron used Christie Solaria Series DLP Cinema projectors at the Las Vegas demonstration to project 3D content at up to 60 frames per second (FPS). The current industry standard is 24 FPS, which can result in blurred images (“judder”). The Christie CP2230 and others in its family deliver breathtaking 3D images on the largest screens, which, combined with higher frame rates,
will speed the evolution of this next generation cinema experience. They can also be upgraded to HFR capabilities with Christie Previsto High Frame Rate (HFR) technology.
Christie Wins Contract with Harkins Theatres Christie, the leader in digital cinema projection, announced that it has signed a contract with Harkins Theatres, the largest privately held cinema chain in North America. The contract provides for more than 400 of its Christie Solaria Series 2 digital cinema projectors to be deployed by the end of November 2011. The chain has also subscribed to Christie’s Virtual Print Fee (VPF) program. “Harkins Theatres is both an entertainment and a cultural destination for the many diverse communities it serves throughout the Southwest,” said George Scheckel, director, Business Development, Entertainment Solutions at Christie. “As a major supporter of many charitable organizations and community-based educational programs, Harkins is committed to providing the highest quality movieviewing experience to its patrons. Christie is pleased that its new generation of DLP Cinema projectors, offering the brightest, sharpest 2D and 3D images, will now help contribute to their inspiring legacy that includes groundbreaking innovations in cinema.”
Vista Launches Major New Product for Independent Cinemas Vista has announced the arrival of Veezi by Vista. Veezi is a cinema management application that has been built specifically for the independent cinema market. Veezi is the result of Vista's largest single development project and has had a dedicated team of industry and technology experts working on it for over 2 years. Partly funded by New Zealand's Ministry of Science and Innovation, Veezi represents a multimillion dollar investment in the independent cinema sector. Veezi is being launched in Australia and New Zealand at the Independent Cinema Association of Australia conference in Sydney and also the New Zealand Movie Convention in Hamilton Veezi is designed and built using the very latest in cloud technologies using software as a service model. This
means that all of the management functions are accessible by the cinema owner and/or manager from any PC connected to the Internet. At the Point of Sale, Veezi uses the industry leading Vista POS - also connected via the Internet. These latest technologies mean that Veezi has been designed to be very easy to access and use. Veezi offers a subscription model and can be trialled and purchased by visiting the Veezi.com web-site. Cinema owners can be up and running using Veezi within less than one hour of simple set-up. Veezi takes the complexity out of cinema operations and allows cinema owners to focus on the running of the business. Already installed in a small group of early adopters, this has helped ensure that it delivers in the real world. One of these early adopters is Ruby's Cinema Wanaka. Patrick McAteer (owner) states: "From
a food and beverage and a ticketing perspective, Veezi was the only one we thought could deliver to match the boutique experience we have." He goes on, "With the one monthly fee there really are no surprises with Veezi and it is a product that I believe more cinemas should definitely pick up." Matthew Preen continues "working with the likes of Patrick from Ruby's has given us an invaluable insight into how best to develop the product. In my view the independent cinema market is a unique and important part of the movie industry. We see Veezi as being a great way for these cinemas to continue to develop their business. As far as our timing goes, I believe it couldn't be better. Many of the independent cinemas still face the challenges of converting to digital. I believe when they take this leap, it will be the ideal time for them to try Veezi."
Rave Launches Digital Signage Network with Real Digital Media Real Digital Media, provider of the NEOCAST digital signage platform, and Rave Cinemas announced a strategic digital signage initiative throughout the Rave theatre chain. The network has been operating since early 2011, and was first deployed at Dallas-based Rave’s North East Mall 18 location in Hurst, Texas, an 18-screen movie theatre. Rave has since expanded the rollout of its digital signage network across the 66-location Rave circuit, with the latest deployment at the Las Vegas Town Square 18 location. This installation includes over 65 displays serving several different use cases, and was featured during the Digital Signage Guided Installation Tour at the Digital Signage Expo on March 6, 2012. The Rave Cinemas network replaces traditional signage in the box office and on concession-stand menu boards with networked digital displays. The digital signage network will also be employed for theatre wayfinding, auditorium marquees and for coming-attraction promotions. All theatre locations will be programmed and monitored from Rave’s Dallas headquarters using the NEOCAST Media Server management software. This webbased application monitors network health and performance and
communicates content and playlist instructions to the networked players powering the displays. Rave selected the NEOCAST Media Player Z to power the high-definition and rich media content showcased across the network. The content includes Silverlight applications designed to provide theatre visitors with real-time information regarding showtimes, ticket availability, concession items and pricing, as well as way finding. Bryan Rakowski, Rave’s senior VP of technology, commented, “It makes perfect sense for us to extend our digital footprint from the box office through the lobby and into the auditoriums using digital signage. Real Digital Media separated themselves from the crowd by showing us a platform that easily adapts to our various content needs and use cases, while scaling easily to meet our expansion demands to serve communities enjoying movies and film on nearly 1,000 screens across 20 states.”
Qube Cinema XP-I Streams 4K 3D from a Single Server Real Image Media Technologies Pvt Ltd, the pioneer of several technology revolutions in India, has announced that its digital cinema technology division, Qube Cinema, has made history at the Moody Gardens Digital Cinema Symposium in Texas, USA, delivering a high bitrate 4K stereoscopic DCP through two Barco projectors. Several firsts were achieved – successful streaming of 4K 3D content, flawless delivery of high frame rate (HFR) 3D content, all from a single server at three times the data rate of DCI (800Mbps). Presented to a live audience at the Moody Gardens 80' by 60' Giant Screen, the demonstration used a standard Qube XP-I server paired with Qube Xi 4K Integrated Media Blocks (IMBs) installed in two Barco DP4K-32B projectors. With this advance in digital cinema technology, high bit-rate, stereoscopic 4K projection from a single DCP through a single server is now a reality for exhibitors. The Qube Cinema system played back an 800 Mbps DCP, more than three times the maximum DCI bit rate specification of 250. The data speeds of the Qube XP-I server make it possible, for the first time, for a single server with one DCP to drive two projectors, each with their own IMB. “Seeing the film in 4K 3D was a startling experience,” said director Melissa Butts, speaking about her latest movie, Space Junk 3D, narrated by Academy Award Nominee, Tom Wilkinson, which was shown at the Symposium on the Moody Garden’s Giant Screen. “All the hard work we put into shading, lighting and textures was that much more brilliant and remarkable. What Qube is offering is very exciting for
filmmakers and audiences. With all the detail, everything just looks and feels more real.” “With 4K 3D, and the high frame rate capabilities of the Qube XP-I server, the promise of digital cinema is now being realized,” said Rajesh Ramachandran, president and CTO of Qube Cinema. “Exhibitors can now offer a truly stunning theatre experience for their patrons.”
Delivering High Frame Rate Content At Moody Gardens, Qube Cinema also demonstrated the high frame rate (HFR) capabilities of the Qube XP-I server with 2K stereoscopic content on the Giant Screen. This demonstration compared 3D material at 24, 48 and 60 fps. At 60 fps, motion blur disappears and rich detail is clearly visible in the moving images. Accustomed to 24 fps playback, many people are not aware of the image compromises associated with this Standard, especially for stereo 3D. The difference was immediately apparent during the Qube presentation, including side-by-side split-screen comparisons at the Digital Cinema Symposium. Qube Cinema XP-I Streams 4K 3D from a Single Server First Indian company to create history in Digital Cinema worldwide “I was most impressed with the Qube XP-I’s ability to play back all our high bit rate 4K and high frame rate 2K content from a single server,” said Andy Wood, senior vice president, Business Development at D3D Cinema and Giant Screen Films. “Before Qube’s innovation, at standard DCI specs, we could only achieve dual projector 4K 3D playback with a complicated double server configuration which included ancillary sync generators and a very restrictive setup. Qube Cinema has made 4K 3D and high frame rate 2K a reality.” “The ability to power multiple projectors through a single interface is both elegant and easy to
operate for projectionists,” added Ramachandran. As currently configured, the Qube XP-I server with the Qube Xi 4K IMB is capable of data rates of up to 1,000 Mbps – or 500 Mbps per projector, allowing for pristine 4K stereo 3D. The system can support frame rates of 30 fps for 4K projection, and frame rates of up to 120 fps for 2K content. The Qube XP-I digital cinema server and the Qube Xi 4K IMB are available from Qube Cinema and its worldwide reseller network.
Kinoton Official Supplier for 2012 Berlinale Kinoton had been chosen to equip the cinemas of the 62nd Berlin International Film Festival, also called the Berlinale, with digital projection technology. Along with other partners, Kinoton supplied premium D-Cinema projection solutions and comprehensive service and support. Kinoton ensured a brilliant cinema experience at the World Culture House of the Berlin Congress Hall, the CineStar Cubix theatre, and the Martin Gropius Building. Four Kinoton Digital Cinema Solutions were specially tailored to meet the festival’s requirements. Professional installation and setup are being done by Kinoton’s expert service engineers. Kinoton equipping the prestigious Friedrichstadt Palace and the Haus der Berliner Festspiele, a first-time Berlinale venue, with analog film projectors.
Kinoton projection technology. “The Berlinale’s standards of quality are very high, and its technical requirements are exceedingly demanding. The people in charge of the festival insisted on perfect pictures and sound at the showings, failsafe projection equipment, and reliable technical support. The fact that they have opted for our Digital Cinema Solutions and our comprehensive service and support is a genuine vote of confidence.” The Berlin International Film Festival is one of the most prestigious events in the international film industry. More than 19,000 industry representatives from 115 countries attended the Berlinale this year, it is also the world’s largest public film festival. The 2012 Berlinale will screened some 400 movies, most of which were international or European premieres. They ranged from large international cinema productions across art house and independent movies to short films. The other activities associated with the Berlin International Film Festival were also very exciting. The European Film Market (EFM) for example, attracted about 400 companies and 7,000 trade visitors from 90 countries interested in making new contacts and cultivating existing ones. The EFM also screened quite a number of film productions at various venues around Berlin, including the Martin Gropius Building, which also features a Kinoton Digital Cinema Solution.
Kinoton’s CEO, Christoph Dobler, is very pleased that the Berlin International Film Festival is also banking on
Kinoton at the Caucasus: Azerbaijan’s Most Prominent Cinema Reopened Azerbaijan’s most famous movie theatre, the Nizami Cinema in Baku, the country’s capital city, has been restored to its original splendor and more. Dating from 1934, it was thoroughly renovated and modernized over a period of more than three years. Late last year, the largest film theatre of this aspiring nation in the Caucasus reopened for moviegoers as a state-of-the-art cinema center equipped with premium D-Cinema and film technology supplied by Kinoton. The inauguration ceremony was attended by Azerbaijan’s President Ilham Aliyev and his wife, Mehriban Aliyeva. The Nizami Cinema complex now boasts four well-equipped movie halls, two cafes, a restaurant, and a variety of shops. The main auditorium seats 500 in front of a large 18-meter screen. There are two more auditoriums with 50 and 80 seats on the floor below. In addition, a classy VIP screening room with 24 comfortable leather armchairs delivers an exquisite movie experience. Three of the auditoriums all of them except the 50-seat hall are equipped with Kinoton DCS Digital Cinema Solutions with integrated Dolby 3D systems for brilliant stereoscopic cinema. All four feature Kinoton FP 50 A film projectors, non-rewinding systems, make-up tables, and cinema automation systems. Two FP 50 A 35mm projectors in the main auditorium allow changeover operation. The Nizami Cinema project was supervised and implemented by Sanus Profesyonel Ses Ve Iþik Sistemleri Ltd. located Ýn Azerbeijan. The experienced and trained Kinoton sales and service partner did an excellent job during the entire installation process.
The Nizami Cinema owes its recent conversion into a modern cinema center to a government initiative to promote the national film industry. Works by Azerbaijani filmmakers therefore feature prominently in its program, along with movies from other countries, film weeks, retrospectives, and festivals.
IMAX Signs Agreement with CINE Star Cinema IMAX Corporation and Cine Star Cinema Pakistan has announced a sale agreement to install three digital IMAX theatre systems into new construction projects in Lahore, Islamabad and Karachi, Pakistan, beginning in 2013. The deal marks IMAX’s first commercial theatres to open in Pakistan and brings the total number of IMAX theatres open or contracted to open in the Asia Pacific region to 303. “One of the key reasons for our strategic investment in IMAX is the
company’s success in developing markets globally, such as Russia, India and China. We believe IMAX represents an exciting and profitable business opportunity that will set our multiplexes apart from our competition,” said Faraz Chaudhry, CEO Cine Star Pakistan. “With the most immersive cinematic platform available, coupled with the best in Hollywood and locallanguage content, we look forward to offering our patrons a moviegoing experience unlike anything they’ve had before.” “Cine Star, one of the top cinema chains in Pakistan with numerous real estate and film industry assets, is a strategic partner that shares our vision of delivering the ultimate cinematic experience to moviegoers,” said Richard L. Gelfond, CEO of IMAX. “We look forward to expanding into Pakistan; a market we believe provides exciting opportunities for growth.” “Helping Cine Star to bring IMAX to the Pakistan market has been a rewarding experience for Harrods Group because this premier entertainment experience will soon be enjoyed by the masses,” said Ali Sheikh, CEO Harrods Group. IMAX’s digital projection system delivers The IMAX Experience and helps drive profitability for studios, exhibitors and IMAX theatres by eliminating the need for film prints, increasing program flexibility and ultimately increasing the number of movies shown on IMAX screens. The system can run both IMAX and IMAX 3D presentations.
Paul Walker Narrated IMAX Film Air Racers 3D 3D Entertainment Distribution has announced that actor Paul Walker (The Fast and the Furious franchise, Takers) narrated Air Racers 3D, the first ever IMAX 3D theatre film devoted to the fastest race in the world: the legendary Reno National Championship Air Races. With stunning aerial photography filmed entirely in 3D and unprecedented access granted to the course, Air Racers 3D takes audiences into Nevada’s Valley of Speed to experience the intensity and high speed thrills of a sports event like no other combined with spectacular air show entertainment. “We were truly honored and delighted to have Paul Walker lend his storytelling talents to this action packed 3D film, which hit IMAX theatres in the US beginning this April,” said Francois Mantello, Chairman and CEO of 3D Entertainment Distribution. “His passion for racing and high adrenaline sports makes him a perfect fit for this celebration of aviation.” “I have always been fascinated by the sheer power, precision and skills of these tremendously talented pilots who race just 50 feet off the ground at twice the speed of a Nascar race,” said Paul Walker. “I was further drawn to the film by its unique historical view of this legendary sport and for the educational insight into the science of flying that it provides.” “We were delighted to have Paul Walker be such an integral part of this film,” said Air Racers 3D codirectors Christian Fry and Jean Jacques Mantello. “His ability to connect with moviegoers of all ages, and teenagers in particular, as well as his genuine love of motor sports unquestionably enhances this ultimate air show experience.” Paul Walker’s breakout role was as undercover cop Brian O’Conner in
is by Christophe Jacquelin. The film is produced by Christian Fry and Raul Leckie, and executive produced by Francois Mantello, John Constantine and Jeffery Pierce.
3D Family Adventure Journey 2 Relesed in IMAX
the 2001 hit film The Fast and The Furious. Since then, he has managed a balance of box office films and dramatic roles to cement his leap to leading man status. Walker, who also made a return in the fifth installment of The Fast and The Furious franchise, recently starred in and executive produced Vehicle 19. From the pits to the roaring sky, Air Racers 3D explores the highly competitive world of air racing through the eyes of rookie pilot Steve Hinton as he attempts to fly his P51 Mustang fighter plane to victory in the most highly anticipated and unpredictable race class. Audiences will discover today’s elite pilots in their World War II era aircraft as they fight for position, wingtip to wingtip, and skim 50 feet (15 m) above the ground around an oval course at 500 mph (805 km/h). The film also features rare archival footage and performances by many of the world’s top aerobatic pilots, including the Royal Canadian Air Forces Snowbirds.
IMAX Corporation and Warner Bros. Pictures have announced that the 3D family adventure Journey 2: The Mysterious Island, starring Dwayne Johnson, Michael Caine, Josh Hutcherson, Vanessa Hudgens, Luis Guzman and Kristin Davis, has released in the immersive IMAX 3D format on February 10. The New Line Cinema film was opening in 282 IMAX theatres domestically, simultaneous with the film’s North American wide release. It will also open on 166 IMAX theatres internationally, 143 of which was open as of February 10th, with the additional runs debuting over the following weeks. Additional playdates will be added as pending bookings are confirmed. Journey 2: The Mysterious Island an IMAX 3D Experience has been digitally re-mastered into the unparalleled image and sound quality of The IMAX Experience through proprietary IMAX DMR technology. With crystal clear images, laser-aligned digital sound and theatre geometry that maximizes field of view, IMAX provides the world’s most immersive movie experience.
Produced by 3D Entertainment USA and Pretend Entertainment in association with Stereoscope, Air Racers 3D is directed by Christian Fry and Jean Jacques Mantello (Sharks 3D, Ocean Wonderland 3D and Dolphins and Whales 3D) and features a screenplay by Christian Fry and Rick Dowlearn. The musical score
World War II 3D Epic Stalingrad in IMAX 3D Format IMAX Corporation and Russian producer Alexander Rodnyansky announced that the World War II 3D epic Stalingrad will be digitally remastered into the immersive IMAX 3D format and released in IMAX theatres in Russia and the CIS in October 2013. This marks the first Russian-language film to be released in the IMAX format. Directed by Fyodor Bondarchuk and starring Pyotr Fedorov and Thomas Kretschmann, the movie recounts the Battle of Stalingrad, a turning point in the Second World War in which Soviet troops fought and eventually won control over the South Russian city of Stalingrad (now Volgograd), occupied by Nazi troops in February 1943. Stalingrad is produced by NonStop Production (subsidiary of AR Films) and Art Pictures Studio. As one of IMAX’s fastest-growing international markets, with 22 theatres currently open and 23 more in backlog, Russia and the CIS is home to some of IMAX’s highestgrossing theatres in the world. In 2011, four of the top 20 highestgrossing international IMAX sites were located in Russia and the CIS, with these sites producing a combined weighted per screen average of $2.7 million. “We are proud that IMAX has chosen our film to be the first Russian production presented in the IMAX 3D format,” said Alexander Rodnyansky, Producer and Chairman of the Board of Directors of A.R. Films. “We believe that by combining the incredible directional style of Fyodor Bondarchuk with IMAX’s amazing technology, we will be able to make the powerful story of Stalingrad the ultimate movie-going experience for Russian audiences.” “We are pleased to join forces with AR Films, one of the country’s most prominent and successful filmed
popular multiplex, TGV Sunway Pyramid. Present to officiate the launch were IMAX Asia Pacific Senior Vice President and Managing Director Don Savant and TGV Cinemas Sdn Bhd CEO Kenny Wong. Opened on 14 December 2011, the IMAX theatre was also the first to screen the much anticipated blockbuster Mission: Impossible Ghost Protocol the IMAX Experience, which opened globally on 21 December 2011. With a seating capacity of 292, the IMAX theatre is a result of the merger of two cinema halls, sacrificing 252 seats to offer movie goers much wider legroom and comfortable seats.
entertainment companies, to bring this historic film to movie-goers across Russia,” said IMAX CEO Richard L. Gelfond. “Russia is one of our key markets with a tremendous IMAX fan base and we hope that Stalingrad will be the first of many Russian local-language films presented in the IMAX format.” “Producer Alexander Rodnyansky and director Fyodor Bondarchuk are responsible for some of Russia’s most successful films and we are honored to be partnering with them on this epic motion picture,” said Greg Foster, Chairman and President, IMAX Filmed Entertainment. “Stalingrad brings together these talented filmmakers with a powerful story that—when presented in IMAX—will offer Russian audiences the ‘youwere-there’ experience that IMAX is known for.”
IMAX Comes to Malaysia TGV Cinemas (TGV Cinemas Sdn Bhd) and IMAX Corporation recently announced the installation of Malaysia’s first Digital IMAX theatre at TGV Cinemas’ most
The IMAX Theatre System is touted to provide cinema goers the world’s most immersive movie experience with IMAX revolutionary projection technology. The IMAXE xperience combines crystal-clear images, powerful digital sound and customised theatre geometry to create a uniquely immersive movie experience. The TGV Sunway IMAX theatre is capable of showing both IMAX and IMAX 3D presentations including inspiring documentaries and Hollywood’s blockbuster movies. The TGV Sunway Pyramid multiplex is home to Malaysia’s first and only IMAX Theatre. “We believe that TGV cinemas will take the brand to new heights in Malaysia with the installation of the IMAX theatre at its flagship TGV Sunway Pyramid complex,” said Savant.”By introducing the first digital IMAX theatre in the country, TGV Cinemas has positioned itself as leaders within Malaysia’s film and exhibition industry,” said Wong. “IMAX delivers an unparalleled immersive experience that no other digital systems offer and we are proud to partner with them.” TGV Sunway Pyramid is also the perfect location for the IMAX launch with its timely renovation. The newly
refurbished TGV Sunway Pyramid multiplex offers a brand new movie-going experience with the introduction of the Tiered Seating options and Beanieplex concepts. TGV Cinemas will also introduce its first ever Premier Class Halls, aptly known as the TGV CLUB which is has launched in January 2012. With the introduction of TGV CLUB, moviegoers can enjoy delicious food, snacks and beverage in an exclusive, premium lounge environment before enjoying their favorite movie in intimately sized halls with special, extra plush seats. Designed with the airlines seating classes in mind, Tiered Seating allows patrons to select between “first class” couple seats, “business class” individual larger and more comfortable seats; or regular seats to suit their preference.
Meyer Sound and NTi Introduce Cinema Meter Option for Audio Analyzer Meyer Sound and NTi Audio AG announced a new cinema meter option for NTi's XL2 handheld audio and acoustics analyzer. Developed through a collaborative effort by the two companies, the Meyer Sound cinema meter option and test script allows cinema sound technicians to calibrate loudspeaker systems efficiently and to an extremely high degree of precision beyond what is recommended by basic SMPTE standards using a small, easy-to-use handheld device. The cinema meter was initially created to extend the capabilities of the XL2 analyzer to facilitate efficient and accurate alignment of Meyer Sound EXP cinema systems. The cinema meter option comprises a software package which includes a Meyer Sound test script that can
be used for tuning system. Test signals through storage in system or from the generator.
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cinema be sourced cinema MR-PRO
"A fundamental goal of EXP cinema audio is to achieve near-perfect linearity," stated John Meyer, CEO of Meyer Sound. "Final calibration is critical in realizing that goal, and with the Meyer Sound XL2 cinema option, technicians now have a compact and cost-effective tool for making the extremely precise adjustments required." The cinema meter project marks Meyer Sound's first outside collaboration on a test and measurement product; the company's SIM audio analyzer was developed entirely in-house. The Meyer Sound cinema meter development was facilitated by NTI Americas president Tom Mintner along with Thomas Hupp and Philipp Schwizer on behalf of NTi Audio, with performance specifications and test routines developed by the Meyer Sound engineering department.
IMAX Partners with Barco to Co-Develop NextGeneration Laser Projection Technology IMAX Corporation has announced it selected Barco to co-develop groundbreaking new laser projection technology for IMAX theatres. The new IMAX digital laser projector will present greater brightness and clarity, a wider color gamut and deeper blacks, and consume less power and last longer than existing digital technology. This state-of-the-art solution, which will implement the
patents IMAX exclusively licensed from Eastman Kodak Co. last year, will allow IMAX’s entire global theatre network to show the highest-quality digital content available. Under the 7-year agreement, Barco will be IMAX’s exclusive worldwide partner in the development of digital projection technology for use in IMAX theatres. As part of the partnership, the companies will collaborate to co-develop cutting-edge, nextgeneration laser projection technology based on IMAX intellectual property in image quality, Barco’s unique laser innovations and the Kodak digital laser patents, which IMAX will sublicense to Barco. The companies expect to deliver a joint solution to the market in the second half of 2012 for use in IMAX’s current backlog and new system signings. Simultaneously, the companies will work together exclusively to manage the transition from Xenon-based to high-performance, laser-based projectors, which are expected to be deployed in 2013. “As we continue to expand globally, it is critical that our technology partner keep pace with our ambitions around innovation and growth,” said IMAX Chief Business Development Officer Robert D. Lister. “We are honored to have been selected by IMAX as their worldwide and exclusive digital cinema technology partner,” said Wim Buyens, Senior Vice President of Barco’s Entertainment Division. “Together, we are committed to bringing the full weight of our operational excellence, integrity, and ability to deliver cutting-edge technology to bear in order to redefine the movie-going experience.”
Alcons Returns to ISE 3D Theatre For the second year running and underpinning the technology’s appeal, the ISE trade show’s Rooms E105 and 106, adjacent to Hall 10 features a 3D Theatre, allowed visitors to experience the very best that the technology has to offer. Having supplied a highly praised system in 2011, Alcons Audio was invited once again to provide the 3D Theatre’s sound system at the Amsterdam RAI. The event was from 31st January – 2nd February. The ISE 3D Theatre featured a daily presentation by Alcons co-founder Tom Back on the company’s latest 3D audio technology. Took place each day, the presentation has demonstrate how Alcons’ proprietary pro-ribbon transducer products enhance the 3D experience. “There is a real upward trend for Digital Cinema and Alcons systems are proving to be very popular,” says Tom. “With 24-bit resolution and up to 16 channels of non-compressed audio, the demands are much greater in terms of dynamic capabilities, frequency response and transient response.” Alcons pro-ribbon transducer technology, in combination with developments like array technology and coverage control, have brought remarkable width and depth to the imaging of stereo and multi-channel content, making it possible to deliver the best and most lifelike experience to the audiences of 3D shows. “Alcons R&D department took up the challenge of producing a cinema sound solution that allows a noncompressed 1:1 reproduction of a movie’s soundtrack, from the most delicate vocals to the biggest explosion,” adds Tom. The ISE 3D theatre is collaboration between Alcons Audio, DVS (server and content), Image Screens (projection screen), Infitec (3D glasses) and Lang AG (projection. It
features a 5.1 surround system, based on an Alcons CRMS (15" LF, 8" MF, 4" pro-ribbon HF) front system and 12 CRMS surround speakers (which feature 8" MF and 4" pro-ribbon HF). Powered and controlled by ALC2 and ALC4 amplified loudspeaker controllers and DDP digital drive processors, all channels feature ‘studio-grade’ AES/EBU digital-toanalogue conversion. Alcons has shown the latest in its industryleading systems on the show floor in Hall 6 on Stand N132. Products on display will include the QR36 full range line-source column, the LR7 micro line-array; BC322 all-carbon cone, cardioid, compact, selfcontained subwoofer; CR2 cinema system; as well as some exciting new developments in its cinema range.
Translating Music into Images and Movements The DAAD Short Film Prize and the Berlin Short Film Nominee for the European Film Awards. This year’s distinguished members of the International Short Film Jury Emily Jacir, one of the Middle East’s most important contemporary artists; Sandra Hüller, renowned and prizewinning actress of the stage and the screen, and winner of the Silver Bear in 2006 for her performance in Requiem (directed by Hans-Christian Schmid) and Irish-born Californiabased film maker David OReilly, who is known for his innovative animations and won the Golden Bear in 2009 for his short film Please Say Something - award the DAAD Short Film Prize and Berlin Short Film Nominee for the European Film Awards to the following productions. The DAAD Short Film Prize of the Artists-in-Berlin Programme of the German Academic Exchange Service
(DAAD) goes to director Trevor Anderson from Canada for his film The Man that Got Away. This musical tells the life story of the filmmaker’s greatuncle, who was from the Canadian provinces. Uncle Jimmy knew already as a kid that he was gay, and didn’t like how this felt in a world where his brothers were mechanics and outfielders on the local baseball team. And so he left home for the big city where life whisked him away. The Jury explains its choice as follows: “This eccentric film employs outstanding music and choreography to create a hilarious, personal narrative full of emotion.” In 2009, Trevor Anderson also participated in the Berlinale Shorts with his film The Island. The DAAD Short Film Prize includes a grant for a three-month stay in Berlin. Other scholarship holders participating in the DAAD Artists Programme in the category film are or were Avi Moghrabhi from Israel, Xiaolu Guo from China, Asghar Farhadi from Iran and winner of the Golden Bear for his feature Jodaeiye Nader az Simin (A Separation) in 2011. The nomination for the best Berlin Short Film Nominee for the European Film Awards, goes to the film Vilaine fille mauvais garçon (Two Ships) by Justine Triet from France. The production is the first fictional film by this visual artist and a reflection on the big city lives of two people in their thirties: Thomas is a young artist who is broke and single. Laetitia is an attractive, intelligent young woman in high heels. A dance. An invitation. The pair spends the night together, running back and forth between hospital and bed, between a lightness and high drama. They are the bright stars that give paintings their depth. The Jury explains its choice as follows: “An attempt to tell the story of two solitary figures trying to find a moment of lightness amidst the constantly interrupting weight of reality around them. Using documentary-like techniques the director brings us so close to the characters that we believe they are real.”
62nd Berlinale Set for More Digital Screenings than Ever Before Dolby Laboratories, has announced that it has supported the 62nd Berlin International Film Festival as the official supplier of digital cinema equipment and services, including Dolby 3D. Berlinale 2012 is recognized as the world’s largest publicly attended film festival, attracting more than 19,000 accredited film professionals and hosting screenings for an anticipated 300,000 members of the public. The 11-day event has seen the world premiere of 18 films in competition at the festival, so pristine presentation is vital, as Dr Reiner Chemnitius, Supervising Engineer of the Berlinale, emphasizes: “Every director in competition wants to ensure that their work is seen exactly as they intended and so we were pleased working with the Dolby Content Services Group to ensure this. They offer a broad range of expertise and technical solutions, and are dedicated to achieving the highest quality of presentation, so they are an essential part of the team supporting the festival.”
the successful 2011 screening of the festival’s first presentation in Dolby 3D before an audience that included German Chancellor Angela Merkel. “The Berlinale is our busiest film festival of the year,” said Julian Pinn, Director of Distribution Services at Dolby, “not least because so many of the screenings are open to members of the public. With such a busy schedule, it is vital for the festival organizers to know that they can rely on first-class technical support, and we at Dolby are glad to help.” “The growth of digital cinema has seen the technical needs of the Berlinale change dramatically over the past few years,” said Festival Director Dieter Kosslick. “Therefore, we are delighted to continue our relationship with Dolby. It is a relationship built on mutual trust, and we really appreciate the quality and flexibility of the service they provide to the festival year after year.”
Berlinale to Honour Dolby Surround Sound Inventor
About 1,600 of the 2,000 screenings scheduled for this year’s Berlinale digital cinema presentations, shown on up to 50 different screens. To ensure trouble-free operation, the festival has worked closely with Dolby to establish a network of 37 digital cinema servers at the festival venues, as well as five Dolby highspeed storage systems to enable a 24-hour transfer connection into the screening booths. The Dolby team has also been on hand to provide technical support for the largest digital cinema presentations during the festival, including those in competition for the prestigious Golden Bear and Silver Bear awards.
The inventor Ray Dolby revolutionised sound in cinemas and contributed greatly to making films and even the TV viewing the amazing acoustic experience we know today. By installing multiple loudspeakers and applying multichannel technology, Dolby surround sound introduced viewers around the globe to the feeling of being fully immersed in the moment.
Two 3D movies were screened during the 2012 festival, following
At the 62nd Berlin International Film Festival (Berlinale), Ray Dolby
was awarded the Berlinale Camera in recognition of his work as one of the most important engineers and inventors in the film industry on February 16, 2012. Berlinale camera is a trophy modelled on a real camera, with 128 components. From swivel head to tripod it has been crafted and assembled with great artistry, and many of its silver and titanium parts are movable. Ray Dolby founded Dolby Laboratories in 1965 based on a simple idea that came to him as a way of solving the issues around the hissing sound on audio tape. This was the birth of Dolby A-type noise reduction for the professional recording market, followed three years later by Dolby B-type noise reduction for consumer products. In the 1970s, Ray Dolby turned the company’s attention to cinema, transforming the entertainment experience forever. In 1989 his work in the field was recognised with an Oscar for his contributions to the film industry; and in 2003, an Emmy Lifetime Achievement Award. Ray Dolby served as a member of Dolby’s Board of Directors from 1965 until his retirement from the Board in 2011, although he remains Director Emeritus, while his son David Dolby has been involved in the management of Dolby Laboratories for a number of years, and since 2011 has been a member of the Board of Directors. Ray Dolby’s first surround sound technology, Dolby Stereo introduced in 1975, was quickly adopted by movie theatres worldwide, as films like STAR Wars (1977; directed by George Lucas) and Close Encounters of The Third Kind (1977; directed by Steven Spielberg) were released in the new Dolby sound format. Dolby Digital surround sound followed, which also later became the standard for home cinema audio with the introduction of DVD.
UFO Moviez and Dolby to Bring Dolby Surround Sound to UFO Cinemas UFO Moviez India Ltd and Dolby Laboratories, Inc. (DLB) has announced a collaboration to bring a major transition in the audio experience across UFO’s digital cinema screens in India, bringing high quality cinematic surround sound to UFO cinemas across the country. Dolby will assist UFO with setup for the digital encoding and mastering workflow for UFO Moviez and provide UFO-Dolby co-branded CP750 cinema processors, delivering a complete end-to-end digital sound process and helping to provide an authentic audio experience in the theatres. Currently, sound in many digital cinemas in India goes through multiple conversions from digital to analog and back, resulting in loss in sound quality at each conversion. Additionally, audio alignment and calibration of theatres is planned to be conducted, ensuring a premium entertainment experience for movie-goers in UFO cinemas. Sanjay Gaikwad, Founder and Managing Director, UFO Moviez India Ltd said, “We have invested in bringing surround sound from Dolby to our digital cinema chain in India because we are committed to delivering innovative technology that adds value to the entertainment experiences for our viewers.” He added, “While we have already enhanced the viewer’s experience by providing digital quality picture to cinemas across India, the audio experience is still in the analog format. This partnership will complete the digital cinema experience by providing digital surround sound, on par with the best facilities in the world. The UFO-Dolby co-branded audio processors will also be futureproofed beyond standard 5.1
surround sound, as filmmakers migrate to 7.1 surround sound, which is simultaneously happening around the world.” “At Dolby it has been our constant endeavor to make the entertainment experience richer, more realistic, and immersive. Dolby has constantly helped filmmakers and sound designers to realize and preserve their creative intent, so that cinema going audiences can experience their favorite movies as intended by the content creator,” said Mahesh Sundaram, Vice President, Asia Pacific, Dolby Laboratories. “We are excited to be working with UFO Moviez to bring Dolby Surround Sound to UFO’s Digital Cinema network in India. The collaboration intends to expand the footprint and reach of premium cinema entertainment in India by delivering significant improvements that enhance the experience in theatres across the country.”
Orange Sky Golden Harvest Purchases 200 GDC Digital Cinema Servers GDC Technology (“GDC Tech”), a world leading digital cinema solution provider, is pleased to announce that it has secured a contract for the sale of 200 digital cinema servers from Orange Sky Golden Harvest Cinemas (China) Co., Ltd. (“OSGH Cinemas”). The contract will witness GDC Tech’s highest quality digital cinema servers installed at OSGH’s multiplexes throughout mainland China.
OSGH Cinemas is a subsidiary of Orange Sky Golden Harvest Entertainment (Holdings) Limited (“OSGH”, or the “Group”). In 1977, the Group opened its first cinema in Hong Kong. Since then, the Group has committed to bringing the best cinematic experience to its audiences. Eager to expand into the China market, the Group has built premium flagship cinemas in Shenzhen in 2005, touting a box office that has ranked top three among cinemas nationwide since 2006. Since 2010, the Group has successively built and has been operating numerous premium cinemas in Beijing, Guangzhou, Chengdu, Chongqing, Wuxi, Hefei, Wuhu and other cities. Today the Group operates 31 multiplexes with 225 screens, and is leading China’s film market towards a world-class standard. “GDC Tech and OSGH synergistic relationship commenced in 2007 when we started using GDC servers.” Dr. Qiu-Sheng Xie, CTO of OSGH remarked, “GDC’s powerful and feature-rich servers are easy to use, and are supported by excellent after-sales service, so making GDC our first choice was an easy decision, and results have enabled us to forge ahead in developing the OSGH brand.” “OSGH has a solid reputation in the industry for its relentless pursuit for excellence and commitment to bringing the best theatrical experience to moviegoers.” Dr. Man-Nang Chong, founder and CEO of GDC Tech said, “Chosen again by such a renowned exhibitor as OSGH Cinemas proves that GDC Tech is a trustworthy partner. This is a massive deal for us from a strategic perspective in the China market, and we appreciate OSGH’s confidence and patronage.”
First in World to Be Recorded in 3D and Dolby Surround 7.1. World-famous guitarist Joe Satriani is featured in Satchurated is the first concert film ever to be released in 3D and Dolby Surround 7.1. The 3D Blu ray was release in April and encoded in Dolby TrueHD, delivering a studio master quality 7.1-channel surround sound experience to Satriani fans’ home theatres. “We carefully selected and placed microphones within the Metropolis in Montreal, and the use of the 7.1 surround palette enabled us to capture the entire essence of the concert event from the sound of the onstage instruments to the presence and dynamics of the concert hall,” said director and producer Pierre Lamoureux. “The result is a dramatic 7.1 experience that translates beautifully for audiences looking to experience the film in Dolby Surround 7.1 at the movies or in Dolby TrueHD lossless 7.1 surround sound at home.” Dolby plays a critical role in ensuring that the artistic intent of the audio mix is maintained through the entertainment ecosystem, from the concert stage to the movie theatre and into the home theatre. The soundtrack makes use of the
improved panning, sound localization, and enhanced definition provided by Dolby Surround 7.1’s eight channels and four surround zones to deliver an unforgettable experience. Moviegoers will also get to experience Satchurated: Live in Montreal in select Dolby 3D technology-enabled theatres. Satchurated was filmed live on the Wormhole Tour in support of Satriani’s new album, Black Swans and Wormhole Wizards, at the Metropolis in Montreal, Canada, on December 12, 2010. Eight cameras captured the sold-out concert in both 2D and 3D. Satriani is among the few artists in history to release a 3D concert film. He is a leading force in rock music, having been voted the No. 6 AllTime Best Guitarist by Guitarist Magazine (UK) and Best Guitarist of the Year three times by Guitar World Magazine. In his career, Satriani has sold more than 10 million copies of his studio and live recordings worldwide, has been nominated for 15 Grammy Awards, and has sold more than 4 million concert tickets.
D3D Announces Giant Screen Digital 3D Conversion D3D Cinema has announced that its latest giant screen digital 3D theatre conversion is underway at the Putnam Museum in Davenport, Iowa. Twin state-of-the-art Barco 4K projectors and industry-leading Dolby Digital 3D technology will replace 15/70 film projectors as the Putnam, which plays host to the largest screen in the Quad Cities area, becomes the newest member of an ever-growing list of theatres to make the switch to digital in partnership with D3D Cinema. “We’re very pleased that 4K digital technology is now available making it possible for the Putnam to be one of the first giant screen theatres in the country to take advantage of this advanced technology,” said Kim Findlay, Putnam President. “We have always been devoted to providing our visitors with the highest quality movie experience anywhere. 4K digital technology allows us to maintain our quality standards for the giant screen along with giving us more flexible programming opportunities. The movie and documentary industry is changing rapidly, and to continue to succeed in giving our visitors the most dynamic experience in the current climate, we are excited to go digital.” “We are thrilled to be partnering with the Putnam Museum in Davenport,” said Derek Threinen, Vice President of D3D Cinema. “It’s never been easier to convert to digital 3D and it’s great to see more museum theatres like the Putnam take advantage of the superior picture and sound quality digital offers. Quite simply, we’re delighted to be able to help the Putnam Museum and its visitors experience this new era of immersive cinema.”
Megaplex Theatres Launches VIP Experience with Christie Projectors Christie-partner CLACO Continues Digital Conversion for Megaplex Christie, a global leader in visual display technology, is providing the 4K DLP Cinema projection solution at a new screen at the Megaplex Theatres at Jordan Commons, which debuted on March 15 with VIP seating, table service and full reclining chairs as part of Megaplex’s transition to complete digital projection throughout its chain. Megaplex, a leading independent cinema chain in Utah, is converting all of its screens to digital projection, drawing from the Christie Solaria Series. The new projectors, including the Christie CP4230 driving the VIP experience at Megaplex Jordan Commons, are being installed by CLACO Equipment and Service. Specific to Megaplex Theatres at Jordan Commons, Christie’s CP4230 was chosen to deliver massive, crisp resolution of 4096 x 2160 pixels, with 34,000 lumens brightness, to make 3D movies come alive. This is in keeping with Megaplex’s emphasis on providing an industryleading viewing experience for its guests. It is this commitment that led the chain to evaluate various suppliers for digital projection in 2011, and then to choose Christie equipment and CLACO to deliver it. Noted Eric Butterworth, sales manager at CLACO, “Christie was easily our recommended choice for Megaplex. The combination of Christie Digital Cinema projectors, Christie’s excellent customer service and 24-hour tech support, and their Christie Digital Xenolite Lamp (CDXL) technology were just some of the reasons why we went with Christie. Christie’s warranty and service plus packages provide Megaplex with peace of mind across its theatre
chain. These services range from quick access to spare parts, on-site preventative maintenance/ emergency service, 24/7/365 remote monitoring and technical phone support from Christie’s Network Operations Center. Christie solutions installed or to be installed by CLACO at Megaplex Theatres include the CP2220, CP2230, Christie ACT (automation controller) and CP4230, as well as the Gefen Scaler scaling and switching unit. Megaplex Chain Stands Out Among Independent Exhibitors. The Megaplex Theatre chain is known for innovative architecture and commitment to the community. The flagship Megaplex 17 at Jordan Commons in Sandy, Utah, was built on the former site of Jordan High School and the lobby was designed to look like downtown Salt Lake City in 1870. In 2002, it was North America’s highest grossing theatre for the opening weekend of “Harry Potter and the Chamber of Secrets.” Less than a year later, the theatre sold over 120,000 tickets for “Pirates of the Caribbean: The Curse of the Black Pearl,” making this location the top-grossing movie theatre in the world for this film. With six multi-screen complexes in Utah, Megaplex Theatres was founded in 1999 by the former owner of the Utah Jazz, Larry H. Miller, and is now operated by his son Greg Miller, CEO of the Larry H. Miller Group of Companies. Two of the locations share screens with nearby museums where museum content is viewed during the day and Megaplex offers first-run movies in the evenings. Many locations offer reserved seating, lots of additional food options and Dbox (moveable) seating.
Empire Theatres First in Canada to Complete Digital Cinema Conversion Empire Theatres celebrates the completion of its digital cinema conversion, the first cinema chain to achieve this milestone in Canada. Barco was the exclusive provider of DLP Cinema projectors to Empire, providing a wide range of models to ensure the perfect match for every screen. Empire Theatres operates 50 theatres across Canada, in eight of ten provinces, from Newfoundland to British Columbia. To date, 359 screens have been converted from 35mm to digital projection, with 40 percent configured for 3D and several optimized for “Empire Extra” auditoriums with wall-to-wall, wraparound screens. Dean Leland, Vice President of Studio & Media Relations for Empire Theatres Limited, comments: “The digital conversion means that our guests will benefit from the best and brightest picture presentation each and every time they take in a movie with Empire Theatres and enables us to provide a premium guest experience through our Empire Extra auditoriums.
Christie Provides Digital Theatre Projectors to Sierra Cinemas
Christie is proud to announce that they will be providing theatre projectors to the 4-screen Sierra Cinams in Grass Valley, California. The theatre will be equipped with a CP2000-ZX projector, which features 9000 ANSI lumens, a 2000:1 contrast ratio, and a 2K HD (2048 x 1080) resolution. “We chose Christie because we believe in the quality of their products. We appreciate the flexibility built into their projectors – the ease in using the menus, and settings that can be adjusted quickly and easily,” said Michael LaMarca, general manager of Sierra Cinemas. “As well, we opted for the Christie VPF Program because it fits our unique circumstances, allowing us to fast track our digital cinema conversions.”
Christie’s Commitment to HFR The two main goals of Christie’s HFR activities are to help the industry develop the best HFR content and the best delivery system for HFR content. The first goal involves assisting leading-edge filmmakers and post-production companies in perfecting HFR movie creation, so the industry has the most engaging, entertaining content possible. The
second goal is to assist exhibitors in showing these 3D HFR movies in all their glory. To these ends, Christie is helping create the standards for 3D HFR movies through formal and informal technology-development alliances with major producers and directors, post production facilities, studios and technology partners. On the exhibitor’s front, Christie provides one-stop shopping for all the hardware, software and services that enable exhibitors to deliver a filmmaker’s vision in stunning 3D HFR quality.
QSC Audio Introduces New DCS Surround Loudspeakers
QSC Audio Products announces the introduction of an all new DCS (Digital Cinema Speakers) surround loudspeaker range for cinema, which offer improved audio performance and styling to look and sound best for any size cinema installation. All four sleek new models feature higher output capability and smaller overall size than the former models in the series. The new SR-1030 is the most powerful surround speaker in the series, designed to deliver outstanding performance for the largest cinemas. It uses a high-output 10" woofer and the largest ever compression driver in a surround speaker to deliver output comparable to a larger 12" system without the size penalties. The new SR-1020 is designed to offer affordable high performance for medium to large cinemas. The 10" woofer and horn provide extended
bass and smooth coverage while outperforming larger and more expensive alternatives. The new SR-8200 is proof that high performance comes in smaller packages. This compact system outperforms much larger systems while being cost-effective for medium to small cinemas. The 8" woofer is combined with the same HF driver and horn from the SR-1020 to produce a compact 8" system that delivers big sound. Finally, the new SR-8101 is a direct replacement for the SR-8100 and is the most affordable surround speaker for small rooms. The 8" woofer and dome tweeter provide wide coverage and smooth high frequency response from the premium soft-dome tweeter. Surround channels draw a cinema audience into the action by creating an immersive multidimensional soundscape, and takes power, fidelity, and coverage to accurately create that experience. That's why DCS surround loudspeakers are purpose-built for cinema deployment. Quality MDF enclosures deliver extended bass response over wide coverage areas. And highoutput drivers project cleanly to every seat. And the DCS line features practical details, including preinstalled speaker-side brackets to allow for fast and easy mounting and pair packing to reduce freight costs.
Joy Theatre Receives Digital Projection
The Joy Theatre is one of the few remaining example of a post-war movie palace. The theatre April-June 2012
announced that it has received a digital upgrade with the help of PSX Audiovisual Technologies. The three screen theatres had their old film projectors switched out for three new Digital Projection TITAN 1080p Quad 3D projectors. This particular model features 16000 ANSI lumens, a 2000:1 contrast ratio, and full HD (1920 x 1080) resolution. The projectors will shine onto three Draper screens that measure 27 feet, diagonally. “When the theatre was built in 1947, movies were the big game in entertainment,” commented Sandie McNamara, director of marketing for the Joy Theatre. “As part of the planning process, consumer wants and needs were taken into account.” McNamara continued, “Entertainment today means so many things live music, comedy, movies, presentations, dinner there is a tremendous amount of competition.” Today, the Joy is primarily using the projectors to display IMAG events and Scalamanaged digital signage content. But this is only the beginning of their plans, as, per Ed Vigueira of PSX, “DPI’s Quads allow the Joy Theatre to wholeheartedly pursue live video concerts, film festivals, traveling exhibits and a world of other future growth opportunities.”
The Premium Theatre Experiences to be Powered by New Christie Duo Solution Christie announced ‘Christie Duo’, a new dual–projection integration kit as a solution intended to give exhibitors the ability to create and deliver their own, branded premium theatre experience.
“Exhibitors have invested heavily in building their own brand in their respective markets. With Christie Duo, we are providing an opportunity for our exhibitors and our business partners to enhance their offerings with a premium experience,” said Don Shaw, director, Product Management, Christie Entertainment Solutions. “Now any exhibitor can deliver the brightest 2K or 4K movie experience in 2D or 3D on the largest screens. We’re excited to give exhibitors a solution to help them further leverage and market their own premium brand to today’s sophisticated movie-going audiences,” he added. The Christie Duo integration kit can be purchased with either 2K or 4K Christie Solaria Series digital cinema projectors or as a standalone integration kit for Christie customers who already have Christie projectors, the world’s best-selling DCI-compliant digital cinema projectors with more than 28,000 shipped and installed. The integration kit features the choice of two configurations: a compact and convenient stacking system for 3D installations, or a new, innovative physical configuration that perfectly aligns every pixel on the screen for optimal 2D and 3D presentations. Coupled with automated features that easily calibrate, align and optimize the images from both Christie Solaria Series 2K or 4K digital cinema projectors, Christie Duo delivers a completely seamless, premium movie experience for the world’s largest screens. When combined with world-leading 3D systems, exhibitors can achieve 3D image brightness levels up to twice as high as what can be achieved using the current large-format market leader at a significant overall cost saving.
Early Demonstrations and Installations Confirm Market Acceptance In December 2011 Christie successfully demonstrated a dualstacked 4K digital cinema projection solution, displaying true DLP Cinema 4K resolution in 3D with incomparable brightness levels of 68,000 ANSI lumens, using two Christie CP4230 digital cinema projectors. Using Christie Duo technology, the demonstration was conducted in a theatre in Shanghai to leading cinema owners and exhibitors in China. Attendees experienced a presentation featuring unmatched brightness, sharpness and superior 3D images — generating an enthusiastic and welcoming response from industry attendees. “We have put our trust in a Christie Duo system to dazzle audiences in our world-famous ArcLight Hollywood Theatre,” commented Joe Miraglia, director of design, construction and facilities at ArcLight. Marcos Araújo, director, Grupo Araújo de Cinemas, Brazil, concurred, “Affordability, without sacrificing quality, is paramount for us and we are pleased to be partnering with Christie to bring the premium theatre experience to our customers throughout Brazil.” Christie dealer Kelonik Transisom installed Christie Duo at Grupo Araújo de Cinemas. Noted Isaac Besso, director, Kelonik Transisom, “We pride ourselves on introducing the newest and most innovative products to our clientele, reflecting our desire to provide maximum customer service to them, and certainly the Christie Duo solution fits perfectly with this strategy.”
• S P E C I A L F E AT U R E •
Global Trends that Threaten Cinema Exhibition
Global trends on cinema take their cue from the world’s biggest market by financials, USA. Just for the record, North America (USA, Canada) box office is US$ 10 billion out of an estimated global total of US$ 32 billion. By contrast, though India releases the largest number of movies annually, close to 800, its box office just crosses US$ 3 billion. Since the CinemaCon show that was held in Las Vegas this April, the trends that were nervously voiced and are gaining strength, across the world, could end up destabilising the exhibition side of the business. While most are to do with the government or the producers, there are some that are from the exhibitors themselves and akin to shooting oneself in the foot!
Shorter time windows to television releases Producers want to make the most of their investment in the shortest time possible. Every investor would want
to do this but in the world of movies it could harm cinema owners - both multiplexes and single-screens. After initial collections of the first and second weekends, producers begin to eye television rights, whether cable or satellite. Even the time window to bluray/dvd is being shortened. On top of all this comes Premium Video-On-Demand (P-VOD) which is a subtle variation of television rights wherein major satellite broadcasters (like Airtel, Sun, TataSky, Videocon in India) offer recent releases at a premium. For as low as INR 49 (less than US$ 1), viewers can watch a blockbuster released a few weeks ago from the comfort of their favourite sofa! In the interest of their business, cinema exhibitors need to get together and lobby both with the producers and the government to keep the time window as large as possible.
– Sandeep Mittal
grapple either with a flood of releases or a famine of no releases that makes it impossible to balance and optimise the operations. Cash flows take a hit and operating the theatres becomes a challenge. Spaced out movie releases can also be a success to the business and that is what producers need to explore. In USA, the late March release of ‘The Hunger Games’ this year was a success though the release was not around a major holiday. Producers and exhibitors need to sit down on this one and find the middle path.
Digital Cinema Unlike USA where 70% of the 40,000 screens (all figures approximate and based on industry sources) are digital, Asia boasts of cinemas right from the arc-carbon age to xenon consoles to digital. Only some are digital and such digital screens are mainly concentrated in the major
Lopsided calendar of releases Producers love to release their movies around the holidays whether it is summer vacation, extended weekends, national holidays or religious festivals. On the other hand there are no major releases around major sporting events like IPL, World Cups etc. Thus exhibitors have to April-June 2012
• S P E C I A L F E AT U R E •
cities of the developed regions of Asia. Everyone knows that digital is the future and accepts that the change is inevitable … sooner than later. However, business lethargy has slowed the process of conversion. In contrast, Hollywood’s Fox has announced that from 2014 its releases will be all digital with no film prints to distribute. Other major movie producing centres like Hong Kong and Mumbai could follow suit say by 2015. Audiences could then be denied the best of fare if they are regions that falls under the shadow of theatre stagnation. What this means is that digital is no longer a luxury but a time-boxed necessity. It is about the very survival of theatres and the sooner the Asian exhibition industry can get its act together the better for everybody. Here all stakeholders from corporates to banks, from producers to exhibitors, government and consultants need to develop a local model of business development that helps ease and quicken the transition from analog to digital.
3D Cinema While Asia still grapples with 2D digital cinema, 3D is disrupting the business model in the rest of the world. And the same problem could wash up here too. Initially digital 3D was welcomed by audience but with historical frame rates of 24fps and low-light conditions on screen there have been frequent complaints of fatigue and disinterest. So audiences
have begun to shun 3D in favour of 2D. It will take a couple of years for the next technological development, High Frame Rates (HFR) of 48~60fps per eye coupled with laser projection, to become a reality. The demos of HFR and laser projection at CinemaCon, and other shows since,have been eyepopping. At Ceasar’s state-of-the-art Colosseum theatre where CinemaCon held all movie screenings and demos, the helicopter whirring over the audience was very real and mesmerising. So how does exhibition currently retain audience interest in 3D movies whose releases are increasing by the day? Exhibitors need to tell producers to go slow on 3D till technology improves and they can upgrade their cinemas. And herein lies another rub. Those who invested in 2k digital cinema are now expected to upgrade to 4k and those who opted for 3D would now have to upgrade to 3D HFR. That apart, the xenon lamphouse may also have to give way to laser to up the light on screen from the current 4fl for 3D to the usual 12fl at which 2D projects... And mind you, the industry standard is 16fl! So who picks up the upgrade tab? Time for another round of brainstorming?
Ticket pricing Though it is cheaper to see a movie than experience a 2-hour rock concert or a dance show, yet high rates of tickets remains a perception with movie-goers. What nobody is realising is that government taxation maybe equally responsible for this perception, especially in countries like India, since entertainment tax (ET) is a major component of the final ticket pricing. Given the high cost of initial investment and the maintenance expenses, ticket prices should
actually be higher than what they currently are for theatre owners to announce healthier annual accounts. Not also helping is the internal competition between multiplex owners wherein there is an oversupply of cinema seats in a given catchment area. Again its for cinema owners to sort it out amongst themselves and also lobby with the government for lower taxes.
Theatre maintenance While emerging markets of Asia/ Europe, like Russia, India and China, continue to build new cinemas, it is important that cinema owners and operators take care and ensure highest standards of maintenance of their existing properties. Throughout Asia, one can notice stained carpets, frayed seats, ineffective airconditioning, smelly toilets, broken stair nosings etc. Exhibitors must not take their business for granted and must not depend only on producers and distributors for their business. They must also not blame all the ills of the industry on government or the producers. This is myopic and self-defeating. Instead there must be honest introspection and whatever startling facts emerge must be tackled by all. It is a stringent regimen of maintenance that will ensure theatres remain the favourite destination of gen-next... an attractive destination of entertainment... that compels them to return often.
• INSTALLS •
The Floating Theatre Coolest Place on Earth Movie theatres are inherently awesome places to be on their own, evoking memories of past big-screen adventures and nights spent eating popcorn and candy for supper. For a new film festival in Thailand called Film on the Rocks Yao Noi, an outdoor cinema was constructed in the most unlikely of places: right on top of the water. And it just might be the most amazing place you could ever want to watch a movie. The amazing venue is called the Archipelago Cinema and is tucked away inside a bay surrounded by towering island rocks and lush jungle plants. It’s a natural paradise, and it
just happens to be the perfect spot for a floating movie theatre. The lagoon itself is shallow enough that it turns into a watery beach during low tide. Once the tide shifts, the ocean once again fills the area. Using recycled wood and other materials, a giant modular raft was constructed to hold the audience. Viewers relax on large cushions and enjoy the sounds of the ocean as well as the film on the screen in front of them. The rafts are loosely held together and then anchored to the bottom of the lagoon. This allows the ocean to push and prod the structure while keeping it within a
reasonable viewing angle of the screen. The massive display and projector are secured more firmly to the bottom of the bay, which is probably a good idea considering that these structures house all the important electrical components and wouldn’t take kindly to a dip in the ocean. The viewing raft is designed to be portable, and will likely be used for other events in the future as well. Showings only take place during the evening, and special ambient lighting is used to bring the surrounding island scenery to life. With all the amazing eye candy to be seen, it’s a wonder anyone was actually able to focus on the movie playing, but those who attended have spoken very highly of the experience, which only serves to fuel our jealousy even further. Of course, 2012 was just the first year for this amazing film festival, so we can only imagine what wild things the foundation has planned for the future. April-June 2012
• CINEMA SYSTEMS •
Secondary Lighting Maintenance Another area of concern to more experienced projectionists is the secondary or emergency lighting. These lights are on all the time the public are in the building (even in the auditorium when a film is being shown,) and so are often referred to as maintained lighting. This distinguishes them from some forms of emergency lighting that only operate if there is a mains failure. The secondary lighting is normally run from the main electrical supply during normal operation and automatically changes over to batteries when the main supply fails. There are basically two types of battery system in use today. The Floating system: The charger, batteries, and load are connected in parallel. The charger supplies the load current continuously whilst the batteries remain in a charged condition. The batteries are capable of immediately supplying the load current should the main fail.
The Trickle Charge System: The batteries are maintained in a fully charged condition by the use of a charger which delivers a continuous small current to the batteries, but does not increase the voltage to such a point that they become overcharged and give off excessive gases. The floating system delivers D.C. to the lamps all the time, and the trickle charge system uses A.C. to supply the lamps until an automatic switch or “contactor” changes over to the D.C. from batteries during a mains failure.
should not fit higher wattage lamps as you may overload the circuit. Never use low energy lamps, as these require A.C. and would not be lit when run off the D.C. battery supply. In some situation you may find two lamps together, for example in EXIT boxes. In these cases the two lamps must be clearly marked, indicating which is ‘primary’ and which is ‘secondary’ and their respective voltages.
Depending on the type of installation, the system can be at a lower voltage (110 volts) than the main supply (240 volts). In this case, different voltage lamps must be used, and the maintained AC voltage is supplied by a transformer, often mounted in the battery charger unit.
Before a cinema is allowed to open its doors the secondary system must be fully operational. The task falls normally on the projectionist to ensure that the system is fully functional before the public are admitted. These checks fall into two parts, firstly to ensure that no lamps have failed, and secondary that the batteries are capable of delivering the required power.
Secondary lighting often uses low wattage lamps to conserve power when being run from batteries. You
The first task is easily done as often one of the many duties of a projectionist is to do a daily lamp
• CINEMA SYSTEMS •
check on all the lighting in the building, and replaced any failed lamps, particularly those in public areas.
temperature. A fully charged healthy cell should be approximately 1.21 at 15°C. For every 1 ½ ºC above 15ºC
The second task is often overlooked as the batteries are usually remote in a room of their own; however, if their service is covered on a general maintenance chart their inspection should become a matter of routine. Lead-acid batteries are very hazardous, so make sure that you follow your company’s health and safety policies when undertaking essential maintenance.
They contain sulphuric acid which is corrosive and toxic
They emit a harmful and explosive gas
You can get an electric shock from them
It is generally sensible to take the following precautions: •
Use the correct equipments to top up the cells
Wear rubber gloves and protective clothing
Ensure good ventilation
Make sure that there is no naked light around to cause a possible explosion
Make sure that someone knows where you are and that you can contact then easily
Top up all the cells regularly with distilled or de- ionized water. If the sides of the cell are see-through, do not allow the electrolyte level to fall below the tops of the separators. In solid-sided cells keep the level between ‘max’ and ‘min’. If the electrolyte level has fallen more than 6mm below the correct level, after topping up it is advisable to give the cells an extra charges according to the manufacture instructions. Ensure all the bolts connection the cells together are tight and that they are covered with petroleum jelly for protection against corrosion.
In general, the hazards are: •
revitalizing the electrolyte in the cells.
Use the bulb-type hydrometer to suck up some electrolyte. The specific gravity is read by observing the position of the float against the scale on the glass tube.
add 0.001 to the specific gravity and similarly for each 1 ½ ºC below 15ºC subtract 0.001 from the specific gravity. During the course of year there may be a fall in the specific gravity values obtained from a fully charged cell, but acid should never be added. Seek the advice of the cell supplier as their technicians are fully trained in
The voltage of each cell should be checked regularly using a voltmeter or multimeter. It should be 2.3 volts for a fully charged healthy cell. It is advisable occasionally to inspect each cell in the battery to check their appearance. Healthy cells, when fully charged, show a marked contrast between the dark brown positive and light grey negative plates. Any cells showing a bad colour of plates, low voltage, or having a low specific gravity should be regarded as suspect, and expert advice should be obtained.
If despite all precautions you do get acid on your skin, wash it off immediately with lots of running cold water. The specific gravity of the electrolyte in each cell will vary according to the state of the cell’s charge. All cells should be checked regularly with a hydrometer. The specific gravity of the electrolyte also varies with
Banks of cells connected in series
• TECHNOLOGY •
Technological Innovations for Cinema Exhibition After digital sound in the 1990s, if it was thought that digital picture in the last decade completes the circle and there is no more to it then you could not be more wrong. Nothing is permanent in the digital world... though humans remain analog forever! Both picture and sound are in for some exciting innovations in the near future that will enhance the movie going experience for the audience and make it all the more immersive. Everybody in the technology ecosystem is working on overdrive (and overtime!) to get the audience a more natural feel of the movies, right in the middle of the action, just as the director intended.
Picture If 2k was close to resolution of film then 4k definitely equals if not betters film quality. 2k refers to 2048x856, for 2.39:1 aspect ratio, which is 1.75 million pixels of resolution whereas 4k refers to 4096x1714,for 2.39:1 aspect ratio, which is 7 million pixels of resolution, 4 times more! Since the turn of the millennia we had been hearing of 2k digital cinema sweeping the world but it began to pick up momentum only by the end of the decade. While 50% of the world’s screens are supposed to have gone digital it is an opportunity for rest of the screens to leapfrog straight to 4k as it is definitely the picture technology of the near future. The advent of digital 3D has brought into sharp focus the inadequacy of current frame rates and screen light. 24fps was the limitation with film but now since film is history and digital
– Sandeep Mittal
Barco Auro-3D 11.1 at Wangfujing Cineplex, China
technology can quite easily absorb Higher Frame Rates (HFR) the debate is on as to what should be the right HFR. For 2D it’s a toss-up between native 48fps and 60fps for the moment but the ambition is to scale it up electronically to 120fps for each eye which in 3D terms means 240fps! Similarly for screen light, the academy standard is 16 foot lamberts but most screens manage upto 12 foot lamberts in 2D which is still okay. What is worrying is the number for 3D. It’s astonishingly low at 4 foot lamberts, which is what makes 3D movies annoyingly dark. Imagine Avatar 3D with 12~16 foot lamberts of light on screen. It would have been so much better! However xenon lamps can be only so much bright as they are currently are and that too with a lot of heat and power. Enter long-life, lowenergy, cool lasers. They can manage much more without any attendant risks or limitations.
Sound Digital surround sound first developed in the 1990s has been stagnating since no major development was reported all through the last decade except for 5.1 becoming 7.1 but that too is not widespread. While more number of channels has been talked about it is only when a major industry player like Dolby introduces Atmos that everybody sits up and takes notice. Dolby is not talking about 5.1/7.1 encoded sound that is matrixed at the booth into more channels and loudspeakers in the auditorium.
Iosono 3D at CGV Cheongdam CineCity, Korea
â€˘ TECHNOLOGY â€˘
and above all additional loudspeakers in the ceiling aimed down at the audience. And oh yes, a couple of surround subwoofers located at the two rear corners of the auditorium. No wonder, loudspeaker companies are delighted with the development and are looking forward to mainstream deployment in the next couple of years with anticipated glee whereas the exhibitor is quite rightly indignant and dreading this development! Dolby Atmos - Longitudinal Angle of Top Surround Speakers
Dolby is talking about mixing more discrete channels at the postproduction stage and creating a complex soundfield that is simply decoded at the cinema with a matching processor.
with Auro in association with Galaxy Studios, Iosono from Germany and Imm from Spain. The last one perhaps wanting to emulate their football compatriots and come up with a champion sound experience!
3D being a well-recognised term now, the next sound formats are being dubbed 3D Sound as it envelopes you from all angles, all planes. 3D Sound is an attractive term to gain rapid acceptability in both the industry community and the audience.
What all the new 3D sound formats mean for the exhibitor are more number of loudspeakers to invest in and the associated wiring apart from an upgrade of the cinema processor. Its more loudspeakers behind the screen, more loudspeakers on the two side walls
Dolby is not alone in this development but being a major player in the industry has the ear of the producers and the exhibitors, an important prerequisite for the introduction of any new technology in cinema exhibition. Other players include Barco of Belgium
Change is inevitable and if both the industry and the patrons see value in new sound technologies then the exhibitor has no option but to invest to keep their cinemas humming. So 4k 3D HFR laser projected and 3D Sound are the buzzwords to watch for in the near-term future of cinema technologies for exhibition.
Iosono 3D at The Grand Cinema Digiplex, Romania
Imm Sound from Spain
Cineasia, where Asian cinema exhibition and distribution professionals come to do business ended with an awesome response from the exhibitors and visitors. CineAsia, the only international convention dedicated to the Asian cinema exhibition and distribution community screened major Hollywood films and presented an educational program on issues affecting the Asian cinema exhibition industry. CineAsia also presented Awards of Distinction to Asian film stars and industry luminaries. The 2011 annual CineAsia convention was the more relevant than ever, as the movie industry executives from the east and west were gathered to share their knowledge, network, preview new products and technologies, and get
an advance look at upcoming movie fare. The event had staged at the Hong Kong Convention and Exhibition Centre, from December 6 to 8 in year 2011. CineAsia hosted the regional premieres of four eagerly anticipated Hollywood studio releases. Walt Disney Studios Motion Pictures International has present Steven Spielberg's World War I epic War Horse, based on the beloved novel by Michael Morpurgo that also inspired the current Tony Award winning Broadway production. Paramount Pictures International showcased the return of Tom Cruise in Mission: Impossible-Ghost Protocol, the live-action debut of Oscar-winning Pixar director BradBird. Robert Downey, Jr. and Jude Law reunited with director Guy Ritchie for Warner Bros. Pictures International's Sherlock Holmes: A Game of Shadows, and Matt Damon stars in the latest film from director Cameron Crowe, 20th Century Fox International's We Bought a Zoo.
Attendees also enjoyed an early peek at the new movie year thanks to product presentations from Paramount Pictures International, Sony Pictures Releasing International, 20th Century Fox International, United International Pictures, Universal Pictures International, Walt Disney Studios Motion PicturesInternational and Warner Bros. Pictures International. The major highlights at the Cineasia 2011 were by : - Sponsor: Doremi Cinema (Theatre 2 Foyer, Level 1, HKCEC) International Cinema Technology Association (ICTA) presented by Moderator: Dwight Lindsey, CEO, Schneider Optics, Inc. A Studio's Perspective on Light Levels presented by Georgina Bates, Director, Int'l Post Production Services - Asia. The Importance of Screen Selection in Achieving Correct Light Levels in Cinemas Presented by Andrew
Robinson, CEO, Harkness Screens International. High Frame Rates for Digital Cinema presented by Reiner Doetzkies, Director of Technology, DLP Cinema. Server Technology of Higher Frame Rates presented by Mike Archer, Vice President, Digital Services, Doremi Cinema. RealD & the Royal Opera House Present Madam Butterfly 3D presented by Joe Peixoto, President, Worldwide Cinema, RealD. Making Connections - New Directions in Distribution for Feature and Alternate Content presented by Adrian McCarten, Digital Content Distribution Executive, Deluxe. Enticing Customers to the Cinema presented by Don Savant, President of Theatre Development & Film, IMAX, China. A Seminar on Spotlight on the Growth Markets of Southeast Asia Co-Moderators: Rance Pow, CEO, Artisan Gateway Mike Ellis, President and Managing Director, MPA Asia Pacific Presented by Brian Hall, President & CEO, Megastar Cinemas, Kenny Wong, CEO, TGV Cinemas, Edgar Tejerero, Senior Vice President, WATC/SM Cinemas. Southeast Asian countries came into their own as key engines of growth for the region. This session explored several exciting markets and discuss important issues of today and the future with a snapshot of countrylevel industry highlights, development and growth.
A seminar by Co-Productions in the Asia-Pacific Region,Moderator: Harris Tulchin. Panelists: Sanford Panitch, President, Fox International Productions Terence Chang, Producer Nansun Shi, Producer, Film Workshop. Product Presentation by United International Pictures, Paramount Pictures International and Universal Pictures International Presented by: Han Seng Lim, Executive Director, Sales & Marketing, United International Pictures SE Asia.
Delegates from India
CinemaCon, the Official Convention of The National Association of Theatre Owners was delighted to return to Caesars Palace and to have The Coca-Cola Company on board as its Official Presenting Sponsor for the second straight year. CinemaCon, the largest and most important annual gathering of cinema owners and operators from around the world that more than 5,000 motion picture professionals from all facets of the industry - from exhibition and distribution, to the equipment and concession areas - all on hand to celebrate the movie going experience and the cinema industry. Commenced on April 23-26, 2012 at Caesars Palace, Las Vegas the response to the show was just as amazing as it could be. From exclusive Hollywood product presentations highlighting a slate of upcoming films, to must-see premiere feature screenings, to the
biggest stars, producers and directors, CinemaCon helped jumpstart the excitement and buzz that surrounds the summer season at the box office. In returning to Caesars Palace, CinemaCon was able to offer its delegates a modern and upscale conference facility and a one-ofakind movie going experience in the Colosseum, the 4,200 seat theatre and crown jewel of Caesars Palace. CinemaCon was delighted to have both the International Cinema Technology Association (ICTA) and
National Association of Concessionaires (NAC) as its trade shows partners. “Without a doubt, the success we achieved in year one exceeded our expectations and we have our friends in distribution and exhibition to thank. The support CinemaCon received in our inaugural year was simply amazing. But now it’s onto year two and we need to raise the bar even higher – which is a challenge we embrace wholeheartedly,” noted Mitch Neuhauser, Managing Director of CinemaCon before the show commenced on April 23rd 2012. “To have The Coca-Cola Company returning as our Official Presenting Sponsor is an incredible vote of confidence and reinforces Coke’s dedication to promoting the theatrical experience worldwide. They are a wonderful partner to work with and we are excited they will be joining us in our return to Caesars Palace.”
Some of the Award winners at the show were – •
Jeffrey Katzenberg was honored as 2012 pioneer of the year at CinemaCon in las vegas
Delfin Fernandez received CinemaCon “international achievement award in exhibition”
Timur Bekmambetov received the CinemaCon international filmmaker of the year award
Chloë Grace Moretz received “cinemacon 2012 female star of tomorrow honors
Sylvester Stallone received CinemaCon career achievement award”
“2012 CinemaCon Passepartout Award” was presented to Universal Pictures International’s Jack Ledwith
Jennifer Garner received “CinemaCon female star of the year award”
CineEurope 2012, which was held from 19th June to 21st June at El Centro de Convenciones Internacional de Barcelona (CCiB) in Barcelona, Spain, was an event where the needs of the movie theatre industry were showcased and fulfilled. A large number of cinema exhibition and distribution professionals from Europe, the Middle East and Africa (EMEA) visited CineEurope to view the latest major cinema releases and extensive product reels, gain valuable industry information at educational seminars, find new products, services and technologies and network with peers at fun-filled special events. CineEurope 2012 held at El Centro de Convenciones Internacional de Barcelona (CCiB) in Spain is located in the Diagonal Mar area. The conference centre is approximately 10-15 minutes from the city centre via the Metro and is in close proximity to one of the most beautiful beaches of Barcelona. For more than 20 years, CineEurope has been the largest, most prestigious and longest running pan-European convention and trade show for the cinema exhibition and distribution communities. It's a one stop for the companies where they reach as many important movie theatre/cinema decision makers, movie industry professionals from all across Europe. Some of the new products and technologies that were unveiled at the annual CineEurope convention are as follows : Digital-cinema technology leaders Barco and Doremi showcased complete projection and play-out packages to the market. These
packages have been installed and certified in the factory, offering true turnkey cinema. The DP2K-Cx models include a Barco digital-cinema projector, lamp, lens, Doremi IMB and ShowVault. The DP2K-Cx systems support 3D High Frame Rates at high bit-rates for optimum viewing quality, making them future-proof. The Barco DP2K-12Cx is a compact and budget-friendly digital-cinema solution for small theatres and independent cinemas.
increases the total number of output channels from 16 to 24. The card will be offered as an optional extra. An AP20 with the standard 16-channel output covers all scenarios for 5.1 and 7.1 sound formats. With the 8 Channel Expansion Card, the additional outputs allow for biamping or tri-amping.
Systems greater than 7.1.
Christie presented an access to a world of audio and video content with the Christie SKA-3D-the Swiss army knife of cinema processors. This powerful product innovation delivers flawless audio performance and 2D/3D image playback from virtually any content source on any brand of projector with separate L/R eye dual DVI inputs.
Dolby presented the most significant development in audio since the arrival of surround sound is here. Developed with input from professionals throughout the movie industry, Dolby Atmos represents a dynamic shift in audio, reinventing the traditional surround sound methodology and offering a complete platform for sound now and well into the future.
Datasat Digital Entertainment introduced their new 8 Channel Expansion Card. When used with an AP20 audio processor, the card
Doremi unveiled CineAsset ,a complete mastering software suite that can create encrypted (pro version only) and unencrypted DCI-
SUMMER 2012 compliant packages from virtually any source. The use of the CineAsset database simplifies asset management and network ingesting. GDC Technology unleashed the SX3000 Standalone Integrated Media Block (IMB) significantly lowers operation, maintenance and installation costs, as it does not require a costly server attached to each IMB. In addition to its High Frame Rate (HFR) capability in both 2D and 3D, the SX-3000 has the added benefit of supporting digital connectivity for alternative content such as 3G-SDI and HDMI input with image-scaling from HD to 4K. Harkness Screens announced the Digital Screen Checker, a costeffective tool for projection managers/projectionists or service engineers to monitor screen brightness and check lamp life. The battery-powered Digital Screen Checker is a luminance meter that provides instant readings for both 2D and 3D screens and is calibrated to be accurate to within 0.5fL, even in the lower ranges used in 3D projection. Kinoton has extended its popular cinema automation range with the advanced DCA Digital Cinema Automation based on state-of-theart CAN-Bus technology. The innovative DCA system integrates any d-cinema server and audio processor fast and seamlessly with conventional auditorium functions like curtain and masking controls, auditorium lights or door openers, guaranteeing fully automated shows. MasterImage 3D introduced MICLARITY3D, a 3D digital-cinema system that brings immaculate 3D images to theatre guests and operational flexibility to theatre owners. Providing unparalleled color fidelity and enhanced light efficiency, the MI-CLARITY3D creates optimum picture quality in 3D presentation. OSRAM offered the latest generation of XBO lamps. The Oscar-winning
XBO lamp was advanced for the new requirements of larger screens. Current digital-cinema lamps provide much higher luminance with a longer lifetime. Lamp types are available from 1200 W to 8000 W, and compact design means easy handling. QSC Audio showcased the DXP Digital Expansion Processor works with QSC's DCP 200 and 300 cinema processors to create a powerful networked audio solution. Digital audio and control information is routed to the DXP over Ethernet and then to QSC DCA Series amplifiers connected to the DXP via the QSC DataPort interface. Qube unveiled the Qube Xi 4K Integrated Media Block,which uses a high-speed redundant Gigabit Ethernet-based system, which will allow exhibitors to place their storage servers anywhere within, or even outside, the theatre complex. Vista Entertainment Solutions present is a comprehensive group booking system that allows users to book and sell theatre space to large groups or distributors for previews. XPAND announced small-sized cinema 3D glasses that bring undisputed XPAND 3D quality to even the youngest cinema audiences. Much lighter in weight, these new glasses make every moviegoer's experience in 3D an entertaining event. The others present were Volfoni, Ymagis , VCL Sound Experience, USHIO, Unique Digital Cinema, Sony Digital Cinema, Skeie, SIVE CompraEntradas, Sitland, Seating Concepts, Schneider Optics, Rollover, Proyecson, NCR Corporation, Mundocolor Illuminaci贸n/Grupo MCI, Magna-Tech, Kelonik Cinema Sound, INTEG, imm sound, GXM, All Advanced Optics, Cine Project, CineDigital Network, Cinemeccanica, Digital Media Solutions, Eomac inVISIBLE, Euroseat, Ezcaray Internacional and FOCUX Technology.
23-24 JULY CINEMA INDIA, MUMBAI, INDIA www.cinemaindiaexpo.com
27-29 JULY CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
19-23 AUGUST AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
AUTUMN 2012 SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
5-8 NOVEMBER SHOWEAST, FLORIDA, USA www.showeast.com
WINTER 2012 11-13 DECEMBER CINEASIA, HONG KONG www.cineasia.com
SPRING 2013 12-14 MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com
15-18 APRIL CINEMACON, LAS VEGAS, USA www.cinemacon.com
SUMMER 2013 24-27 JUNE CINEEUROPE BARCELONA, SPAIN www.cinemaexpo.com
23 - 24 July 2012 Renaissance Convention Centre Hotel, Mumbai, India Cinema India has announced the 12th Cinema India convention and trade show on July 23 and 24 July, 2012, at a 5 star venue of Renaissance hotel convention centre in Mumbai. Cinema India Expo has gained the position of India's leading trade show and conference for the digital cinema industry in India and worldwide. It is a gathering of the global digital cinema community for face-to-face product exploration, networking, and business development focused on digital cinema in India. Nearly 9000 single theatre and 1500 multiplex screens are anticipated to migrate to digital in a year from the show date. Also, Hollywood in India will soon be all-digital. The tremendous business opportunity as India transforms to 'All Digital', translates at Cinema India as it builds the momentum to enhance the cine
viewing experience to state-of-theart. Global suppliers of digital theatre technology in 2K, 4K, 3D, and the rest of the products and services desire an opportunity in India to debut their latest products. Cinema India responds to this need.
Big Brands on the show floor Leading companies live Scrabble Entertainment, Barco, Christie, Harkness Screens, Osram, Callystro Infotech, Focux Technologies and United Media Works.
Scrabble Scrabble, India's first and only 2K DCI Compliant Cinema deployment entity is the presenting sponsor for Cinema India Expo 2012. The company that has already contracted with the leading Exhibitors, Producers & Distributors in India to facilitate this conversion, aims to convert every multiplex in the
country to the 2 K Digital Cinema Platform. Ranjit Thakur, CEO, Scrabble Entertainment believes "Cinema India 2011 has established a world class platform as a standalone industry convention at the Renaissance, that delivered a purposeful conference programme and a high profile gathering of industry players which drive the growth and the digitisation of screens and represents major investment in cinema technology in India and worldwide."
Barco Barco that offers a full palette of products and services to provide exhibitors and moviegoers with the ultimate cinema experience is the Registration and Lanyard Sponsor. For more than a decade, Barco has been bringing movie magic to life by delivering superb digital projection quality and breakthrough technological innovation.
Christie Christie, market leader in the Digital Cinema Projection will exclusively showcase its robust projection technology at the Demo Suite (Grand Ballroom 3). With expertise in professional projection systems for more than 80 years, Christie has established a global reputation as the leading manufacturer of a variety of display technologies and solutions. The broad range of technologies offered by Christie include LCD and DLP display technology, LED illumination, projectors, displays, rear screen projection modules, and cutting edge 3D, virtual reality and simulation.
Harkness The world's largest manufacturer of projection screen surfaces, Harkness will showcase its latest innovations at Cinema India Expo 2012.
"Cinema India attracts the decision makers and is
Today, Harkness is the world's largest cinema screen manufacturer, supplying thousands of screens annually to customers in over 60 countries.
to all delegates creating a meaningful and
Harkness Screens Matt Plus, Perlux, and Spectral brand products are helping the cinema industry go digital while at the same time reducing operating costs. Harkness screens are crafted and engineered using the highest quality materials ensuring an outstanding finish with excellent brightness, colour rendition, and contrast.
QSC Audio/Pro Visual QSC Audio, a globally recognized leader in professional audio, has confirmed its participation at 12th Cinema India Expo. QSC has a threedecade history of bringing out the magic in cinema sound. QSC Audio over the years has built a reputation as a major manufacturer of complete cinema solutions. With processing, amplification, and loudspeakers integrated into a seamless whole, QSC is the complete solution for all your cinema sound needs. Pro Visual Audio, the leading distribution firm in the areas Acoustic and Audio Visual equipments is the distributor of QCS Audio in India.
Osram Osram, the global company that has been "passionate about intelligent light" for more than 100 years will display its latest innovations for the digital cinema market.
Callystro Infotech Callystro Infotech, that offers comprehensive ticketing, information and analysis solutions for Multiplex and single screens have
ideal for international companies seeking partners to debut their latest products, services and technology, our team provides extreme hospitality productive industry gathering" says Anil Anil Chopra Managing Director, DCI
Chopra, Managing Director, DCI.
confirmed its participation in Cinema India 2012.
panel discussions and the conference sessions at the 12th Cinema India Expo and Conference.
FOCUX Technologies FOCUX Technologies that has received high recognition from consumers for its patented video and audio products will showcase its state of the art technology at Cinema India Expo 2012. With its cuttingedge digital technology and a powerful R&D team, FOCUX designs an innovative line of products. The numerous patented technologies not only provide the perfect 3D image, but also reproduce the most complex multi-channel sound effects.
United Media Works United MediaWorks has also confirmed its participation. UMW has developed its own proprietary technology product - Digital Cinema Server (DIGIBUTOR) aiding the digital distribution of the film and a portal for digital cinema services.
Filmmaker Ramesh Sippy to deliver the keynote address Renowned filmmaker, Ramesh Sippy who is the President of Film and Television Producers Guild and the Chairperson at the National film development Corporation, will deliver the keynote at a conference session on 23rd July 2012. Kabir Bedi will present and moderate the conference sessions. Kabir Bedi, India's most celebrated international actor will present and moderate the
Conference One of the main attractions of Cinema India is the Conference Program. CIE 2012 features the topics of interest and concern to the industry. The Conference theme this year is: The next upgrade in digital quality. The speakers will be the who's who of the global industry. The 2-day conference program features the big questions facing theatre and multiplex chains-the debate on resolution upgrade, enabling high quality 3D, screen quality, Hollywood growth in India, market intelligence, futurescape in digital platforms for movies promotion. The conference topics that are to be discussed at Cinema India 2012 are Higher Frame Rate [HFR] or 4K - A great debate, Hollywood's growth in India, Digital Cinema's biggest nightmare - light levels on screen, Digital Cinema in India - Countdown to 100% digital, Futurescape in Digital Platforms for movies promotion/movie, 3D Adaptability to higher frame rate and Creating 3D content. Digital Cinema chain fundamentally originates with the acquisition and production chain and Cinema India is the destination for digital cinema technology in digital cinematography, 3D, 4K, Motion Capture and Virtual Production.
PREVIEW The 6th edition of Cinema Today, the only kind of its exhibition for the Complete Cinema, Television & Entertainment industry is scheduled for 27, 28 & 29 July 2012 at Chennai Trade Centre, Chennai. With the ardent support of the film industry related associations, exhibitors & trade visitors, the show has grown in strength with each passing year to become one of the top events of its kind in the industry. The Expo is a unique business, networking, partnership building and marketing proposition which will throw light on impact of latest technology. Its an International show for the Complete cinema, theatre, media & entertainment industry. CinemaToday - Exhibition for Theatre, Studio, Auditorium, Cinema & Entertainment Industry has seen many changes. Over the last few years, the number of multiplexes in India has grown exponentially. Single screens are being upgraded to multiplexes (4–6 screens ) which are expanding rapidly in major metropolitan cities as well as second and third tier cities. The increase in the number of malls, the common choice of location for multiplexes, is a key enabler of the rapid roll out of multiplex screens. Cinema chains like INOX, PVR Cinemas , Cinemax India, Sathyam Cinemas are changing the rules of exhibition in the world’s largest film industry with significant
27 - 29 July 2012 Chennai Trade Centre, Chennai, India expansion plans. India is also witnessing the recent emerging trend of megaplexes with 14–15 screens planned by Adlabs Cinemas & Mexico-based player Cinepolis. Technologies such as Digital theatrical distribution with digital prints leading to investment in digital screens, 3D technology, upgradation of infrastructure in theatres, Globalisation in Indian film exhibition wherein International players are entering India after Government policies allowed 100% FDI are some of the factors fuelling the industry growth. It is in this scenario that Buysell is organizing ‘CinemaToday Expo’ scheduled for 27, 28 & 29th July 2012 at Chennai Trade Centre, Chennai, the only show in South India showcasing the latest technology , equipment, products and services related to the Theatre, Studio, Auditorium, Cinema & Entertainment Industry all under one common roof, attracting the target trade visitors from all over South India & Sri Lanka. The Exhibit profile consist of Projection Equipment, Sound Systems, Theatre Seating Facilities, Ticketing Hardware & Software , Acoustics, Theatre Lighting, Fabric & Wall Coverings, Flooring / Carpets, Screens, Theatre Architecture / Construction, Indoor Entertainment Machines, Digital Cinema Equipment, Lighting, Lobby displays and Theatre Signages.
India is the largest film producing country & the second fastest growing economy in the world. Opportunities in India in film, television, radio and new media (technologies like 3D, IPTV, Ultra-HD) are growing. The Indian media and entertainment industry is going through a metamorphosis due to the digitization of content and delivery platforms. With experts predicting that India would emerge the least affected among the countries of the world from the current economic crisis and the sheer size of the market in India make it the place to watch out for in the days to come. The Exhibition is held in India because it’s a very big market and the following reasons. •
Indian media and entertainment industry is one of the fastest growing sectors with a market size of 584 billion in 2008, recording a growth of 12.4 per cent and projected to reach 1052 billion by 2013
India is the highest producer and consumer of filmed entertainment
The cinema exhibition industry in India is growing at 10% per annum driven by multiplexes, which are expanding rapidly in major metropolitan cities as well as second and third tier cities.
The South Indian cinema industry is pegged at 17.3 billion with the domestic theatrical revenue stream being most dominant, accounting for nearly threefourth (around 12.6 billion)
The four southern states have 50 per cent of the theatres in India and almost 25 per cent (1,200 theatres) of the 5,000 theatres in the south are digital
Growth opportunities galore as some of the world’s largest multiplex chains are foraying into India.
F U T U R E
R E L E A S E S
A glimpse of movies coming to Asia this autumn or laterâ€Ś Ice Age: Continental Drift
Production 20th Century Fox
Production 20th Century Fox
Director Steve Martino
Director Akiva Schaffer
Starring Ray Romano, Queen Latifah
Starring Ben Stiller, Vince Vaughn
Genre Comedy, Family
Genre Comedy, Sci-Fi
The Dark Knight Rises
Production Warner Bros.
Production Columbia Pictures
Director Christopher Nolan
Director Len Wiseman
Starring Christian Bale, Michael Caine
Starring Colin Farrell, Kate Beckinsale
Genre Action, Thriller
Genre Action, Thriller
Step Up Revolution
Diary of a Wimpy Kid: Dog Days
Production Summit Entert.
Production 20th Century Fox
Director Scott Speer
Director David Bowers
Starring Ryan Guzman, Kathryn McCormick
Starring Zachary Gordon, Robert Capron
Genre Comedy, Family
F U T U R E
The Bourne Legacy
Production Entertainment One
Director Tony Gilroy
Director David Cronenberg
Starring Jeremy Renner, Rachel Weisz
Starring Robert Pattinson, Juliette Binoche
Genre Action, Thriller
The Expendables 2 Production Warner Bros.
Director Jay Roach
Director Simon West
Starring Will Ferrell, Zach Galifianakis
Starring Sylvester Stallone, Jason Statham
ParaNorman Production Columbia Pictures
Production Focus Features
Director David Frankel
Director Sam Fell
Starring Meryl Streep, Tommy Lee Jones
Starring Casey Affleck, Tempestt Bledsoe
Genre Animation, Thriller
The Odd Life of Timothy Green
Production Universal Pictures
R E L E A S E S
The Oogieloves in the BIG Balloon Adventure Production Walt Disney
Production Kenn Viselman
Director Peter Hedges
Director Matthew Diamond
Starring Jennifer Garner, Joel Edgerton
Starring Toni Braxton, Cloris Leachman
Genre Comedy, Drama
F U T U R E
R E L E A S E S
Sparkle Production Warner Bros.
Production Columbia Pictures
Director Todd Lincoln
Director Salim Akil
Starring Ashley Greene, Sebastian Stan
Starring Jordin Sparks, Whitney Houston
Genre Supernatural Thriller
Genre Drama, Musical
The Tall Man
Hit and Run Production Open Road Films
Production Image Entert.
Director Dax Shepard
Director Pascal Laugier
Starring Dax Shepard, Kristen Bell
Starring Jessica Biel, Jodelle Ferland
Genre Action, Comedy
Genre Suspense Thriller
The Possession Production Columbia Pictures
Director David Koepp
Director Ole Bornedal
Starring Joseph Gordon, Michael Shannon
Starring Jeffrey Dean, Kyra Sedgwick
Lawless Production The Weinstein
Production Roadside Attractions
Director John Hillcoat
Director Jamie Bradshaw
Starring Shia LaBeouf, Tom Hardy
Starring Ed Stoppard, Leelee Sobieski
Genre Sci-Fi, Thriller
F U T U R E
R E L E A S E S
Ek Tha Tiger
Heroine Production Yash Raj Films
Production Utv Motion Pictures
Director Kabir Khan
Director Madhur Bhandarkar
Starring Salman Khan, Katrina Kaif
Starring Kareena Kapoor, Arjun Rampal
English Vinglish Production Balaji Motion Pic.
Production Hope Productions
Director Shirish Kunder
Director Gauri Shinde
Starring Akshay Kumar, Sonakshi Sinha
Starring Sridevi, Amitabh Bachchan
Published on Jul 15, 2012