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This issue of TW has two sets of page numbers - International pages TW-1 to TW-64 for TW, and India pages TM-1 to TM-36 for TM. TM is inserted between pages TW-50 and TW-51 of TW.
Making A Majestic Glow
26 29 31
It's 3D 'Film,' Again!
Selling Movie Tickets Like Airlines Look: Designer Eyewear in 3D! CINEMA SYSTEMS
Review - ShowEast Preview - CineAsia Preview - Cinema Today
Extra Large Audio for XL Cinema Projection Series - XXVII
Keeping within the law
entertainworld F U T U R E R E L E A S E S
Mindshare M TW EDITORIAL
DIGITAL 3D IN ASIA – NOW HERE! Digital 3d has already been in Asia for some time now so the headline may seem redundant. But it is necessary to assess the advent of a new technology platform not from the industry buzz at tailored or hyped media events but from the buzz on the street. Glancing at mainstream newspapers in India one can see not just advertisements from multiplex circuits but articles from journalists on what digital 3d as a theatrical experience is all about. In a country and by extension in the developing regions of Asia where d-cinema of the 2k and 4k variety is yet to be adopted in numbers that would constitute critical mass the initial signs of a digital 3d rollout augurs well for leapfrogging the technology divide. The penetration of dcinema and e-cinema in India is less than ten per cent and this too after a decade of struggle! Digital 3d should add to the momentum such that the next ten per cent should take just three years, which would have otherwise taken five.
In this respect James Cameroon’s ‘Avatar’ can be a game changer. His earlier ‘Titanic’ helped increase Hollywood’s pie in the Asian exhibition cake reinforcing the viewpoint that great software can propel technology adoption. If ‘Avatar’ and the slew of forthcoming Hollywood releases, and as importantly, local releases in regional languages, can crest the buzz such that the digital divide is won forever. What was dreamt in industry meets since 2000 would finally come true, albeit ten year later! If destination cinema is ahead can home entertainment be far behind? Television kept pace by releasing 21:9 formats and is now working hard on 3d which should debut soon. Over to cinema to take us to the next frontier … 6d?
Sandeep Mittal Editor / Publisher
Value - INR 150 (US$ 15)
Issue # 44 / January-March 2010
Never doubt that a small group of thoughtful committed people can change the world. Indeed, it is the only thing that ever has.
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Bhavanashi Ramakrishna Bobby Chetia Mohanraj P Raghavendra T Yashodhara S Contributing Writers J. Sperling Reich Printing Ramya Reprographic, Bengaluru Published by Sandeep Mittal on behalf of Sandy Media 231, 7th Cross, Indiranagar 1st Stage, Bengaluru 560 038, India Phone +9180 2527 2812 Fax +9180 2521 5094 firstname.lastname@example.org www.sandy.in Regional Offices 51 Regency Chambers, National Library Road, Bandra (W), Mumbai 400 050 Phone +9122 2643 9732 Telefax +9122 2640 5023 67 Masjid Road, Jungpura Bhogal, New Delhi 110 014. Phone +9111 2437 8061 Telefax +9111 2437 4848 B5, 2nd Floor, Gems Court, 14 Khader Nawaz Khan Road, Nungambakkam, Chennai 600 006 Phone +9144 2833 0906 Telefax +9144 2833 0907 RNI # KARENG02795/10/1/2002-TC Layout & Graphic Design Raghavendra T
CINEMASCOPE It’s been eleven years now since TW (TheatreWorld), began showcasing the Show Business in its own inimitable style. Evidently, it’s been a kaleidoscope of the global motion picture exhibition industry, as well as an effective interactive platform between the industry and the wide spectrum of professionals associated with it: architects, acousticians, interior designers, technocrats of sound and projection, ticketing, concessions consultants, and, of course, the cinema builders! Due to the kind of content it has been churning out issue after issue, there had been a persistent demand from discerning readers that the magazine should have a letters column through which they could express their views and share information. Admittedly, we did not realise that our effort would be valued so high, which was why we did not contemplate having a letters column so far. It’s been a fulfilling factor too for us. On completion of a decade of striving existence, we are pleased to commence a Cinemascope column under which our discerning readers can share their views. We invite all our readers to send their opinions as well as suggestions relating to the industry and our effort in making it better. It may kindly be noted that for convenience of lucidity, the letters may be edited suitably, and Cinemascope retains the right to accept or reject any letter depending on the merit of the subject discussed. So, please do send in your views to Cinemascope. Mail your feedback to email@example.com
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.
IMAX Makes Another Big Pitch in Asia IMAX is making a big pitch for its big picture in Asia. Continuing the dynamic strides it had been making for few years now, particularly in China, the large format movie major has not only signed major theatre deals but also broke new grounds of moviemaking, enabling the Chinese movies look 'larger' than ever. the appeal of our new digital projection system and our expanded film programming for the region," said IMAX CEO Richard L. Gelfond. "Entering into partnerships with wellknown, experienced entertainment companies such as Guangzhou Jinyi Film & Television Group, helps us expand our audience base, strengthen the IMAX brand and drive interest from other exhibitors in Asia who want to remain competitive in the market."
IMAX Corporation, and Guangzhou Jinyi Film & Television Group, Co. Ltd., a leading entertainment developer and exhibitor in China, announced an agreement to open four IMAX theatres in China. The first three installations are scheduled to be completed during the second half of 2011 in the cities of Chongqing, Tianjin and Shenyang. The fourth installation is scheduled for 2012 in a yet-to-be determined location. Each IMAX theatre will be part of a newly constructed multiplex, and each will utilize IMAX's digital projection technology. There are currently 81 IMAX theatres scheduled to be operating in Asia by 2014, including over 40 scheduled to be open in China by 2012. To date, IMAX has signed contracts for over 220 IMAX digital projection systems
worldwide, with more than 100 currently in operation. "Including IMAX theatres in these new locations will provide our customers with the most immersive premium moviegoing experience on the planet, which is becoming increasingly important as the technologies in regular movie theatres and in the home continue to improve," said Shirely Ye, General Manager, Guangzhou Jinyi Film and Television Investment Group, Co. Ltd. "With mainstream Chinese movies now being added to IMAX's usual slate of Hollywood blockbusters, the decision to enter the IMAX business was easy to make. We're very excited to enter the IMAX business during such a pivotal time." "We believe our network growth in Asia is gaining momentum thanks to
"China is the fastest growing exhibition market in the world, and Guangzhou Jinyi Film & Television Group's experience in the exhibition business with both Hollywood movies and mainstream Chinese films makes them an ideal partner as we continue to build our presence in the region," added Don Savant, IMAX's Senior Vice-President and Managing Director, Asia Pacific. The four-theatre deal is the second multi-theatre announcement between IMAX and a Greater China area exhibition company in three months, following the June agreement between IMAX and Chinese film studio Huayi Bros. to release mainstream Chinese films to IMAX theatres in China and other parts of Asia. IMAX, Huayi Bros. into Chinese Event Movies: IMAX and Huayi Bros. Media Corporation Ltd., China's
Guangzhou Jinyi: Leading Chinese Cinema Established in 2004, Jinyi owns a total of 19 multiplexes with an aggregate of 150 screens in Guangzhou, Beijing, Tianjin, Xiamen, Fuzhou, Wuhan, Suzhou, Shenzhen and Chongqing.
This screen count is outside the number of other affiliated cinemas, which makes the company as the country's largest exhibitor. The company has a backlog of over 20 cinemas contracted (not
including affiliated cinemas), which are located in Shanghai, Shenyang, Jinan, Nanjing, Hangzhou and Xi'an. Jinyi's strategy is to develop the cinema business throughout China.
largest privately owned media group, have entered into a deal to release up to three movies, beginning with the release of the highly-anticipated upcoming Chinese film Aftershock to IMAX Theatres in China, other parts of Asia and key North American markets in July 2010. Directed by renowned director, Feng Xiaogang, Aftershock will be the first mainstream Chinese movie and the first mainstream commercial movie outside the US to be digitally re-mastered into the unparalleled image and sound quality of IMAX's format. The multi-picture agreement between IMAX and Huayi Bros. Media will capitalize on the growing size and scope of the IMAX theatre presence in China and throughout Asia. In addition, the agreement will allow both companies to bring outstanding Chinese movies, enjoyed by millions of Chinese audiences including those outside China, to mainstream global audiences in a new immersive way. IMAX anticipates that Aftershock will play in 25-30 IMAX theatres in Greater China and other parts of Asia when it opens next summer. "It's our great honor to be working with Huayi Brothers, China's undisputed leader in the movie industry and acclaimed director Feng Xiaogang. This new arrangement enables the IMAX theatre network to expand beyond its role as a key distribution platform for Hollywood blockbusters and introduce a global audience to major movie studios
outside of North America through IMAX's immersive format," said Imax chief Gelfond. "Our growing presence and new investments in China not only underscore our commitment to building the IMAX brand, but also demonstrate our support of the Chinese film industry." Huayi Brothers Group Ltd. is one of China's largest film studios. Described as 'China's Warner Bros of tomorrow,' because of its potential in the booming market, Huayi holds about a 30-40 percent market share in domestic movie production (top 20 movies) and 30 percent in movie distribution. "Working with IMAX to present China's most talked about and anticipated 2010 Chinese movie Aftershock in IMAX's format is not just a significant development for Huayi on the international film stage, it is also a milestone step for the mainstream Chinese film industry," added Dennis Wang, Chairman and CEO, Huayi Bros. Media. "The globally-recognized IMAX brand has become synonymous with Hollywood's biggest movie events, and we strongly believe that cache will escalate the visibility of Chinese films on the world's stage. Working with IMAX will give us a competitive advantage in the marketing and distribution of Aftershock and future Chinese films." Echoing strong confidence in this new partnership is Tong Gang, Director-
General of the State Administration of Radio, Film and Television's (SARFT) Motion Picture Bureau. "This agreement between two industry leaders today further demonstrates the recognition of Chinese films by the international film industry, which is already winning some of the most prestigious awards in film festivals around the world. I firmly believe that films are one of the best ways to showcase our Chinese culture, and I am excited that this partnership will expose cinema-goers all over the world to more and more of the best Chinese movies, and in the process, help bridge China's geographical and cultural divide with the world." Aftershock will be released in China on July 28, 2010 and, as with all of Director Feng Xiaogang's movies, it is anticipated to be among the biggest blockbusters of the year. The movie centers on the life-changing moments and psychological dimensions of a seven year-old girl who survived the 1976 Tangshan earthquake, which killed over 200,000 people. "IMAX is a well-respected international brand that represents an advanced immersive movie experience, coupled with unparalleled image and sound quality," added Director Feng Xiaogang. "It will be the ideal theatrical format to present the devastation of the Tangshan earthquake and the Chinese people's resistance and camaraderie in times of adversity that is depicted in my latest movie."
Huayi Bros. of China Huayi was established by brothers Wang Zhongjun (Dennis Wang) and Wang Zhonglei (James Wang) in 1994. The Wang brothers hold a combined stake in Huayi of over 50 percent. Other major investors include Tom Group Ltd., Focus Media Holding Ltd., and Yahoo China. The company has solely or jointly produced over 50 movies since 1998, including award-winning A World Without Thieves (2005), starring Hong Kong actor Andy
Lau. The movie raked in USD$13.8 million from Chinese box office. It was followed by The Banquet (2006) - by the famous Chinese director Feng Xiaogang - which accumulated USD$17.6 million at the Chinese box office and Assembly (2007) by the same director, netting USD$38.2 million in China BO. The company's last movie If You are the One (2008) earned USD$43.8 million from Chinese BO alone. Huayi has also worked with Sony Pictures in the past to jointly invest in or produce Chinese movies,
some of which target overseas audience markets. Due to the rapid growth of new cinemas in China, Huayi has significantly grown its China BO and has made a name for itself internationally as a producer of quality foreign movies. Huayi also runs a variety of other businesses including music recording and agent services for artists. Huayi has begun to build a theatre network in China with plans for 150 to 200 screens within five years.
'Digital 14000': TI's Latest Milestone Texas Instruments' DLP Cinema announced reaching the milestone of over 14,000 global theatre installations with over half of them being powered by DLP Cinema 3D projection technology. As the growing availability of digital 3D movies continues to serve as a catalyst for the adoption of digital cinema installations, with multiple 3D releases coming to theatres at the same time, demand among exhibitors for 3D installations is only likely to increase, claims the company. Hailing 3D as one of the most important technical innovations since the advent of colour to the movie exhibition medium, the D-Cinema major hopes to see more and more deployments in the coming months as the market begins to open up from the recession. This winter, DLP Cinema honours its heritage of providing the ultimate viewing experience with DLP Cinema projection solutions enabling theatres to showcase the highly anticipated motion picture epic Avatar, from Twentieth Century Fox, and Titanic creator James Cameron. "DLP's cutting edge technology will play an important role in bringing Avatar to life for moviegoers around the world," said Bruce Snyder, Fox's president of domestic distribution. "The much-anticipated release of 'Avatar' will continue to bring attention to the contributions DLP Cinema has provided to the industry." During the filming of Avatar, DLP projectors were used for real time viewing of the footage being shot. Additionally, Cameron and his production company, Lightstorm Entertainment, used DLP Cinema projectors during the post-production to provide superior contrast ratios, colour calibration and sharp 3D imagery. DLP technology will be counted on again when Avatar movie premieres in December 2009; it will be shown on DLP Cinema projectors in movie theatres worldwide. "Eight years ago Lightstorm and DLP Cinema started working together to
QubeMaster Xpress Chosen By AMC
bring 3D imagery to life," said, Geoffrey Burdick, vice-president for production service and technology for Lightstorm Entertainment. "Thanks to this collaboration, audiences can now experience in the theatres 3D like they never have before."
Qube Cinema announced that AMC Entertainment Inc. (AMC), a leading theatrical exhibition and entertainment company, has chosen the QubeMaster Xpress (QMX) to encode content for system tests and pre-show spots at several locations in Canada.
Exhibition houses utilizing projectors from DLP Cinema's three OEM licensees (Barco, Christie Digital and NEC) provide the capability to light up theatre screens as big as 100 feet and 3D screens as big as 75 feet, which has typically been a challenge for competing technologies. Furthermore, that DLP Cinema recently announced plans to incorporate enhanced 4K technology as an extension of the next generation electronics platform for DLP Cinema projectors which integrates multiple 3D platforms for live 3D broadcasting, the digital entertainment is only expected to scale new highs.
After extensive and rigorous testing of the QubeMaster Xpress, Dan Huerta, Vice-President of Technology & Systems at AMC said, "AMC gets a lot of content that is not in a Digital Cinema Package (DCP) format. We needed an easy to use tool that would get that content encoded into a JPEG2000 DCP so we could play them on any of our Digital Cinema screens. QubeMaster Xpress surpassed our expectations with its simple and intuitive user interface."
"This year, DLP Cinema celebrated its fifth anniversary of enabling 3D through the use of the DLP Chip," said Nancy Fares, business manager for DLP Cinema, Texas Instruments. "DLP Cinema continues to be the industry standard for digital image quality and we remain committed to supporting the motion picture industry to bring onscreen stories to life through immersive experiences." Today there are more than 7,000 worldwide screens that offer digital 3D with the use of every pixel array in the frame for the brightest picture unlike other technologies. Since last year's introduction, IMAX digital projection systems powered by DLP Cinema projectors have reached a total of 88 locations worldwide.
Built on the platform of the world leading QubeMaster Pro, QMX is an encoding and packaging system aimed at theatres that need to encode short, non-feature content like advertising, alternative content and pre-show clips. Its 3-step User Interface is designed to be used by anyone and requires no special digital cinema knowledge whatsoever. The system can quickly convert AVI, Quicktime, Flash and still images into high quality, standards compliant Digital Cinema Packages (DCPs) that are compatible with any digital cinema server. "We are very proud to have AMC as a QubeMaster Xpress customer. AMC's adoption of QubeMaster Xpress demonstrates that it has a place in every Digital Cinema environment. QubeMaster Xpress enables any exhibitor, large or small, to encode and manage most any content." said Rajesh Ramachandran, President and CTO of Qube Cinema Inc.
Barco, Cine Columbia Strengthen Pact
Cine Colombia S.A., Colombia's largest exhibitor, and Barco, Latin America's largest digital cinema distributor, are strengthening their partnership with an agreement that includes Barco DP1500 projectors and ACS-2048 multiformat switchers. Barco will supply 20 Barco DP-1500 digital projection systems to multiple theatre sites throughout Colombia. Each projector will be 2D/3D capable, and each will be configured with Barco's ACS-2048 'alternate content' switcher. As a progressive exhibitor with over 200 screens in operation across Colombia, Cine Colombia is not new to the digital cinema domain - nor are they new to Barco. Throughout the remainder of 2009, the first new Barco deployments will be placed in Cine Colombia sites in the major population centers of Bogota, Cali and Medellin. Starting in 2010, Cine Colombia will deploy additional Barco projection systems in the country's secondary markets of Cartagena, Barranquilla, Pereira, Armenia and Manizales. The digital cinema package selected by Cine Colombia is ideal for the market. The DP-1500 is purpose-built for screens up to 15m (49') wide, and offers Barco quality and reliability in an affordable and compact package. The ACS-2048 is the perfect peripheral for all Barco digital cinema installs. This eight input 'universal' switcher enables exhibitors to scale both analog and digital inputs up to the full digital cinema format. In this way, Cine Colombia can expand each theatre's revenue stream, as a versatile presentation facility for events, businesses, meetings and more. "Our mandate is quality and excellence, and Barco provides exactly
Under rigorous testing for 2D and 3D playback at the DCK test bed since July 2008, the Qube XP-D server proved itself repeatedly under the most strenuous conditions. This led to the Qube XP-D being certified and approved by DCK, and recommended to the Korean digital market for its superior technical performance and security.
what we are looking for," said Munir Falah, President and CEO of Cine Colombia. "Because of their product performance, reliability and value, we're advancing our partnership with Barco. We have worked with other manufacturers, and we choose carefully. Barco's reputation of excellence is well-earned."
DCK, a joint-venture company of CJ CGV and Lotte Cinema, has also announced a Virtual Print Fee (VPF) deal with major Hollywood studios including Paramount Pictures, Twentieth Century Fox and Universal Pictures. The deal will cover more than 1,000 screens all over Korea within the next two to three years.
"We're honored again to be working closely with Colombia's largest exhibitor, and helping them expand the magic of digital cinema throughout the world's third largest Spanish-speaking country," said Scott Freidberg, Barco's Vice President of Sales for Digital Cinema, NA. "Cine Colombia has truly recognized both the success and the investments that Barco has created in Latin America, and by their actions, it's evident that they choose only the finest partners. Their theatres are in the best locations, the equipment is superb, their staff is excellent, and each theatre provides customers with an unsurpassed environment in which to watch a movie."
J.M. Kang, Engineering Operations Director of DCK commented, "DCIcompliant Qube XP-D cinema server's flexible and secure device has support for multiple formats including J2K, MPEG-2, and VC-1. It proved to meet the highest standards in Korean theatres where flexibility and diversity are key requirements."
Qube Cinema Pitches Big in Korea
Qube Cinema broke new big ground when it announced that the South Korea-based D-Cinema Korea(DCK), the largest digital transition firm in Korea, has chosen the Qube XP-D as one of the official digital cinema servers for their 1,000 screen rollout across Korea.
"High quality deployment of equipment during a digital transition generates great benefits for both exhibitor and distributor, and an interesting and practical structure. DCK welcomes this historic rollout in the Korean movie industry with Qube. We want Korean fans to enjoy a superior cinematic experience reached by digital transition." J.H. Cho, CoCEO of DCK added. The Qube XP-D is fast gaining acceptance across the world as a powerful, versatile and flexible DCIcompliant digital cinema server. Already present in over 1,600 screens across the six continents, Qube is also the official digital partner of the Venice Film Festival and Tribeca Festival among others. "It gives us great pleasure to be working with DCK during this digital transition. Our technical edge will be of great benefit to cinemas during DCK's digital rollout," said Rajesh Ramachandran, President and CTO of Qube Cinema, Inc.
Datasat-DC20 Sales into Six Countries Datasat Digital Entertainment made a significant breakthrough recently when it sold the DC20, digital cinema server featuring Qube Cinema's software, into the United States, Canada, Mexico, South Africa, Honduras and Spain. "We have found the DC20 to be a quality choice in servers - offering the most options and user friendly interface in the industry," Vince Bulter of CLACO Equipment & Service stated. "In addition, Datasat continues to offer the same fantastic customer service and reliability that DTS was famous for." Datasat Digital Entertainment's commitment to digital cinema and the customer is evident through the DC20's approach to screen management and the ever-growing feature set of the product's offerings. The DC20 Digital Cinema Server supports multiple playback formats, offers both digital and analog audio outputs, and features a FIPS certified media block. The server's user-friendly interface enables easy control, content management and tight automation integration. The DC20 can be used as a standalone digital cinema player system for a single screen, or as a network player system in a multiplex configuration. "The new DC20 Server is the server to install into 3D cinemas. The features on the DC20 make the uploading of content so much easier and faster," Johan Van Staden, Technical Manager of Sterkinekor Theatres in South Africa said. "The connections and installations go very fast, and the software is very user friendly and easy to understand and use." Additional Format Capabilities to DC20: Datasat and Qube Cinema have developed additional playback formats within the DC20. Adding Flash and QuickTime has increased the flexibility and usability of the digital cinema server for customers running pre-show content. "The combination of Qube's software expertise and Datasat's hardware knowledge has made a significant impact on the flexibility of the DC20," Jason Vreeman, Vice-President of Sales, Datasat Digital Entertainment, stated. "Increasing the playback options in digital cinema, ultimately increases the bottom line for our customer."
Offering both digital and analog audio output and a user-friendly interface the DC20 was designed with customers needs in mind. The DC20 supports JPEG2000, HD MPEG-2, and VC1 (Windows Media 9) content playback. An additional upgrade pack for Flash and QuickTime is immediately available.
Italy's Largest Digital Cinema 'Space' Italy's leading cinema chain The Space Cinema, and Arts Alliance Media (AAM) Europe's leading provider of digital cinema technology, content and deployment - announced signing an exclusive VPF-based agreement to supply and integrate digital cinema projection systems across The Space's 24 sites in Italy. In addition, AAM will be providing satellite systems on a non-exclusive basis for each of the 24 cinemas, in collaboration with its partner Arqiva Satellite & Media. The first deployed digital screens will be operational before Christmas, in time for the holiday releases, so as to have at least one screen installed in each cinema of the circuit with a roll out of an additional 50 screens within the first quarter 2010. The Space Cinema will be installing 3D systems in all its digital screens, in order to play highly anticipated upcoming 3D movies, such as James Cameron's Avatar from Twentieth Century Fox, opening in Italy in January. The satellite systems will allow The Space Cinema to show live alternative content events such as concerts and sports, as well as receive feature and trailer content electronically via satellite instead of on hard drives physically distributed to cinemas. In addition to digital cinema projectors and servers, AAM will also be supplying The Space Cinema with its recently launched Digital Cinema Network Software package, including AAM's Theatre Management System (TMS), allowing The Space Cinema comprehensive control and reporting of equipment and content across the entire circuit. Giuseppe Corrado, CEO of The Space Cinema commented "we're excited by the opportunities this agreement with
AAM is creating for our circuit and for the whole industry in Italy. We see a wealth of new content and new entertainment opportunities for our customer coming with digitalisation." Giovanni Canepa, COO of The Space Cinema, said "we're extremely pleased to take such a relevant step partnering with AAM, Europe's leading digital cinema technology provider. This partnership will allow us to deploy this new technology maintaining a financially balanced approach, while giving additional comfort to the whole industry in Italy that the digital era is finally on its way." Giovanni Dolci, AAM's Strategy and Business Development Executive and lead negotiator on the agreement added "it is an honour to have been chosen by The Space Cinema to bring digital to their innovative cinema chain. The groundbreaking decision to create this new company and futureproof it with digital, satellite and 3D capability is a strong indicator of the vitality of Italy's exhibition sector. This deal offers the whole Italian market new opportunities to convert to digital cinema." The agreement with The Space Cinema meant for AAM that the French cinema solutions major now has its footprint across six European territories- UK, France, Norway, Spain, The Netherlands, and Italy.
XDC Expands in European Market XDC,, the leading digital cinema service company in Europe, has signed nonexclusive long-term agreements with two European distributors to contribute to the Virtual Print Fee (VPF) roll out started in Austria and Portugal. Polyfilm Verleih (Polyfilm) and Valentim de Carvalho Multimedia (VCM) will support XDC, acting as a Deploying Entity, in order to roll out and fund digital systems for theatrical presentations, respectively, in Austria and Portugal. Under the terms of the agreements, Polyfilm and VCM have independently agreed to supply Austrian and Portuguese exhibitors with their feature films in digital form for projection on the VPF digital screens, as well as contribute to the financing of XDC's VPF DCI-compliant digital cinema projection systems.
Products... Check Them Out! The domain of cinema entertainment is as fascinating as the movies it churns out. Exciting, often amusing, if not crazy! With technology impacting the space faster than even one's imagination, there is a new concept, if not a product straight away, coming to the market on a regular basis, to take the user communities by wonderment! Theatre World continues its effort to present some exciting products that have either hit the market recently or going to hit soon.
Christie's Next-Generation Digital Projectors Christie, the global leader in digital cinema projection technologies, debuted its next-generation digital cinema solutions, the Christie Solaria series, at ShowEast with the launch of the Christie CP2220 digital cinema projector. Recognized as 'the future of digital cinema,' the projector features Texas Instruments' next generation DLP Cinema technology and an optional integrated 2K/4K media block.
understand how important it is for exhibitors to safeguard their longterm technology investment. With Christie, exhibitors are assured they have a future-proof solution that can meet their needs both today and tomorrow." "Christie's experience with the 1.2inch DLP Cinema Chip on our current mid and high power products has given us an advantage over the competition on developing next generation 2K and 4K technology. In fact, the 4K DLP Cinema Chip is very similar to the current 1.2-inch products and not available in the smaller chip format used by other manufacturers in their mid power projectors," noted Brian Claypool, senior product manger, Entertainment Solutions for Christie.
The next-generation 4K digital cinema projectors will display 4096 x 2160 pixels of resolution. While maintaining support for 2K external servers, these new models allow exhibitors to easily project 2K or 4K content, giving them the widest choice in digital cinema options. The Christie CP2220 is the first in the new series of digital cinema projectors that also includes the Christie CP2210 and the Christie CP2230. The Christie CP4220 and the Christie CP4230, also introduced in June, are the Company's premium 4K projectors and among the brightest in the world - like the 2230, the 4230 is capable of delivering over 30,000 lumens on the largest screens and delivers breathtaking 3D images. All nextgeneration Christie digital cinema projectors continue to utilize Christie Brilliant3Dâ„˘ technology, providing the ultimate 3D experience with the lowest cost of operation. "Christie is committed to supporting its customers today and in the future.
That's the primary driver behind our 2K and 4K-ready solutions," remarked Craig Sholder, vice-president, Entertainment Solutions at Christie. "We've expanded our line-up of industry-preferred digital cinema solutions to provide the most flexibility for exhibitors - offering them the ultimate freedom to choose from the widest range of 2K or 4K resolution projectors, as well as providing them with the choice of either an external or integrated media block. Unlike other proprietary solutions, Christie technology is designed to work with all external cinema servers and will continue to work with companies that offer integrated media blocks. We
All the projectors in the Christie Solaria series are designed to meet Digital Cinema Initiatives (DCI) specifications. They feature a new modular architecture for improved serviceability and ease of maintenance, with up to 25 per cent lower cost of operation than competing technologies. Christie also presented at ShowEast, the latest version of ChristieACT. Designed to provide true integration of theatre operations, ChristieACT features pre-programmable sequencing, built-in device libraries and web-based integration. With ChristieACT, exhibitors can now control entire booth operations from the palm of their hand. January-March 2010
Datasat Introduces 16-Channel Audio Processor Datasat Digital Entertainment will introduce in Asia, its recently launched AP20, a 16-channel digital audio processor, expanding product range and market addressing capability from the digital entertainment company in a big way. The product offers one of the most impressive collection of features all packaged together, in addition to featuring Dirac Live room optimization technology. Engineered to deliver precise reproduction of both analog and digital sources, the AP20's 16 channels leverage the power of six Analog Devices 400mHz DSPs. Key product features include 16 channels digital out / 16 channels digital in; 16 channels analog out / 8 channels analog in; individual channel and global delays; 3rd octave and parametric EQ; Dirac Live Room Optimization; and three expansion slots for future development. An optional plug-in card is also available for legacy 'A' chain film support. The card supports two projectors, A-type and SR-type noise reduction and matrix decoding all accomplished in the digital domain for maximum flexibility and sound quality. "The company's vast experience in conventional analog sound systems combined with state-of-the art digital signal processing technology has resulted in our latest product, the AP20 Audio Processor," Jason Vreeman, Vice-President of Sales, Datasat Digital Entertainment, stated. "The box is designed to provide maximum flexibility in a single, cost-effective package."
Sony Unveils Next Generation 4K Digital Projectors Sony has unveiling a new 4K digital cinema projection system that is built on its proven technology in use by exhibitors while offering new enhancements in performance and functionality. Sony's newest system features the SRX-R320 4K SXRD projector and LMT-300 Media Block. It incorporates similar features and design elements of its predecessor - the widely implemented SRX-R220 system. However, the new system measures approximately half the size and weight to give exhibitors more installation options. "Since we introduced our first 4K projection system five years ago, Sony has advanced the technology to meet the continually evolving requirements for digital exhibition," said Gary Johns, vicepresident of Sony Electronics' Digital Cinema Systems Division. "This newest version continues that tradition and illustrates why exhibitors of all sizes are making Sony 4K technology their projection choice. With extremely high resolution, outstanding security, and operational versatility, this new system is ideal for creating an immersive digital cinema experience - in 2D or 3D - on any screen." The new system incorporates the ultra-high 4096 x 2160 resolution of its successful SXRD counterparts and delivers a high contrast ratio of more than 2000:1, ideal for applications in which dynamic range is essential. It is designed to be compatible with the same lamps and lenses used for the R220 model.
The system is FIPS 140-2 compliant and its secure enclosure design allows the LMT-300 server to be seamlessly integrated into the projector's chassis, providing a high level of security that meets the SPB-2 anti-tamper regulations stipulated by the Digital Cinema Initiatives (DCI). The projector also produces superb images that are compliant to DCI requirements for image parameters such as color fidelity, white point and contrast. A choice of six optional automated zoom/focus lenses and selectable 4.2 kW, 3.0 kW, and 2.0 kW Xenon projector lamps allows for screen coverage of up to 20 meters (65 feet) - providing a SMPTE-standard brightness level of 14 ft-L on a wide screen. Using an optional anamorphic lens (LKRL-A001), screen coverage can be extended up to 21.4 meters (70 feet). Using Sony's 3D dual lens adaptor, the SRX-R320 projector can deliver crisp 3D images on screens up to 15 meters (50 feet side-masked) in width at 4.5 ft-L brightness. The lenses of the SRX-R320 have the capacity to reproduce resolutions higher than 4K, which is necessary to project 4K content exactly at 4K resolution. In addition, these lenses are designed to minimize chromatic aberrations. The new system offers the optional STM-100 Theater Management System software suite that allows theater staff to efficiently manage multiple auditoriums from a central PC connected to a theater's LAN. The TMS technology can provide efficient centralized management for cinema complexes.
NEC Announces Three New Digital Cinema Projectors operating environments found in projector booths/rooms/theatres.
NEC Display Solutions of America announced three new digital cinema projectors, providing three brightness level options to match screen sizes up to 105 feet wide. These affordable models build on NEC's strength and reliability in digital cinema, and give more options to theatre owners looking to upgrade cinema projector capabilities to digital. Showcased at ShowEast 2009 in Orlando, the Digital Cinema Projector Series models meet the DCI requirements, and help exhibitors capitalize on current opportunities, as well as position themselves for future growth. The new, optional NEC internal MediaBlock and discreet NEC Local Storage Server provide a complete and compelling industry solution for showing digital movies and deliver many benefits. The MediaBlock can be built into the projector as another integrated option available to exhibitors. NEC simplifies the connection and delivers control of the MediaBlock from the projector. A cinema ad can be directly integrated into the NEC MediaBlock/Server solution. In addition, NEC offers easy maintenance to minimize downtime through a single maintenance window for both projectors and the MediaBlock/Local Storage Server. The solution is able to self-diagnose for easy, timely trouble-shooting. NEC also has created higher strict security and eliminated any potential trouble caused by the interface between the projector and existing screen server (sub-titles/communication problem). Alternatively, the Digital Cinema Projector Series works with existing cinema servers via a legacy board. "As exhibitors upgrade to digital cinema, they demand high brightness and great customer care. With NEC's 24/7/365 support, these models really meet their needs," said Jim Reisteter, General Manager, Digital Cinema Division, NEC Display Solutions. "NEC gives theater owners everything they require to complete their digital
cinema installations - from financing to model variety. These new NEC projectors stand apart from their competitors for their reliability, elegance and ease-of-use, and together offer the flexibility needed to suit all screen sizes." The new projectors include the NC1200C at 9,000 lumens of brightness for screen sizes of up to 46 feet wide, the NC2000C at 17,000 lumens for screens up to 65 feet wide, and the ultra-bright NC3200S at 31,000 lumens for screens up to 105 feet wide. The advanced DLP Cinema速 light engine provides contrast ratios up to 2200:1, which enable better reproduction of detail in dark scenes. Sophisticated dual-airflow design minimizes dust, and segregates the bulb from other internal components for better long-term serviceability and reliability. NEC is the only projector manufacturer to provide this state-ofthe-art dual-airflow design for protection from dust and oil contaminants. The lamp-cooling airflow is separated from the chassiscooling air flow, which prevents drawing in dust and oil from enclosure panel gaps. Only the lamp has a blower fan. In addition, all three models are engineered for long-term use, with simplified lamp and parts replacement. These NEC projectors include new Texas Instruments Series 2 electronics and are designed for easy maintenance to minimize downtime, including quicker replacement of parts experiencing trouble, and easy, timely trouble-shooting by self-diagnosis. The projectors are highly reliable, performing admirably in harsh
Moreover, operator convenience is enhanced and improved with the new NEC digital cinema projectors. A new cosmetic design, fresh keypad layout, and new user software design mean fast set-up and simple fine-tuning, making it easy for any projectionist to operate. A soft-edged cabinet design and brilliant colours enhance the overall operation of the models. The features translate into a number of exhibitor benefits, including lower overall maintenance costs, reduced filter usage, and lower consumable and operating costs. Combining advanced DLP Cinema projectors with reliable multiplex and screen servers, NEC's Digital Cinema Projector Series offers the most comprehensive digital cinema solution on the market today. These models enable theaters to deliver stunning digital images regardless of screen size, while simplifying theater management and reducing costs. "These new digital cinema projectors are part of a complete family of offerings addressing every need that will include 4K technology in the future," Reisteter said. The NC1200C, NC2000C and NC3200S will be available in early 2010.
Highest Output Subwoofer from QSC Joining QSC Audio's DCS Digital Cinema Speaker family, the new SB15121 subwoofer offers the highest performance available in a dedicated cinema subwoofer enclosure. It has been designed for use in premiere cinemas and postproduction applications where the ultimate in performance is required. The massive 1500W, 21-inch lowfrequency transducer features a sixinch diameter voice coil in a vented, neodymium magnet structure that is designed to dissipate extreme
the transducer, making internal pressure more uniform across the back surface of the woofer. This prevents the cone from being displaced to one side or another by unbalanced air pressure, reducing
the chance of driving the voice coil out of the centre of the gap at high drive levels. Also optionally available with the system are QSC's DCP, DCM and SF-3 signal processors.
JBL's Next Generation D-Cinema Speakers
amounts of heat and allow for excursion that is double that of typical 18-inch transducers. This ensures cool operation, even at high power levels, increases driver lifespan and decreases power compression at high drive levels. The large, ported enclosure ensures response to the lowest audible frequency for bass cannot only be heard but also feel. In fact the frequency range extends to below 25Hz without the need for B6 EQ filters. States Barry Ferrell, QSC senior director, Cinema Solutions, "The SB15121 is a unique product with no direct competitive equivalent. It was designed with the most advanced measurement tools available to produce a rugged and nearly unbreakable transducer that is also capable of incredibly low distortion. Strength and finesse are combined in a truly state of the art component.
Continuing to provide cinema exhibition venues and postproduction facilities with unprecedented audio performance and advanced technology, JBL is introducing the second generation of its award-winning ScreenArray digital cinema loudspeakers. These next generation ScreenArray systems feature the new largeformat three-inch neodymium, titanium diaphragm, highfrequency compression driver for ultra high performance. This new high-frequency driver is coupled with the new patented highfrequency horn featuring Screen Spreading Compensation to correct for high-frequency dispersion through perforated screens. The new low-frequency sections feature the patented Differential Drive, Direct Cooled, 15-inch woofers for improved power handling and reduced distortion. All of the new ScreenArray series
models have new Optimized Aperture waveguides for ultra low distortion and extremely uniform frequency response. Each system has improved, patented, crossover design using the most advanced computer modeling. The next generation of ScreenArray speakers consists of the 4732, 3732 and 3731 3-way systems (available in both triamplified and biamplified versions) and the 4722 and 3722 2way speakers (available as both biamplified and fully passive systems). "The new ScreenArray loudspeaker models build on the success of their revolutionary predecessors, while at the same time truly representing the next generation in cinema loudspeaker technology," said Chuck Goodsell, Director of Cinema Marketing, JBL Professional. "With these new models, the bar has been effectively raised for sound quality in the most state-of-the-art theaters around the world."
"As a result, premium cinemas can offer increased subwoofer performance to go along with enhanced seating and upscale concession items - and achieve a distinctive level of performance compared to their competitors." The enclosure is constructed of high quality, heavily braced MDF panels, while large, fully radiused ports ensure smooth airflow, especially at higher drive levels - thus preventing potentially audible port turbulence noise. Both internal and external port openings are flared. With symmetrical port loading, the bass ports are evenly spaced around
The new JBL ScreenArray series features five digital cinema loudspeaker models.
QSC's 4-way, Flyable Speakers for Large, Dome Cinemas QSC Audio announced the new purpose-designed DCS SC-424-8F flyable, four-way, tri-amplified speaker system for Dome and Large Format cinemas that require suspended mounting of screen channels, or point source surround channels. Making another significant breakthrough in the DCinema market, the DCS SC-424-8F joins QSC Audio's popular cinema product lines and follows the success of their award-winning DCP 300 Digital Cinema Processor. Both the Mid/High and LF enclosures are built with common dimensions to facilitate easy installation in vertical or horizontal arrays and are constructed of heavily braced, 15mm concert tour-grade plywood. In addition, 16 M10 attachment pointsper-enclosure are provided for safe and easy suspension. The DCS SC424-8F also features a unique coax HF/VHF diaphragm, which has less mass than traditional diaphragms, resulting in exceptional dynamic range, extended high frequency response and lower distortion. "This system has been developed specifically for the unique requirements of Multi-Purpose, Large Format and Dome motion picture playback," states Francois Godfrey, QSC Director of Sales, Cinema. "The two main units comprise the MHV1090F mid-high / very-highfrequency system, and the LF-42158F low-frequency system aimed purposely at applications where a point-source surround channel or screen channel must be suspended or flown rather than mounted on a platform or floor." The MHV-1090F mid-high / veryhigh-frequency system features a high output, horn loaded 10" midrange cone driver and a coaxial neodymium high-frequency / very high-frequency compression driver. The MHV-1090F includes a driver protection network and a passive crossover for tri-amp operation. A high power 10" cone driver allows
operation as low as 250 Hz and up to 1800 Hz to ensure that most of the dialogue range is reproduced by a single element, for unmatched intelligibility. The coaxial neodymium high-frequency / veryhigh-frequency compression driver provides a dramatic improvement in dynamic response, clarity and transparency, while the annular diaphragms eliminate the break-up of conventional dome drivers that cause a harsh, metallic sound. The LF-4215-8F dual 15(381 mm) low-frequency enclosure is designed for safe and easy suspension via M10 fly points. The heavily braced, tour grade construction cabinet provides great strength while keeping weight to a minimum. The SC-424-8F is designed for ease of installation. The MHV-1090F and LF-4215-8F components come pre-assembled to reduce field assembly time, and both
enclosures have the same dimensions to allow stacked or side-by-side arrays. Each enclosure is fitted with 16 x M10 fly points for safe and secure suspension via installerprovided mounting hardware. Also available is the companion DCS SC-424-8 system, which provides identical acoustical performance in a standard, non-suspended version. Outboard digital processing, such as the QSC DCP 300, DCM 30D or Basis is required to provide the active crossover between the low, mid, and high-very high frequency drivers. Separate amplifiers are required for the low, mid and high-very high frequency channels. The QSC DCA 1644 4-channel amplifier is the ideal choice for the SC-424-8F. Channels 1 and 2 in bridge mode deliver over 800w to the LF enclosure and channels 3 and 4 provide 250w to each of the highly efficient Mid and High frequency horns. QSC provides a full range of complementary loudspeaker products to meet all of your Large Format cinema speaker needs. From 18 and 21 subwoofers for earthshaking bass to the smallest ceiling speakers for your lobby PA, QSC is the one place to go for loudspeakers, amplifiers, DSP and network remote control. One brand, one call - it couldn't be easier to get great sound.
Barco, Cinedigm to 'Deliver Digital' Programme Barco and Cinedigm have come together to announce 'Deliver Digital' - a new programme geared towards regional theatre circuits looking to convert to digital. The Deliver Digital program allows independent chains to compete with national circuits, with access to the same benefits, such as preferred financing terms, VPFs, and the highest quality images in the industry. "Barco already delivers the industry's best technology, and now we've created the fastest and simplest means for our exhibition partners to convert to digital," said Todd Hoddick, VicePresident of Digital Cinema for Barco, NA. "With this remarkable programme, we're delivering on a commitment to provide our customers the solutions they need - technology, financing and services. This, in turn, enables them to focus on providing their audiences with great viewing experiences." Not only is the Deliver Digital programme a turnkey solution, it's also simple, fast and confidential. Barco expedites a 21-day turnaround for qualifications, enabling prospective exhibitors to know rapidly if they qualify for funding and VPFs. To optimize our exhibition partners' conversion experience, Barco's programme provides "quick strike" financing, a full Digital Cinema platform, and both installation and warranty services. To facilitate VPFs that will contribute towards the cost of digital systems, Barco has partnered with Cinedigm Digital Cinema Corp., a global leader in fulfilling the promise of Digital Cinema. "Cinedigm is committed to helping theatre chains achieve their digital strategies," said Chuck Goldwater, President of Cinedigm's Media Services Group. "We are very pleased to expand our partnership with Barco, and we feel that their turnkey Deliver Digital program is a very important and effective step for our exhibitor
partners. We look forward to bringing more circuits into the Cinedigm/Barco family." Barco clearly understands that theatre owners have to make tough decisions in this new digital environment. Once they've elected to go digital, Barco can make those plans a reality: â€˘
Through flexible financing, theatre owners can structure deals to deploy their entire digital cinema
platform to fit their financial strategies. For qualified theatre chains, financing can be made available with zero percent down. â€˘
Through valued partnerships with Doremi, GDC and Dolby, the solution providers take the guesswork out of the exhibitor's key technology decisions.
The focus will be on reliability and cost-of-ownership.
Barco, Doremi Unveil 2K/4K Media Block Digital cinema pioneer Barco and server technology leader Doremi have made yet another industry first - an integrated 2K/4K media block designed for Barco Series-II projectors. Barco and Doremi showcased this industry leading technology on the show floor at ShowEast. In June of this year, Barco, Cinemark and Doremi announced an exclusive agreement for the delivery and installation of over 3,000 projectors in over 300 US theatres. This agreement was the first-ever to include Texas Instruments' Enhanced DLP Cinema 4K technology and Doremi's integrated media block (IMB). Now, Barco and Doremi are extending this advanced technology to all exhibitors. With the IMB installed in a Barco Series-II 4K-ready projector along with Doremi's external ShowVault, Barco customers can now choose the most future-proof digital projection solution in the industry. If the customer elects to project in 2K, the integrated media block keeps content secure by moving the digital video decryption from outside of the projector - to inside the projector. When Texas Instruments' Enhanced DLP Cinema 4K technology is made available, if the customer elects to project in 4K, the integrated media block can deliver 4K with a simple software upgrade.
"We are thrilled to continue our technical development and partnership with Barco, and to offer the digital cinema industry the firstever 2K and 4K solution with an integrated media block" said Michael Archer, Vice President of Digital Cinema at Doremi. "In addition to providing the highest level of content security, our IMB product offers a future-proof configuration, based on the system's ability to support both 2K and 4K resolutions." The Barco/Doremi integrated 2K/4K media block provides a total of 4096 x 2160 pixels of resolution, and requires just one server rather than the four synchronized HD video servers needed until now. The solution offers exhibitors the opportunity to utilize a single server manufacturer across a digital cinema multiplex, with the ability to freely mix and match 2K and 4K technology while maintaining the same server hardware. "Barco and Doremi have been leading innovation and setting digital cinema milestones for almost a decade," said Todd Hoddick, VicePresident of Digital Cinema for Barco, North America. "By combining our talents, we're taking a huge step forward in the evolution of digital cinema. Together, we are making digital cinema simpler, more secure, and more profitable for our customers."
NEC Selects intoPIX for DLP Systems NEC Solutions, one of the three DLP licensees to manufacture 2K and 4K digital projections from Texas Instruments, announced its choosing of intoPIX, the leading JPEG 2000 solutions provider, to integrate the latter's imaging technology into their projection systems.
Atsushi Kuroda, General Manager of NEC Display Solutions, Projector Development Division. "This gives us the opportunity to provide a fully integrated Cinema projection solution and therefore brings us a competitive advantage in the Digital Cinema deployment."
Based on intoPIX JPEG 2000 and AES Core components, NEC Display Solutions now offers the first integrated Media Block for DLP Cinema projector. Using this DCIcompliant JPEG 2000 Mediablock into the projector enclosure drastically improves the security and reliability of the system while reducing the complexity of the installation and the maintenance.
"I'm delighted to announce the selection of intoPIX solutions by NEC Display Solutions" added Jean Francois Nivart, CEO of intoPIX. "Our ability to provide NEC Display Solutions with a strong and complete solution was a key success factor for this collaboration. Through a seamless collaboration between the technical teams of both companies, we managed to incorporate the advanced specifications of the NEC projectors product line in the customized solution. We are happy to contribute to the excellence of NEC Display Solutions Cinema product line."
"We have selected intoPIX because of their know-how in the JPEG 2000 compression technology field, their smart single chip FPGA implementation and their integration support." commented
Frank Theatres Commits to Sony 4K Frank Theatres has decided to convert its cinema exhibition operations to Sony's 4K digital cinema projection technology. The exhibitor intends to complete the rollout through the end of 2009, covering a total of 231 screens. "We're always open to exploring new technology that can enhance our customers' experience while they are in our theatres," said Bruce Frank, President and CEO of Frank Theatres. "The Sony 4K projectors are a perfect match for where we want to take the future direction of our circuit, delivering highest levels of resolution, image quality and flexibility for displaying motion pictures or alternative content, in 2D or 3D." Frank Theatres operates 18 locations across New Jersey, Pennsylvania, Florida, South Carolina, North Carolina, and West Virginia. Sony's
Digital Cinema Solutions and Services Group will work with Frank Theatres to provide installation and complete integration services. The circuit's adoption of Sony's 4K projection systems is part of its ongoing evaluation of state-of-theart technology throughout all its theatres, from the auditoriums to lobbies to concession stands. In addition, 50 of the 231 screens are planned to be outfitted for 3D using a combination of Sony's 3D dual lens adaptor with RealD's 3D technology. "Frank Theatres is a perfect example of a modern exhibitor taking the right steps to equip its operations for the future," said Mike Fidler, senior vice-president of Sony's Digital Cinema Solutions and Services Group. "We're excited to be working with them as they begin their 4K digital conversion."
Kinepolis Deploys SmartJog Central Library Solution SmartJog, the French leader in managed digital delivery workflows worldwide, announced that European exhibitor Kinepolis Group, has selected SmartJog's Digital Cinema Central Library Servers to use in all of its 23 theatres. Kinepolis will purchase and install the Digital Cinema Central Library Servers which are capable of storing large amount of content as well as receiving Digital Cinema Packages (DCPs) via satellite and fiber. "Kinepolis has been using the SmartJog system for a few years now to receive advertising content from MĂŠdiavision, as well as cinema trailers which are digitally sent via the SmartJog network to our Cinemas in France," says Bob Claeys, Research and Development Director for Kinepolis Group. "Since we are actively rolling-out digital equipment in all of our Cinemas in France, Belgium and Spain, it was essential for us to find a solution capable of scalability in terms of storage and digital delivery." Claeys continues, "therefore, we have opted for the SmartJog "all-inone" solution of high-end storage and digital delivery solution. Since it's already compatible with the equipment in our cinemas such as our Dolby servers, the SmartJog Central Library allows us to store content received in our multiplexes without the need to add multiple reception and storage equipment. The flexibility of the SmartJog solution also lets us manage the delivery of our own promotional content to all of our cinemas in Europe seamlessly." By the beginning of 2010, all of Kinepolis Group Cinemas will be equipped with the SmartJog 12 or 8 terabyte Central Library servers and will benefit from SmartJog's fully managed digital delivery service. With this announcement, SmartJog is proud to announce that it has now connected 537 screens in Europe.
Hollywood Theaters' 4K Across-the-Circuit Hollywood Theaters has decided to install Sony Electronics' 4K digital cinema technology across its circuit. The Portland, Oregon-based exhibitor will begin its digital conversion by equipping 13 of its US locations aggregating to 167 screens with Sony projectors over the next few months. Sony's Digital Cinema Solutions and Services group will work with Hollywood Theaters on the integration, installation, maintenance and service support for its 4K conversion, providing the exhibitor with a complete turn-key
solution for converting to digital technology. "Sony's 4K technology gives our patrons the opportunity to view motion pictures as never before, combining the highest levels of resolution, contrast and image quality to produce precise, life-like images in vibrant colors," said Clyde Cornell, chief operating officer for Hollywood Theaters. "We are also excited to be a part of Sony's DCSS alternative content program and plan to fully exploit their broad range of media and entertainment divisions such as sports, music, and
gaming to bring fresh, innovative entertainment options to the big screen and create new streams of ancillary revenues for Hollywood Theaters." Sony 4K projectors claim to offer the highest image resolution of all commercial projection technologies, producing 8.8 million pixels. 4K technology provides image resolution four times greater than 2K projection systems and slightly more than four times greater than consumer high-definition televisions. "Our 4K technology gives Hollywood Theaters the most reliable and
Larger Than Life... in 3D Cinedigm Digital Cinema Corp. announced that the Dave Matthews Band, Ben Harper and Relentless7, and Gogol Bordello will perform in a 3D feature movie, Larger Than Life ... in 3D, on digital cinema screens nationwide. The 3D movie will run for one week only, from December 11-17, 2009. Larger Than Life ... in 3D was produced by Action 3D and AEG Network Live and will be distributed by Cinedigm, the leading digital cinema company that helps exhibitors transition from film to digital cinema. Once movie screens become digital, they cease to be movie screens in the traditional sense; they can show entirely new forms of content, from 3D movies and concerts to live sports, children's shows, operas, video games and more. This past summer, for example, the Michael Jackson memorial service was shown on digital screens throughout Los Angeles. Music concerts have become an increasingly popular cinema option. Cinedigm has delivered concerts to digital screens dating back to 2007, when the company
debuted an in-theater digital concert series that presented the best performances from the South by Southwest Music Festival. In early 2008, Cinedigm delivered the Tom Petty and the Heartbreakers documentary, Runnin' Down a Dream, to sold-out audiences, followed by a one-night-only concert from Grammy Awardwinning Christian rapper TobyMac in May. In June 2008, Cinedigm brought John Mayer's Where the Light Is: John Mayer Live in Los Angeles to the big screen. Three Days Grace: Live at the Palace 2008 performed on digital cinema screens in August 2008. David Gilmour, the voice and guitar of Pink Floyd, performed live to 50,000 fans in Poland. Thousands more thrilled to a repeat performance on digital cinema screens, delivered by Cinedigm. Earlier this year, Cinedigm delivered Fall Out Boy LIVE - Folie Ă Deux NYC to LA Presented by Nokia to approximately 80 theaters. "Digital technology has dramatically transformed the cinema experience," said Bud Mayo, Chairman and CEO of Cinedigm. "The ability to see Dave Matthews in 3D, on a big screen at your local theater, for far
less than the cost of a concert ticket is an exciting option for music fans. This is the future of modern cinema: movies, music, sports ... the options are limitless." The performances in Larger Than Life ... in 3D were filmed at critically acclaimed music festivals this summer, including the Austin City Limits Music Festival in Texas, the Mile High Music Festival in Colorado and at All Points West Music & Arts Festival in New Jersey. Cinedigm will also distribute 3D concert events including the Best of Lollapalooza and the Best of Austin City Limits in the first and second quarters of 2010. The specific theatres showing Larger Than Life ... in 3D as well as future 3D concerts, will be announced closer to each show's opening date.
flexible foundation for ultimately converting its entire operations to digital projection technology," said Mike Fidler, Senior Vice-President of Sony Electronics' Digital Cinema Solutions and Services group. "It elevates the cinematic experience for their consumers, offering moviegoers a much more dynamic, engaging and immersive entertainment experience. The opportunity for alternative content not only presents potential new business; it also allows them to provide exciting additional programming that perfectly complements their current offerings." 100 RealD 3D Screens: Hollywood Theaters has also partnered with RealD to equip a minimum of 100 screens across the country and overseas with RealD 3D technology.
The rollout, which has already begun, will see 64 RealD 3D installations by mid-December, and the additional RealD 3D screens will be added in early 2010. "Moviegoers are seeking out the premium, fully immersive 3D experience only available with
RealD's digital 3D technology," said Joseph Peixoto, president of worldwide cinema for RealD. "It's exciting to partner with Hollywood Theaters on this large number of screens so their nationwide audience can experience 'Avatar' and other upcoming releases in crystal clear RealD 3D."
Premium RealD 3D Eyewear from Look3D Look3D, a leading 3D vision company, and RealD, the world's leading 3D cinema technology company, announced that they have reached a licensing agreement for Look3D to design, manufacture and distribute RealD 3D certified premium eyewear. Look3D eyewear will offer the same crisp, clear RealD 3D experience as eyewear currently distributed at RealD equipped theatres and will be compatible with all RealD theatres worldwide. "Moviegoers will be able to pick from a full line-up of premium RealD 3D glasses in cool designs with shapes and styles that hug the face like regular glasses," said Rhett Adam, director of Look3D. "3D movies are booming and we're excited for the millions of fans of RealD 3D around
the world to experience the next film in Look3D style." "Moviegoers are flocking to theatres in record numbers to experience RealD 3D movies and now they'll be able to have their own pair of premium RealD 3D glasses in a style that's all their own," said Joseph Peixoto, RealD president of worldwide cinema. "Like people having a pair of sunglasses, movie fans will have a pair of RealD 3D glasses personalized in style and fit, and certified by RealD to assure a fantastic movie experience. We look forward to additional announcements about the introduction of designer 3D glasses from top fashion brands and prescription RealD 3D eyewear in the near future."
Look3D will create multiple RealD compatible eyewear collections for adults and children, including a premium collection of glasses of the highest quality with styles matching today's most popular eyewear designs. Look3D will also offer a themed collection of glasses with colors, shapes and other design elements matching a variety of upcoming 3D major motion picture releases. Look3D RealD eyewear will be available for purchase beginning in December with sales through Look3D, at movie theatres and online retail sites. Check out Look3D's website at www.look3d.com for a sneak peak of what is to come in 2010.
It's It's It's 3D 'Film,' Again! Again! 'Film,' Again! 'Film,' Even as the digital cinema and its advocates continue to be on their high, buoyed by the undeterred deployment programmes by the exhibitors, there has begun a counter development to quickly gain the vast expanses of the global cinematic ground that the digital domain has apparently been "inadequate" to cover, even in three-dimensional format. The hoopla of 3D movie excitement made a dĂŠjĂ vu- harping back onto the film medium. Yes, the industry, led by the film majors, is now, suddenly, talking about filmy 3D. An entertaining filmy story is in the making. Read on. Who said film will be extinct very soon from the cinema medium? Who prophesied film will confine itself only to the archives of cinematic history? History is actually being sought to be made with the global filmy majors coming together to 'reinvent' what they had redefined the cinema entertainment with, a few decades ago. Three-D on film! Thomson, through its Technicolor Business Group, has aligned with entertainment industry leaders Deluxe Entertainment Services Group, Eastman Kodak Company, and Fujifilm to provide financial assistance to exhibitors seeking an immediate 3D solution. The four film majors have, in fact, created a Silver Screen Fund towards funding the exhibitors worldwide for deploying 3D film projection systems. The Silver Screen Fund defers costs associated with the purchase and installation of silver screens by providing financial assistance to exhibitors who deploy the Technicolor 3D solution. The fund will be managed by Technicolor, which last week announced broad studio support for the Technicolor 3D solution.
The Silver Screen Fund will finance up to 500 silver screens to be installed at theatres in the United States, Canada and the United Kingdom. Funding is available immediately for qualified exhibitors. When exhibitors complete the terms of the Silver Screen Fund agreement, they will own the silver screen, a necessary component for future digital 3D projection.
"Technicolor is committed to delivering high-quality, affordable 3D solutions, and the creation of the Silver Screen Fund accelerates our promise to our exhibition partners by helping them defer upfront costs associated with the purchase and installation of silver screens," said Lanny Raimondo, head of Technicolor. "Thanks to overwhelming studio and industry support, we expect to sign up these first 500 screens in the coming weeks, keeping us on track to reach our target of more than 1,000 Technicolor 3D screens by mid-2010." (Read a separate story in TW Technology: 'Technicolor' 3D on Film!) "Deluxe is proud to have a long history of supporting our customers by providing whatever format they choose for their content. This technology bridge for 3D exhibition is a cost effective way to help our customers maximize their theatrical release schedules," said Cyril Drabinsky, President and CEO of Deluxe. "Right now, there are not enough 3D screens to accommodate major releases and the screen shortage
'Technicolor' 3D on Film! Back in September reasons but we think in the when Technicolor interim we can't maximize the announced that they real estate that we have would be offering a because the rollout is not film-based 3D system moving as fast as a lot of there were a lot of people expected. skeptics over whether TW - How can your such a system would Technicolor's film-based offer moviegoers the system help an exhibitor? same quality Joe Berchtold Head of Creative Services, JB - Audiences like 3D. They presentation that Technicolor like 3D movies. Attendance is digital 3D affords. probably twice or more for a 3D screen Many industry insiders complained versus a 2D screen which means your that such a solution would only box office collections are closer to drag out the rollout of digital three times with a 3D screen than a 2D cinema in the marketplace. As screen. Money is effectively being left digital cinema ate into the motion on the table by a market that hasn't picture lab's profits it was felt that been able to come up with an ability Technicolor was grasping at straws. to get the number of 3D screens out Appearing on a panel at the 3D there that we'd like to have for a lot of Entertainment Summit that month, movies. Right now, we're at about Ahmad Ouri, Technicolor's Head of 7,000 digital screens in North America Strategy, Technology & Marketing, and 3,000 of those are 3D screens. A looked well equipped to field major Hollywood movie can easily queries from a probing audience. open on two to three times that On the immediate outing at the number of screens. The fact that we ShowEast 2009 in Orlando, Florida, have that limit the release means the film major sought to there's a lot being put on 2D film. To consolidate what it was advocating be very clear what we are suggesting for: a 3D presentation on film! In here is not 3D on film as an alternative an effort to quiet the skeptics and to going out and replacing digital. explain the reasoning behind What we are suggesting is as long as offering a film-based 3D system, you're putting this on film, couldn't it Technicolor demonstrated the be 3D film, not 2D film? In our mind if technology for exhibitors at the it can be a high quality customer cinema convention. Joe Berchtold, experience, we believe the answer to Technicolor's Head of Creative that is yes. Services, addressed the crowd that TW - Why wait until now to release had gathered to see footage from such a product? "The Final Destination," and answer any questions exhibitors might have. J. Sperling Reich tries to find what is on the anvil, if not the film spool as it is: TW - What was the reason Technicolor put this solution together? Don't you think it will delay digital cinema? JB - There aren't enough digital 3D screens right now. From Technicolor's standpoint, we want to help solve that for a period of time until digital happens. Digital is going to happen for a variety of
JB - The reality is next year even more than this year, the number of 3D movies will continue to grow, seventeen plus already confirmed and a number of studios working to convert 2D films to 3D films that haven't yet been announced. We expect this number will only go up. What we're going to see more of, I believe, is what we've seen already a few times this year wherein you've got multiple 3D movies out at the same time and you don't have enough screens. When you have to spend $100,000 for the digital system for
every incremental screen you are having to make tradeoffs between which movies you are showing and pulling things faster than you'd like. TW - What about the notion that Technicolor's system will delay the rollout of digital cinema? JB - The reality is because of the current economic environment digital rollout continues to take time. I've certainly been predicting for almost ten years now how long it's going to take for digital. I was wrong every year. With the current market conditions, it continues to be very difficult. Financing probably will happen for some of the major circuits that have strong connections on Wall Street and elsewhere. My guess is that most circuits don't have that clear of a view as to how in the near term somebody else is going to give them $100,000 per screen to go and convert. My guess is that most people also don't have that kind of money readily available to be putting in all these screens. You may be able to rationalize an investment in a larger complex in some of your larger towns but that leaves a large part of every main street of every town around the country that has a harder time justifying the investment of a $100,000 to put in a digital system. So what are they going to do? Our suggestion is that for an interim period, the film 3D offers a very high quality comparable solution without requiring that up front investment in digital. TW - What would you say to those who feel digital 3D offers a superior viewing experience to 3D on film? JB - We clearly don't suggest in any way, shape or form that the quality of the customer be compromised. We recognize that it is of paramount importance to maintain the integrity of 3D and the enthusiasm of the customers that come. Frankly, from a Technicolor standpoint, we're not going to put our brand on something that we don't have the highest
TECHNOLOGY confidence is going to deliver a very high quality experience. The input that we've gotten from audiences is that the quality of this image is consistent with the quality of digital 3D. We ran 'The Final Destination' at the AMC in Burbank with the help of our friends at Warner Bros. for two weeks when it opened back in August. The AMC in Burbank is a high grossing, high profile theatre. becomes compounded when you consider issues of overlapping 3D releases," said Kim Snyder, President, Entertainment Imaging, and Vice President, Eastman Kodak Company. "The industry desperately needs additional screens to satisfy demands by studios and movie fans, who consistently vote for 3D with their box-office dollar. The Silver Screen Fund levels the playing field so all exhibitors can realize the benefits of 3D presentations." "With the Digital 3D roll-out slowed significantly by the economy, and because of the prohibitive cost associated with digital cinema conversion, we believe Technicolor's film-based 3D innovation is the right solution," said Graeme Parcher, Group Vice President, FUJIFILM North American Motion Picture Group. "We are excited to partner with our industry colleagues to introduce this significant advance in film 3D technology."
We ran it in both film 3D and digital 3D simultaneously in auditoriums right next to each other. We did exit polling. Three hundred people saw it on film, three hundred people saw it in digital. We got the exact same results. Quality of image, quality of 3D and overall viewing experience-absolutely no difference! Again, there are lots of reasons to have digital beyond this, but in terms of what the customer
experience has been as articulated by the customer is fully consistent with digital 3D. Very important as well, there was not a single issue raised by customers who saw it on film at the AMC. No issues from an operational perspective from an exhibition perspective in terms of audiences having any issues with what they saw relative to what they expected to see.
Hollywood Majors Pledge Support
The Technicolor 3D Solution employs a propriety 'production-to-projection' system that leverages 35mm (i.e. filmbased) projectors already in use by the majority of U.S. and international theatres today to deliver high-quality 3D content to moviegoers. A patentpending lens system assembles the left and right eye images as the film runs through the projector and delivers a 3D ready image onto a silver screen. The solution works with circular polarized glasses-identical to the ones used for existing digital 3D cinema-to 'translate' the film's content into an image that is perceived by the viewer as being three dimensional. The silver screen can be used for the projection of both Technicolor 3D as well as digital 3D content. The Technicolor 3D Solution can be installed nearly immediately. No build-out or significant modifications of the projection booth are required.
Interestingly, even as they continue to release their movies in digital and 3D digital media, the major Hollywood studios have pledged support to the Technicolor filmy 3D solution. DreamWorks Animation, Lionsgate, Paramount, Overture, Universal Pictures, Warner Bros., and The Weinstein Company are working with Technicolor to deliver content for presentation in Technicolor 3D. What's more, as many as 17 3D titles have already been announced for 2010 outing, while more of them expected from several distributors simultaneously. The studios noted above account for the majority of these titles, including How to Train Your Dragon, Piranha 3D, Shrek Forever After, Despicable Me, Cats & Dogs: The Revenge of Kitty Galore, Friday the 13th: Part 2; Guardians of Ga'Hoole, Alpha and Omega, Burst, Oobermind, and Yogi Bear.
Oculus3D: The New Entrant On the ShowEast technology forum, even as Technicolor was consciously parrying queries about any competing film 3D solution providers, a new entrant was making its way rather quietly, but convincingly. However, it did create the required buzz as the whole debate turned explorative about the ‘emerging opportunities.’ Oculus3D’s system relies on linear polarization and a special lens attachment – the OcculR – which, unlike Technicolor’s system, is simply attached to the existing projector lens. Rather than using
an over/under format, Oculus3D places the images side-by-side on standard 35mm film stock, which the company says produces a high quality, and brighter image. The company does not plan on leasing the equipment or charging a per ticket fee. Instead, it will sell the system to exhibitors outright at a price point. This will allow the theatre owner to outfit numerous auditoriums, says the company. The technology which is claimed to make the company’s system workable was developed by Lenny Lipton, the
inventor of the ZScreen, which presently drives RealD’s digital 3D system, as well as Academy Award and Emmy winner Al Mayer, Jr., who spent as many as 26 years designing Panavision’s motion picture cameras. As part of its efforts to push its systems, and more importantly, the concept as such, Oculus3D is planning demonstrations of their system in Los Angeles towards the end of 2009. It is to be seen, how this film will roll on 3D!
(TW thanks J Sperling Reich for his assistence. He can be reached at firstname.lastname@example.org)
Selling Movie Tickets Like Airlines Thanks to the onset of technology and digital sophistication, you have seen selling or buying tickets through SMS, online, kiosks, or PDAs. However, have you ever wondered selling or buying movie tickets like an air ticket? Movie ticketing is going places, now in the style of an airline ticketing. Here is how it is (sought to be done)! Movie ticketing, an important component of cinema exhibition business, has been part of its history as much as the movie itself, and has seen equal, if not more, number of transitions since the beginning of the entertainment format. Cinema exhibitors and their patrons worldwide had seen movie ticketing evolving from the traditional, age-old over-the-counter tickets to modern day SMS and Kiosk-based ticketstransitioning in between through tele-ticketing, online ticketing and waist-mounted or handheld PDAticketing. There have been sporadic experiments like photographing and printing the images of the patrons on the tickets as a means to avoid greymarket ticketing (a known practice in some parts of India)! The other significant and recent change has been the method of what is called the 'flexi-pricing' themed around the age of the patron or the timing of the movie screening. However, here is the latest take. Sell movie tickets like an airline does. ZhetaPricing, a software company based out of the South American nation Chile, hopes to change the homogenous pricing model most cinemas use. Its primary focus has been on developing a technology to help theatre owners maximize and manage their revenue- by using
â€“ J Sperling Reich
methods that have been employed by airlines and hotels.
thought in a dream, it was rather out of an experience.
ZhetaPricing's revenue management solutions help optimize seating capacity, or as they like to call it, inventory availability. By predicting demand for a given release the software will allocate inventory across a time span at different price points. By responding to realtime sales analytics the system balances the availability of seats for VIP customers while filling seats that would otherwise go empty.
"The idea was from one of my former partners," discloses TomĂĄs Bercovich C., ZhetaPricing's CEO. "He went one day to a cinema and there were just four people in an auditorium that had space for 200. He realized that was not logical," he explains. "There are high fixed costs with negative marginal costs, meaning if you give somebody a ticket for a seat that otherwise would have gone empty, probably that person would buy something from concessions."
Most people familiar with air travel or at least frequent stays in hotels will have come across this type of price differentiation while purchasing air tickets or booking hotel accommodation. When purchasing tickets or booking accommodation far in advance of a trip the cost is significantly less than when one shows up at the airport a few hours before a flight or a hotel straight away. Introduced to international exhibitors in October at the ShowEast convention in Orlando, ZhetaPricing apparently got people buzzing and thinking about box office ticket sales from a completely different angle. The idea of airline-like movie ticketing is both fascinating and intriguing. It was not like a strike of a
It was a perfect scenario for revenue management which, Berocvich says, he learned through his industrial engineering background. That he had also worked at the revenue management department at LAN - a Chilean airline which is actually one of the few profitable airlines around the world - added up to his assumptions, towards formulating to a concept. Enthused with the idea, Bercovich formed ZhetaPricinig, in association with two of his friends with similar professional background. Came into being roughly three years ago, the company started working in the right earnest and the first version of the ZP Cinemas software was released about a year-and-a-half ago. It followed up with a second, latest version six January-March 2010
TECHNOLOGY months ago, which is reportedly finding good takers. When asked how could he substantiate about his finding takers, the ZP chief points out to Hoyts Cinemas and Cinemark in Chile who have implemented revenue management powered by ZhetaPricing. "Our implementation has helped them increase attendance, revenue and profits from both ticket and concession sales," claims Bercovich. "It has raised customer loyalty, increased frequency of attendance and attracted new customers. Also it has been a powerful weapon to fight piracy because instead of buying a cheap pirated movie, people have been going to the cinema for an affordable price." According to him, moviegoers worldwide - as they have been in in Chile - will be very happy with ZhetaPricing's system since they can go to movies choosing which price to pay instead of getting forced into paying an arbitrary price. This way each one pays what he/she can afford. More people will be able to go to the movies and people that love attending will be able to go even more! Allaying concerns that the software may not work with all the ERP systems since different exhibition chains or independent cinemas have different ERP setups, ZP Cinemas CEO claims the software as agnostic and user-friendly too. To make it more easy, ZP implements the software and trains people at all company levels to focus
on revenue maximizing, consult for marketing issues necessary for introducing the system into a new market and take care of maximizing revenues from each show.
Visibly excited about the response he found from the ShowEast visitors to ZP's demo, Bercovich is actively contemplating taking his solution beyond Chile.
According to him, the main concern exhibitors have is the support from distributors. Towards addressing this concern, he met most major distributors too, and all of them are said to have understood the logic behind ZhetaPricing.
"It was our first international test and we're pretty confident we have a nice opportunity ahead," he declares, "we're planning to market our solutions in countries like the US, Mexico, Brazil and Argentina at this stage."
"Historical data plus mathematical models that help predict customer demand and optimally allocate inventory to maximize revenues," says the ZP Cinemas chief. "They saw our results in the implementations we've been running and are backing up ZhetaPricing for future applications in other countries," he says and adds, "the main challenge now is to have the will to increase attendance, revenues and profits, and to contact ZhetaPricing!"
It will surely take sometime before it touches the European or the large Asian shores. However, even before it attempts to do so, the big question on everyone's mind, however, is how theatre owners can change the purchasing behaviour of moviegoers which has been enforced over a lifetime. (TW thanks J Sperling Reich for his assistance. He can be reached at email@example.com)
Prediction for the day for the movie â€˜Inglorious Bastardsâ€™
Look: Designer Eyewear in 3D! Technology makes many things. It's been bringing many things up since the new age cinema was born- ticketing, seating, interior lighting, digital signage, and now 'designer-3D eyewear.' The increasing popularity of digital and 3D cinema has brought forth many never-seen-before concepts and products. The designer-3D eyewear is one such a thing. TW, always in chase of cinematic happenings, this time presents a gadget that's a story in itself.
â€“ J Sperling Reich Digital cinema and 3D is all over the place. Along with them, a new genre of concepts and product solutions is also coming to hog the cinematic limelight. When RealD, the market leading 3D technology provider showed up with a handful of announcements at ShowEast recently about new deals and partnerships, one was most 'eye-catching' than the whole lot- not only from the 3D major but also those from the others. RealD struck a deal with a goggle manufacturer Look3D to make designer 3D eyewear for its forthcoming 3D digital movie releases. The Melbourne, Australia-based eyewear manufacturer actually had a suite set up at the convention to kick off a new convention of designer 3D glasses which in fact grabbed too many eye balls. Not just because they were giving away pairs of hip, aviator style 3D glasses but also because they had dozens of different style frames on display and demonstrated them to those who stopped by with the help of a 3D television monitor. It might be intriguing to many that what the designer 3D glasses are all about. Simply put they are the new genre, stylish and posh eyewear in incredibly diverse models but with 3D content watching capability. More, the units need
not be disposed as is being done by the industry currently- which means they can be kept by their owner/users; they can be used for both movie and television content that is presented in 3D in cinemas and homes respectively. Look3D has been manufacturing 3D glasses for the last two-and-half years, and has already made its place in the market. "We've sold 100,000 units already into Greater Union, which is Australia's largest cinema chain and an early adopter of digital cinema," discloses Rhett Adam, the company's brand development director. Adam, who had around five years of professional background in the manufacture of Polaroid eyewear, jumped into manufacture of 3D glasses for entertainment industry looking at the exciting opportunities in the field. "I thought every movie was going to be 3D so my expectations were a little higher," he laughs it away, but hastens to add "still with 4,500 cinemas prepped for Avatar and growing it's an industry
with potential growth over the next 10 years." Understandably for Adams, and his Look3D, from two-and-a-half years ago the outfit has worked swiftly to ensure that they became market leaders in 3D eyewear: first, by being the first premium eyewear company to be certified by RealD; secondly, by part-purchasing manufacturing plants in the Far East so that the latter will help them expand their 3D vision globally. They were primarily making sunglasses and Look3D converted them to making 3D frames specifically. "There are some technical elements that we wanted our staff and workforce to be experts in rather than them being a sunglass factory trying to be a 3D glasses factory we are a solely 3D glasses factory," explains the Look3D director.
Having developed the critical space for the specific business case, Look3D claims now capable of manufacturing glasses to brand a particular exhibitor. According to Adam, they can develop any product in line with any Rhett Adam, Look3D's brand development director, first got the requirements needed as long idea to start making designer 3D eyewear when he was working as the users are as a brand manager and product development manager at willing to work Polaroid Eyewear. While travelling from Switzerland to London within the technical on a flight he happened to sit next to someone working in the specifications set motion picture industry who casually mentioned that many of down by RealD. the major movie releases were going to be in 3D. Adam Since the 3D eyewear immediately wondered if his understanding of polarization manufacturing is technology would be useful during such a transition. Upon done under the returning to Australia, he left Polaroid and started Look3D licence from RealD, the US company with partners Kris Lacey and Warwick Purves, who major must also run a successful interactive marketing firm. certify all the January-March 2010
Looking Through the 3D Glasses Though the concept of designer 3D eyewear looks fascinating, it does come with its own set of challenges, if not concerns from the exhibitor as well as the moviewatcher's point of view. Here is a tete-e-tete with the Look3D chief, seeking to address them:
targets. This motion with depth is the visual system's solution to a moving target when a difference in retinal luminance, and hence a difference in signal latencies, exists between the two eyes. So for instance, it's unsafe to drive with 3D glasses on because of the movement involved.
The designer 3D glasses are stylish, but they can't be worn as sun glasses…
Any example of a customer who has had some success with the glasses?
It has been thrown about in various media reports that 3D glasses can be used as sun glasses from an Australian standards point of view which is the highest eyewear standard set in the world. Because of the opposing axis of the lens material, most 3D glasses models fail to meet current Australian standards. Now, this may vary in Europe and America but the major reason why all 3D sunglass frames will fail is that the lens material is placed in opposing axis rather than horizontally and this can cause what is known as the Pulfrich effect. The Pulfrich effect is a psychophysical phenomenon created where the lateral motion of an object in the field of view is interpreted by the visual cortex as having a depth component, due to a relative difference in signal timings between the two eyes.
Greater Union are currently offering presale tickets for Avatar and what they're offering is an initial buy-in with presale tickets and owning your own glasses. Presale tickets went on sale three weeks ago and they've already sold just under 10,000 glasses. That's $25 on top of the ticket price.
The widely accepted explanation of the apparent depth is that a reduction in retinal illumination relative to the fellow eye yields a corresponding delay in signal transmission, which causes instantaneous spatial disparity in moving objects. This seems to occur because visual system latencies are generally shorter for bright targets as compared to dim
How do exhibitors sell the glasses… With Greater Union, we got display stands at the box office; we also have where they can touch feel, try on, look in a mirror and see what they look like. We also suggest exhibitors put in 3D monitors in the candy bar which show 3D content so that when customers put on the glasses they see the effect immediately. We are placing the product next to the candy on hand sale bags so they can just be selected and purchased at the candy cashier. And there's the online presale ticket portion of that as well.
Challenges before the exhibitors in selling the glasses… I think the biggest challenge is themselves in terms moving outside their current model of selling candy and being able to explore how to integrate the sale of 3D glasses into their programme. I always point out to them it's not a cap, it's not a t-shirt, it's not a mug that you're selling, the 3D glasses are an integrated piece of the story telling. So I think it's going to be a much easier sell. And also, once 3D TV comes in, it will also be a hub where you can see the latest 3D glasses and can purchase to take home and watch your 3D TV or video game. Traditional eyewear manufacturers might get into the designer 3D glasses business… I'm sure a lot of eyewear companies are going to venture down this programme. It is a unique manufacturing technique which most of them aren't set up for. I also think some of the designer brands won't be able to meet the price point. They won't want to attach their brands to the current price point requirements. The last thing you want to do is go to the movies and pay for $26 worth of tickets, you buy some candy and that's another $20 and then you buy a $100 pair of 3D glasses. At the moment I don't think that's going to work. The designer companies aren't going to reduce their price point and pull their brand down, but when 3D TV comes out and you buy a $10,000 3D TV, sure they'll probably sell a $100 frame.
TECHNOLOGY glasses before Look3D is allowed to go into mass production. Capitalising on the initial success, Adam and his Co. have also developed what they call a movie collection which is themed in line with next year's top 3D movie releases. So, there is a Toy Story movie frame which is coloured similar to some of the toys one would find in any kids room. They have a Shrek pair too which has the skin texture of Shrek. "Potentially we're working on the Friday the 13th mask which is a hockey mask with the 3D lenses in the eyes so the cinema goer can be drawn into the film even further," informs Adam, "We should have a prototype of that in about 30 days." Having got into the big league through licence from RealD, Look3D is also looking at the possibilities of working with other 3D system solution providers like MasterImage. However, it wants to go a little cautious; it is currently focused on RealD and ensuring that they set a business model. "We roll out a model with RealD initially, and then later possibly focus on the other manufacturers of 3D Systems," explains Adam. "Our objective is to get something right first
and then grow rather than just grow." According to him, there're a lot of directions this product can go in. Working with exhibitors and also the studios in formulating a plan that reaches out not only to the major exhibition chains but also independent exhibitors who want to show a point of difference and create a new revenue stream outside their normal platform is going to take significant time in perfecting before they can look at other systems. Obviously, RealD's licensing, and the ability to manufacture themed 3D glasses is one, finding the support of the major studios that have the final, or most influential, say in the Hollywood-centric global cinema industry is the other. Look3D looks quite optimistic about finding Hollywood's endorsement of its product line. The studios believe that they need to take a leading role for two reasons, says the Look3D director. The first being most of them have an environmental impact programme and they need to find solutions to resolve the single-use lenses being thrown away. Also, it makes commercial sense for them to try and pass on the current expense of
disposable glasses in the form of their subsidies to exhibitors by having an available option for consumers to purchase 3D glasses. Adam assumes that it is actually a natural progression of where the market is going. "Once people have 3D TV's in their home, no one will want a disposable uncomfortable pair," he asserts, "they'll want their own personal, functional and fashionable piece of Eyewear" Though equipped with a global license to promote their premium 3D eyewear in every cinematic territory, Look3D is initially rolling out the product in countries it feels comfortable with- i.e. Australia and North America. Their showcasing at ShowEast did bring them adequate interest from the South American as well as the European markets as well, and they are seriously exploring the options. So, here is a case of new entertainment and business. Let the exhibitors and their patrons 'look' through the 3D and make the best out of it. (TW thanks J Sperling Reich for his assistance. He can be reached at firstname.lastname@example.org)
Making A Majestic Glow While most cinemas worldwide have been trying to shrug off the recessive pressures, it is rejuvenation time for some, may be as a means to beat recession. For The Majestic theatre in Yakima, Washington - one of the oldest theatres in the US - it was one such occasion when the grand old cinema refurbished its ambience with digital sophistication. A quick snapshot. Yakima Theatres - regarded as one of the oldest running theatres in the US has been part of the American cinematic history since their emergence onto the scenario in 1912. Originally, the theatre featured stage acts and road shows, and the company has progressed through film's entire history. Having been through a significant period of slumber, it was reopened in 2005 with total refurbishment and renamed after the original Majestic. Running under the aegis of Stephen Mercy - a fourth generation entrepreneur stewarding the cinema company that now owns three theatre locations with 24 screens in the greater Yakima area - The Majestic grew as a fitting tribute to
the original. Having tasted success in the modern era, the cinema sought to redefine its ambience in line with the digital era. The result: A state-of-theart digital signage that has transformed the theatre lobbies and interior areas into a new fancy place altogether.
entrusted to the Texas-based digital signage solutions leader Texas Digital who accomplished the task just recently, much to the fascination of the theatre owners as well as their patrons.
Yakima Theatres chose Texas Digital's VitalCAST solution to showcase its The task of digital transformation of concessions, box office and 'The Majestic' interiors had been auditoriums in a more professional, visually appealing format. "Digital signage gives you more options. It's easier to Established in 1972, Texas Digital is a change, and it's got more leading provider of digital signage solutions, 'pow' to it than some of the with over 22,000 units installed worldwide. static signage," said Jeneanne Siekawitch, Yakima Texas Digital's customers include leaders in Theatres' marketing and the entertainment industry from movie advertising director.
theatres to theme parks to sports stadiums, arenas and other entertainment venues.
The Majestic's installation included four 42-inch LCD
CINEMA SYSTEMS screens in the concessions area, two 42-inch screens in the box office, two 52-inch screens in the lobby as directionals, and one 22-inch LCD at the entrance of each theatre for all 10 screens. Powered by VitalCAST software, these screens can now feature digital menu boards, movie posters and trailers, and movie title and show time information automatically relayed from their point-of-sale ticketing system. Additionally, all screens can be updated on-site with no downtime. "The biggest things that drew me to VitalCAST are the capabilities that the system has," said Stephen Mercy. "It basically allows us to do whatever we wish - take content from Texas Digital or get it from somewhere else. We enjoy the flexibility." Yakima Theatres General Manager Dale Carpenter is excited about the implementation of digital signage. "Obviously it looks attractive. When people look at something that's easy on the eyes, they tend to look at it longer," he said. By featuring concessions products and movie
offerings on digital screens with eyecatching videos and imagery, Yakima Theatres hopes to promote interest and remind people of what they're selling. "VitalCAST is an excellent solution for an independent theatre chain like
Yakima Theatres because it allows for quick and complete control of their theatre's total signage by their existing in-house personnel - there is no need for an IT staff in order to manage the system," said Dennis Davidson, president and CEO of Texas Digital.
Extra Large Audio for XL Cinema
Three-D cinemas are nothing new today, thanks to the emergence of new genre of entertainment technologies. However, making a 3D digital cinema out of a convention centre and elevating the audio ambience with awesome sound system is what differentiates the unique from the ordinary. This time, it is the CineMec, the largest 3D screen in Holland, and the honour of making it distinct is with QSC's new, purpose-designed audio system. The CineMec complex in Holland is a state-of-the-art cineplex which doubles as a conference centre. Housed in a contemporary building with striking architecture, the awardwinning enterprise, owned by Gerben Kuipers, is located in Ede, just 50 minutes from Amsterdam. Ostentatious cinema, as it is, CineMec made its boldest statement in summer this year when it opened a new 3D screen - called CineMec XL - as the largest 3D cinema auditorium in the Dutch domain. The cinema is characterised by, among others, an awesome 20,000-watt (RMS) of purpose-designed QSC cinema surround sound. The architectural speciality of the cinema is that the auditorium can host over 1,000 visitors and some seats can be lifted to the ceiling to convert the
cinema into a multi-purpose hall for concerts, congresses or similar events. Dutch cinema installation specialists FTT Filmtronics B.V. (FTT) - who were entrusted with the task of installing the audio system - based their specification around a matched system from QSC Audio, using no fewer than 44 loudspeakers. This includes a combination of their SR-46 4 x 6.5in two-way surround speakers, SB-7218 dual 18in subwoofer, SC-444 four-way (4 x 15in) screen channel speakers. These are powered by ten QSC DCA2422 and four QSC DCA1222 two-channel digital cinema amplifiers, controlled through an advanced DCM30 processor. This device provides signal processing and monitor functions in a single integrated system, optimising
loudspeaker performance and covering cinema systems ranging from three to five screen channels, 5.1 and 7.1 systems. DCM Digital Cinema Monitors are also compatible with all cinema processor formats including Dolby Digital Surround-EX and DTS-ES. Thomas Ruettgers, General Manager of FTT's head office Film Ton Technik in Germany, says: "There are quite a number of special features that have to be taken into account when implementing such an extraordinary project. QSC products are perfectly designed to meet all these special requirements - that is why we decided to install their audio systems at CineMec in Ede." Danny Pickett, Key Accounts Manager QSC Audio Products LLC, stated that it had been a pleasure to work with FTT to satisfy the client's unique needs.
CINEMA SYSTEMS "Working in this exciting space has really paid off for all involved especially the audiences attending shows there." With a seating capacity for 1050 people, 160m2 (20m x 8.10m) of silver screen and two Christie digital projectors, CineMec XL has immediately established itself as the leading digital 3D cinema in Holland. Having also been the first company in Holland to go digital - which was done in 2003 - CineMec today boasts as many as eight modern digital theatres. The CineMec-XL is also proving to be an important venue for hosting key conferences for national corporations offering facilities ranging from live satellite transmissions in high definition format on the big screen to infinite digital sound and image potential for audio-visual presentations. In fact, part of the International Cinema Technology Association (ICTA) seminar took place there in June this year. CineMec XL kicked off the 2009 summer with a specially-constructed
3D programme - including 'U2 3D' to coincide with the band's concert in Amsterdam Arena on July 20-21. It is using its new 3D system with passive 3D glasses (each eye served by its own projector, each equipped with a circular polarisation system). This means that both the left and the right eye receive only the images provided by its respective projector. The demand for 3D films in Holland is
increasing rapidly they say, and spread over a seven week period, CineMec registered 3836 visitors to the film 'Bolt' in 2D as opposed to 5168 to the 3D version of the same film. This developing worldwide trend was confirmed during this year's International Cannes Film Festival, when the latest 3D animation film 'Up' from Pixar opened the festival to positive press reviews.
CINEMA SYSTEMS Projection Series - XXVII
Keeping within the law In Part-I of Unit-VII published in the last issue, we discussed various aspects of the work environment that the projectionists get engaged with as part of their job, and few measures how it can be made better for overcoming the periodical challenges. In this issue, as Part-II of the same Unit, we various issues of projection job that come with legal implications, and how projectionists need to handle them, besides their actual job of movie projection.
Every cinema operates within a legal framework, and it is always a good idea to know a bit about it. Before a cinema prepares to open up to the public, it is mandatory for it to obtain a licence from the local authority. In order to get the licence, and keep it all through the cinema's existence, the cinema manager has to be able to furnish evidence of the safety and efficiency of the cinema's operative systems in the form of certificates issued by various authorities. Different local authorities would have different requirements. However, there are certain areas of cinema operations that are common for all the moviehouses, irrespective of the territory: •
Because projectionists are normally required to carry out routine
maintenance on such systems, it is worth knowing what the minimum requirements are to obtain these certificates, which have to be annually renewed following inspections. It is also worth noting that the licence is held by one named person and that either that person or some other audit nominated by him or her "… shall be present in the premises at all times when the public are on the premises." The main ways in which the need for a licence will affect you will be in facilitating the necessary inspections, in helping to make sure that the various systems are passed and in enforcing the provisions of each film's classification, which affects who may or may not be admitted to a film showing. Most people know about the british system of film classification, as cinemagoers, but people who work in cinemas have a special responsibility to be completely iamiliar with it, as they have to police it.
The classification system is currently administered nationally by the british board of film classification, which is an independent, non-governmental body which views all films due for release, and classifies them according to a set of agreed categories. It has itself no regulatory or legislative powers, but can only persuade. The power to regulate what films are shown, and to whom, resides solely in local authorities, who grant your cinema's licence. Having earned the trust of local authorities, the BBFC provides a convenient framework for the authorities to exercise their statutory powers. Local authority powers are wide ranging, including cutting films, baning them altogether, waiving cuts or altering the recommended classification. They can do any of these things against the recommendations of the BBFC if they see fit. Naturally, the conditions imposed by cinema licences differ form one
CINEMA SYSTEMS authority to another, but many adopt model licensing conditions suggested by the home office, which include: •
No film, other than a current newsreel, shall be exhibited unless it has received a certificate of the British Board of Film classification or is the subject of the licensing authority's permission
No young people shall be admitted to any exhibition of a film classified by the BBFC as unsuitable for them, unless with the local authority's permission
No film shall be exhibited if the licensing authority gives notice in writing prohibiting its exhibition on the ground that it "would offend against good taste or decency or would be likely to encourage or incite crime or lead to disorder or to be offensive to public feeling"
It means that you must make sure the classification certificate appears immediately before the film, and that you should make sure it is the right one. On occasion, projectionists may be required either to cut sections of a film, or to splice back in sections which have been removed previously, when ordered by the local authority, when it requires a different version from the BBFC recommended version. Such alterations must be checked by the authority before showing. The current classification categories will be well know to you, but for the record they are: U
Universal. Suitable for all.
Uc Particularly suitable for young children PG Parental Guidance. Some scenes may be unsuitable for children
The nature of the certificate given to any film shall be indicated in any advertising for the film, at the cinema entrance (together with an explanation of its effect), and on the screen immediately before the film is shown
12 Suitable only for persons of twelve years and over
Displays outside the cinema shall not depict any scene or incident not in the film as approved
No advertising shall be displayed at the premises if the licensing authority gives notice in writing objecting to it on the same grounds as apply to the prohibition of films
R18 For restricted distribution only, through specially licensed cinemas or sex shops to which no one under eighteen is admitted.
15 Suitable only for persons of fifteen years and over 18 Suitable only for persons of eighteen years and over
As with other aspects of doing the job, polices and provisions for training and development vary
widely between companies. In general, until recently, training for projectionists has not been considered a priority, and there are no full time courses in colleges in England. There is instead a long and honorable tradition of "learning from Nellie", and apprenticeships, where the emphasis is on learning on the job. Some companies do provide off-thejob courses, such as induction courses and courses concerned, such as induction courses and courses concerned with new technology. Equipment and system suppliers also run courses as a serviced to the industry, in support of their products. This manual, sponsored by the Cinema Exhibitors' Association represents the first systematic attempt to provide projectionists with knowledge about their job on a distance learning basis, to provide an alternative way to learn about the job. The BKSTS also have a very active and successful training unit which runs regular courses and publishes much useful support material. For those who wish broaden their understanding of the film production industry, the British film institute have a range of valuable publications on the history of the cinema, and publish a guide to public media courses. Many manufacturers also publish free technical literature in support of their products, and a library of such information can be built up over time,
(There are extra recommendations for cinemas in London.) For people who work in cinemas the practical outcomes of such principles are fairly obvious. If your local authority accepts the BBFC classification (and most of the time it does,) it is tantamount to the law, as far as your cinema is concerned. This means for instance that your must enforce the exclusion of young people as and when the classification indicates. It means that your manager, who may delegate to you, is responsible for the advertising of the film in the press and outside the cinema.
Film classification notices outside the cinema
BKSTS projectionists’ sound training course
just for the asking, to form a very valuable learning and reference resource.
development issues, and negotiate funding for training in the UK.
The industry training Organisation for the "broadcasting, film and video industry" is Skillset. It is not itself a training provider, but does have responsibilities to introduce industrywide quality standards and competence-based qualifications (NB|VQ), research training needs, raise awareness of training and
Another useful learning resource is the BKSTS journal "cinema Technology", which regularly carries all kinds of information about issues of concern to projectionists, often written by professional experts. The projectionist has two areas of interest in training. The first is to get trained yourself, and the second is to help others get it. In both
Experienced projectionists can train on-the-job...
...and carry out job assessments
cases, opportunities will depend very much on whether or not your company encourages training, and is willing to pay for it. Even if training is not systematic in your company, there is quite a lot you can do about it yourself: •
Adopt a positive attitude towards your own learning you are never too old to learn
Make it clear to your management when you have real training need
Find out what courses are available before you request off-the-job training
Make the vest use of more experienced colleagues as prime learning resource
Do not pretend you know how to do something when you don't ask to be shown
Learn from your mistakes
When you are experienced, help others by taking on a training role yourself
Read widely about all aspects of your craft
Join a professional association
It is generally agreed that assessment of how you do your job is a good thing, along, with training and development, motherhood and apple pie, but again, how much of it is one, and how effective it is , varies from company to company.
REVIEW 26-29 October Orlando World Center Marriott, Orlando, Florida 2009 The 2009 edition of ShowEast was held at the Orlando Marriott in Orlando, Florida, from October 26th through October 29. This year's conference marked the 25th anniversary of the exhibitor trade show which is often referred to as a sister convention to ShoWest, held each spring in Las Vegas. This year's event took place amidst one of the worst economic downturns in over 80 years. There was, indeed, a great deal of talk about how the recession was affecting the motion picture exhibition industry. As usual, the four-day confab gave attendees a sneak peek at some much anticipated fall movie titles some of which are probably headed for Oscar nominations. The event, which has also become known for having a heavy Latin American presence, this year was no different. Most, if not all, of the major Latin American exhibitors turned up to seek information as digital cinema begins to be rolled out in earnest within the territory. The hot subject, obviously, was none other digital 3D content, not only because of high profile releases such as Avatar but also because the 3D is clearly driving the adoption of digital cinema technology.
The Programming The seminars and tech sessions at ShowEast this year were geared mostly towards digital cinema topics, with the odd broad industry speech thrown in for good measure. Traditionally, the first day of ShowEast has always been dedicated to International Day to give exhibitors from around the world an opportunity to discuss emerging trends and to preview product reels from major studios. The Monday session began with a keynote address from Tom Molter, Warner Bros. Senior Vice- President of International Distribution. His slick presentation was chock full of statistical figures about the growth of digital cinema around the globe. Molter focused a large percentage of his presentation on the Latin America region where the digital
conversion is expected to pick up steam, especially in countries such as Mexico and Brazil. It was thus no surprise Warner Bros. and other studios were keeping an eye on Latin America. For, while the region only contains 9 per cent of the world's movie screens, it accounts for 16 per cent of movie ticket sales and 13 per cent of worldwide box office revenue. In 2009, till end September, the region's box office was found to be up 5 per cent, and is only behind India and China as the fastest growing territory. Movies such as Fox's Ice Age: Dawn of the Dinosaurs, and Warner Bros.' Harry Potter and the Half-Blood Prince have been counted among the top grossing films of all time in the region. "Digital growth is expected to be particularly robust in Mexico and Brazil," Molter noted in his address.
Another interesting fact from Molter's presentation was the growing percentage of box office revenue earned in foreign (nonNorth American) territories. In 2000, foreign box office made up 46 per cent of worldwide grosses, and by 2008, the figure increased to 65 per cent raking in $9.67 billion. International Day also featured a panel discussion titled 'Working Together: Using New Media and Market Best Practices to Attract Moviegoers' where executives from some of Latin America's biggest circuits and largest distributors took to the dais to talk about how the Internet was becoming more important in attracting moviegoers. Laura Rama, Walt Disney International's Vice-President of Studio Marketing said though the TV was still the largest medium for
introducing a new film to audiences, the studio had shifted a large portion of its movie marketing budget to the Internet. Alejandro Ramirez Magana, the CEO of Cinepolis, says his circuit uses Facebook to reach out to over 100,000 customers, informing them of upcoming releases and special promotions. The second day's focus was on 'Financing the Move to Digital Cinema in an Uncertain Economy. Moderated by Michael Karagosian, President of MKPE consulting, the panel discussion included some big names in the North American digital cinema rollout, including the CEO's from two of the continent's largest integrators, Bud Mayo of Cinedigm and Travis Reid of Digital Cinema Implementation Partners (DCIP). Reid mentioned that DCIP was very close to getting the $525 million it needs to commence the rollout at AMC, Regal and Cinemark, while Mayo pitched exhibitors on the increased revenue that can be earned by showing digital 3D films. "It's not just to have cool technology up on your screens," said Mayo. "We've seen the incremental increase in revenue that 3D allows." Mayo went on to mention Cinedigm's new programme which allows exhibitors to pay for the equipment on their own, letting the integrator administer a circuit's virtual print fees. Financial contribution toward a digital conversion seems to be important to lenders such as JPMorgan. Andy Sriubas, Managing Director of JPMorgan said that banks want theatre owners to have a little "skin in the game" when converting their venues to digital.
The third day's tech session was sponsored by Technicolor. The motion picture lab recently announced a filmbased 3D system that would allow exhibitors to show 3D content without the expensive cost of converting to digital. The programme has some skeptics, with some claiming it will hold up the worldwide rollout of digital cinema equipment. However, several major studios have pledged their support of the system with Fox and Disney being notably absent from the list. To help defray the cost of the silver screens required for Technicolor's system, the company announced the Silver Screen Fund, a joint-venture with Kodak, Fuji and Deluxe set up to equip 500 auditoriums with the special screens.
Movies The first day of ShowEast featured Overture Films' The Men Who Stare At Goats, starring George Clooney. The film, which is likely headed toward numerous award nominations was featured on Tuesday along with Lionsgate's vampire fest Daybreakers starring Ethan Hawke and Willem Dafoe. The third day presented three titles to those attending the trade show, including Freestyle Releasing's period piece 'Me and Orson Welles, 'Warner Bros. Pictures' 'The Blind Side' starring Sandra Bullock and Sony's tent-pole effects driven '2012' from director Roland Emerich. Screening on the last day of the event was the much praised Lionsgate release 'Precious' based on the novel 'Push' by Sapphire as well as Apparation's historical costume drama The Young Victoria".
Awards ShowEast had been awarding several executives with special prizes during the International Day proceedings.
Over the past decade most of the awards have gone to those working in Latin America as was the case this year. Jose "Pepe" Victoria, General Manager of UIP Panama was conferred upon with International Distributor of the Year award, while Caribbean Cinemas head film buyer Mike Moraskie (formerly of Cinepolis) was honoured with an award for Outstanding Achievements in International Exhibition. The Anti-Piracy Latin American Government Leadership Award was handed out to Jorge Amigo, the Director General of The Mexican Industrial Property Institute. He had a great laugh line in his acceptance speech when he joked, "The only kind of pirates we like are 'Pirates of the Caribbean'." Inducted into the ShowEast Hall Of Fame during an annual luncheon moderated by Clark Woods of Marquee Cinemas was MaryAnn Anderson of Anderson Consulting, Jerry Brand of Brand Booking, Mike Mihalich of MJR Theatres and Bill Towey of National Amusements. Two inductees have been entered posthumously; Bob Capps of Columbia/TriStar and Wayne Lewellen, the former head of domestic distribution for Paramount Pictures. The final night's award ceremony saw Warner Bros. Pictures' Kelly O'Connor win the Al Shapiro Distinguished Service Award. The evening's other big winners were Stewart Harnell of Cinema Concepts who was presented with the Show "E" Award and AMC Theatres' head film buyer Sonny Gourley who was honoured with the Salah M. Hassanein Humanitarian Award.
Tradeshow The exhibit floor was filled by 190 companies from all over the world. Conference mainstays such as Ballantyne Strong, Barco, Christie, Cinedigm, Cinema Concepts, Doremi, Harkness Screens, JBL/ Crown, Mars Snackfood, NEC, Osramp, Philips, QSC Audio, Qube Cinema, Radiant Systems, Schneider Optics, Sony Electronics and Vista Entertainment Solutions were joined by such newcomers as D-Box Technologies, Danley Sound Labs, Look3D and ZhetaPricing. Notably absent from this year's tradeshow floor were Dolby and DTS (now Datasat Digital Entertainment) who chose to host customers in private suites.
New Products Announcements of new products started out with a bang on the very first day with NEC launching three new digital cinema projectors with three brightness levels for screens up to 105 feet wide. The NC1200C provides 9,000 lumens of brightness for screen sizes of up to 46 feet wide, the NC2000C throws 17,000 lumens for screens up to 65 feet wide, and the NC3200S blasts out 31,000 lumens for screens up to 105 feet wide. Sony followed by launching a new projector of their own, the SRXR320 4K SXRD projector. The 4K projector uses the LMT-300 Media Block and measures approximately half the size and weight allowing an for a range of installation options. Not to be outdone, Christie Digital released a new series of projectors, the Christie Solaria product line includes the CP2210, CP2220 and CP2230 all of which are 2K and 4L-ready and will be available in the first half of 2010. Doremi announced the next version of their digital cinema mastering hardware, the Rapid and Rapid-2X mastering stations with JPEG200 support for bit rates up to 250 Mbs. Datasat Digital Entertainment upgraded their
digital cinema server, the DC20, with two new playback formats; Flash and QuickTime. Datasat Digital Entertainment also introduced the AP20 Audio Processor. The processor boasts the flexibility of working with either digital or 35mm content, has 16 channels of fully routable audio, Dirac auto room tuning and capability of connecting numerous non-sync devices. Golden Link launched IML glow in the dark drink cups. Irwin seating announced several new options for their VIP chair, including a retractable foot rest, swivel tables and drink tables. Jack Roe brought to market a new add-on to their Jacro Premiere cinema display system that includes a 1080p touchscreen trailer display. Moving iMage Technologies introduced the IS303 Phase Spike Arrestor to prevent AC power surges from destroying valuable cinema equipment. POS vendor Omniterm has created the ABO6300, a new ticketing kiosk. Osram's new XBO 4200/HPS OFR lamp was created specifically for the Sony SRX R220 Digital Projection System to satisfy the high luminance levels required by the projector. Schneider Optics announced the DiStar HD lens which was designed for digital cinema projectors employing the DLP 1.2" 2K chipset. Titan Technology launched their Velvet Rope application which enables exhibitors to offer presale and VIP tickets for upcoming events. Tivoli introduced the new Platinum Series Full Spectrum replaceable LED lighting system. Vista Entertainment Solutions is now offering an application for Facebook which allows customers to look up showtimes and purchase tickets directly from the popular social networking site. ZhetaPricing demonstrated ZP Cinemas 2.0 and ZP Management, two software applications that allow theatre owners to efficiently manage prices and auditorium capacity by predicting demand and utilizing price differentiation to increase box office revenue.
8-10 December 2009 Hong Kong Convention & Exhibition Centre, Hong Kong CineAsia 2009 - the 17th edition of Asia's premier convention and tradeshow on motion picture exhibition industry - will be held from 8-10 December at the Hong Kong Convention and Exhibition Centre, Hong Kong. Hoping to beat the recessive pressures and be in tune with wider participants' demand, the threeday convention has moved back to Hong Kong, after almost a decade. Notwithstanding the global market pressures, this year's CineAsia promises in-depth deliberations on digital cinema and 3D, besides other important subjects- but with a prime focus on the Chinese exhibition industry that had been one of the
biggest promises of the global industry. The three-day convention will open with a focused seminar on 'A New Dimension to China,' that will have as its panellists Michael Archer, vicepresident-Doremi Digital Cinema; Yang Buting, Chairman-China Film Distribution and Exhibition Association; Dr. Man-Nang Chong, CEO- GDC Technology; Y.C. Chu, Deputy General Manager, Media Asia Group; and Dr. David Chung, Head of Information Technology OperationsHong Kong Cyberport Management Company Ltd. The opening day will have product presentations from United
International, Paramount Pictures, and Universal Pictures, followed by the post-lunch opening of the tradeshow. The evening will have two movie screenings- Walt Disney's 'The Princess and the Frog,' followed later in the night by Paramount Pictures' 'Up in the Air.' Day two will open with a joint seminar by CineAsia and ICTA (International Cinema Theatres' Association). The technical session titled 'A Digital Update,' will have the industry updates brought to the forum by Tony Adamson, manager-worldwide customer marketing, DLP Cinema; Ray M. C. Seok, general manager-Digital Cinema of Korea; Ranjit Thakur, CEO,
Scrabble Entertainment Pvt. Ltd., India; and Naoshi Yoda, managing director, T-Joy, Tokyo. In the following ICTA session, Andrew Robinson of Harkness Hall would provide 'screen facts,' Bill Mead of DCinema Today, and Jason Brenek of Disney would present the 3D dynamics, while Michael Archer of Doremi would dwell on maintenance of digital cinema servers. The day-two evening would be marked by trailer presentations from the footages of the much anticipated Avatar, besides Alice in Wonderland, How to Train Your Dragon, and Shrek Forever After on the Imax 3D digital format. The much sought after programme of the event of Awards Nite this time, like the previous editions, will have a distinct profile. The CineAsia Exhibitor of the Year Award for 2009 would be conferred upon the Golden Screen Cinemas. Irving Chee, chief general manager of the Malaysian cinema major would receive the award. The most interesting award this time, however, is the DLP Market Achievement Award, being given to Sathyam Cinemas of India. The Chennai-based cinema operator had been making big waves in Indian exhibition business for some time now, and has ambitious expansion plans. Besides, Sunder Kimatrai, of 20th Century Fox has been chosen for the 'Distributor of the Year' award, while Media Asia Group Ltd. Chairman Peter Lam would be honoured with the Producer of the Year award. The 'Asia-
Exhibitors Barco NV Changzhou Yuyu Electric Light Appliance Co., Ltd. CHRISTIE Cinemeccanica SPA Dolby Laboratories Doremi Cinema Ferco Seating Systems First Audio Manufacturing (HK) LTD GDC Technology Golden Link Inc. Guangdong Pearl River Cine & Video Equipment Co. Harbin Cinema Equipment Harkness Screens International Cinema Technology Association Jos. Schneider Optische Werke Gmbh K.C.S. Kelonik Cinema Sound Kendar Engineering Kinoton GmbH Monee & Company Private Limited Nissin Optical OSRAM Asia Pacific Limited Philips Specialty Lighting Preferred Popcorn Qingdao Fuyi Flame Retardant Acoustical Materials Qsc Audio Products Quantas Popstar Int'l Co. Ltd. Qube Cinema Inc. Star Screen (Anhui Ma'anshan) Co.,Ltd Strong International Tianjin Cineprojector Factory
301 501 201 107 205 305 314 505 311 112 810 415 214 106 405 115 315 806 108 104 304 404 802 812 100 511 803 811 101 515
TheatreWorld Ultra Stereo Labs Ushio Inc. Vista Entertainment Solutions Zhang Jia Gang Century Union Audio & Visual Equip
Pacific Copyright Educator Award' would be presented to noted producer Raymond Wong.
206 804 215 503
Overall, CineAsia 2009 is expected to debate and look for some directions to the global and the Asian industry for a recession-proof march ahead.
WINTER 2009 12-14 FEBRUARY 2010 HYDERABAD, INDIA
DECEMBER 8-10 CINEASIA, HONG KONG www.cineasia.com
SPRING 2010 FEBRUARY 12-14 CINEMA TODAY, HYDERABAD, INDIA www.cinematoday.in
MARCH 15-18 SHOWEST, LAS VEGAS, USA www.showest.com
MARCH 16-18 FRAMES, MUMBAI, INDIA www.ficci-frames.com
SUMMER 2010 JUNE 21-24 CINEMA EXPO AMSTERDAM, HOLLAND www.cinemaexpo.com
AUGUST 15-19 AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
AUGUST BIRTV, BEIJING, CHINA www.birtv.com
SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
AUTUMN 2010 OCTOBER 11-14 SHOWEAST, FLORIDA, USA www.showeast.com
Cinema Today 2010, the fourth edition of convention and tradeshow on Indian cinema entertainment and associated industry segments would be held in Hyderabad from 12-14 February, 2010, at the Hyderabad International Convention Centre, Hyderabad. After hosting two editions of the event in its birthplace Chennai and the one in Mumbai, Cinema Today is travelling to Hyderabad for the fourth outing. The expo, as is now known to the industry for its programming, will showcase the latest technology, equipment and services of cinema, including digital cinema, and noncinematic entertainment like broadcast, pro sound and light, besides media industry.
most industry streams – is expected to augur well for the Cinema Today 2010. With the kind of explosive growth taking place across all the segments of the entertainment industry in the region, the event is expected to live up to the expectations of the industry. Visitors from all over India, with a majority from South Indian states, and from neighbouring Sri Lanka are expected to attend the threeday event. The show has gained a lot of momentum and has become a familiar event in the industry circles. The support of industry related associations, media partnerships and a focused promotional campaign is hoped to ensure that the target visitors do not the miss the event.
That the entertainment industry had been undeterred by the recession pressures – despite the economic down turn keeping the business spirit low in
Ram and Raghav at Cinema Today 2009 at Sandy Media Stall
A Smart Technology Since the time digital cinema emerged onto the theatrical exhibition scene, dozens of solutions and technology models have come to play a role in the 'big screen show.' While each of them had their own value proposition, none was totally indispensable. However, here is one technology player whose solution is apparently indispensable - SmartJog, the global leader of managed network delivery services. Its unique technology platform and the value proposition that it boasts to bring through its electronic delivery solutions to digital cinema user communities appears to be crucial in today's technology cinema era. TW, always an assiduous follower of technology, this time, talks to SmartJog's Sales Directors, Christiane Ducasse (CD), Director of Sales USA and Nicolas Dussert (ND), European Theatrical Sales Director on what makes it so crucial. TW - What exactly Smartjog is all about? CD-ND SmartJog is a global leader in secure electronic delivery services for the entertainment industry and in Digital Cinema distribution to cinemas in Europe. It offers a fully managed distribution and file transfer platform for secure, fast and reliable digital delivery of content. It's a technology platform that interconnects different content sourcing and receiving centres. In other words, we are connecting US Studios, international distributors, cinemas, post-production and mastering facilities; digital cinema service providers as well as TV stations, VOD platforms and we facilitate the exchange of data from point to point and point to multipoint between all these facilities. We are present in as many as 65 countries and over 800 sites. A subsidiary of TDF, a French based telecommunications Group, Smartjog was created in Paris in 2002 with a focus on electronic distribution of
content to entertainment venues, particularly TV stations and postproduction centres globally. We expanded our service offering to digital cinema distribution to theatres over one year ago, initially in the French market. Leveraging our strengths at home, we are spreading across Europe with deployments underway to cinemas in the Netherlands, Belgium, Switzerland, Spain, Finland, etc. In a nutshell, SmartJog is a content management, delivery, and integration company, enabling transmission of content of any size, any type from and to any point. TW - How does it work? CD-ND We enable secure transmission of content between our gateways servers installed at each sending and receiving sites. The platform supports all forms of connectivity for data transfer. We use Intelsat network for the delivery of content over satellite; or we use terrestrial channel (ADSL,
fibre), through which we are able to transmit content. The content producer-distributor usually asks its mastering facility to upload DCP content to our network using their SmartJog server. Once uploaded, the DCPs can be sent to a final destination or are stored into the distributor's catalog at our data centre. The distributor can then logon our platform using a secure USB token and password and initiate the transfer of media files to distant locations. Files are then transmitted via our mirrored data centres to the final sites. The user cans track in real time the status of the delivery via our webbased tracking application and upon delivery, an email notification is sent to the sender and to the cinema as a proof of delivery. We have permanent satellite capacity in Europe and DCPs can be sent at any time to cinemas. At the theatre, it is easy for the projectionist to ingest received DCPs
into the digital cinema playback server. We are fully integrated with most players in the market, Doremi, Dolby, QuBe, XDC, Kodak and several TMS. The SmartJog Network Operations Team manages and monitors the network and we offer 24/7 support service via phone and e-mail. TW - What market geographies are addressed by SmartJog? CD-ND All the US Studios in Hollywood currently use our service to send theatrical elements to several territories. DCPs are already being sent between post houses across the globe for localization. We continue to expand our network to Digital cinema mastering facilities in several countries in Asia Pacific Rim, Japan, India and other parts of Asia. So, almost all territories across the globe can be reached via the SmartJog network.. TW - By which time you expect to offer digital cinema distribution to cinemas in these markets?
CD-ND Outside Europe, our strategy is to work with partners and we are now offering our Digital Cinema Solutions and technology to 3rd party digital cinema network operators, leveraging our systems already installed at mirrored data centers in North America and Europe. SmartJog's offering combines software licensing and a service agreement for network monitoring, traffic scheduling and supervision, allowing Digital Cinema Network Operators to keep their start-up costs very low while benefiting from reliable digital cinema solutions vetted and used by the entertainment industry. While SmartJog provides tools and managed network supervision and transmission services, the Digital Cinema Network Operator remains responsible for providing bandwidth to the cinema sites with the platform of his choice (satellite and back channel connectivity and/or terrestrial fibre).
We are in discussion with several players right now, particularly from the Asian markets towards helping the exhibitors deploying satellite delivery solutions using our core technology platform and applications. TW - How many cinema sites are operational now? CD-ND Our installations in cinemas are, of course, in Europe and particularly in France, where we have more than 100 cinema sites deployed with access to over 500 digital screens. And we have been adding around five sites every week. This is primarily because we have recently signed an agreement with Europalaces, a theatre circuit who operates a network of 86 sites and with Kinepolis, with 23 sites. We also have signed locations in Belgium, Switzerland, Spain, etc. We have enabled over 25,000 DCP deliveries so far in 2009 that include movies, trailers, pre-show advertising, alternative content like concerts.
TW - The market is crowded with too many players. Where and how SmartJog figures itself? CD-ND The very fact that we already have over 100 cinema locations with 500-plus screens running on our network and another 500-plus lined up for the next few months, the competitive advantage is already there. And in today's world, distributors would want to be with a service provider that has a wider presence and is professionally competitive. SmartJog is the best choice for both. TW - There are potential and competitive players in both the US and Europe - how does SmartJog make its ground? CD-ND We need to continue to be a key player. We have a sister company called Media Broadcast, based in Germany, and we have been working together. They will deploy in Germany, Austria and other territories, and we will focus on France, Benelux and other European countries. Having said that, there will be probably a coexistence of three to four players. But what matters here is who has the credibility in the marketplace. We already have won the confidence of the Hollywood majors and leading European Distributors and they have been sending their content through our platform. What is really unique in the SmartJog services is that we are connected with all the major digital cinema mastering facilities in the world today. Over 65 DCP mastering facilities and digital cinema service providers are currently sending DCPs to one another using the Smartjog network. No other service provider today has this competency. When you want to send your movie to be beamed over satellite via a satellite service provider in the US, you need to send to them a hard drive. On the other hand, with SmartJog, if a post-production house or studio in Mumbai wants a movie to be beamed to a cinema in Europe, they only have to logon to our platform; upload the DCP; select the receiving site on our web based interface; and just press the send
button. They don't need to ship the hard drive across the seas. SmartJog truly eliminates physical media and enable the industry to keep a file based workflow from the mastering facility to the cinema. The fact that we are connected to all the mastering facilities is a huge advantage that Hollywood sees as a real value to distribute its movies to cinemas globally. This is a big edge for us over the competition. We also offer unique features that enable content providers to check the integrity of DCPs prior sending. Distributors of feature films and alternative content can also store their content at our secure data centres into a catalog for easy media asset management and rapid access for future deliveries. From a technical point of view, we know how to manage a network and optimize transmissions; this is our core business and we have experience in monitoring traffic on a complex network. We also develop our own software and provide innovative workflow management solutions. We also bring to the market a costeffective digital cinema central library solution for local storage at the cinema with 3 to 12 Terabytes available. That's another huge advantage of SmartJog. TW - How much an exhibitor needs to invest to get into SmartJog network?
CD-ND Technically speaking, nothing for the basic installation (gateway server and satellite dish). The exhibitor only needs to invest in their hardware installation cost and Internet connectivity. We work with all the leading installers in Europe. We do not charge anything to the exhibitor for movie delivery. If more storage is needed, the exhibitor can also buy our digital cinema library. TW - Then who pays for your service and system usage? CD-ND We charge the distributor a fixed price per DCP and per trailer. The distributor pays us for using our network. It is the DCP and trailer traffic that brings our return on investment. The pre-show commercials that are sent over our platform are another source of revenue. Alternative content can be yet another. TW - How about the popular VPF? CD-ND Our service is not part of the VPF model. The studios do not include electronic delivery as part of the VPF model. We are just selling our network capabilities to enable Motion Picture Studios and distributors to send digital content seamlessly and securely in a cheaper and faster format. However, the Central Library server we propose to exhibitors for local storage is eligible for financing via a VPF deal.
Digital 'Fun' Art That the DCI-compliant digital cinema has come to India to stay goes without saying. Indian cinema has (finally) begun to elevate itself in sync with the global trend and demand. However, enabling a cinema with globally acknowledged digital cinema system is one, and creating the same with an imposingly artful design ambience is the other. While most upcoming cinemas have been trying their best to make their latest cinematic expressions unique than the rest, some cinemas have been able to stand apart with some truly 'distinctive' style of expression. Two multiplex cinemas that have come onto the big screen entertainment domain in the recent weeks have become noted for their entertaining design as well as their cinematic technology. That both the cinemas come from the same enterprise - the Fun Cinemas of the Mumbai-based multiplex major E-City - may be just a coincidence, but what stands out distinctly is the design quotient that had been merged so delectably into the entertainment package at both the venues. Entertain World, this time, presents a pictorial fiesta of two DCI-compliant digital multiplexes, including a 3D, that is an awesome expression of the 'art' of a modern cinema. Feast your eyes. January-March 2010
entertainworld Fun Cinemas Chembur, Mumbai When the K Star Mall, near the Diamond Garden in Chemur East, Mumbai, opened a few months ago with a 5-screen, all digital multiplex, including a 3D screen, it opened also opened an altogether new domain of entertainment- not just for threedimensional movie watching inside an auditorium but also for a similar appreciation of the artistic architecture that is weaved
The wonderment begins right from the moment the visitor steps into the lobby and moves towards the concessions. The designers apparently attempted to amplify the illusions by destabilizing a stable geometric form of the hexagon into a harmonious and functionally stable design, and accommodating all the functional requirements. A slide by the concessions is a thrill of a kind as the stretching around the whole setting. Designed by Thane, Mumbaibased Arris Architects, the fivescreen multiplex - with an aggregate of 1253 seats - is a wonderment for the design techniques it employed. "It's a wonderment of the extent of disillusionment yet finding it upfront," was the appreciation of a connoisseur. "It's an abstract notion. We enjoy stretching and twisting our mind to the extents of disillusionment." TW-52
entertainworld signage, integrated intelligently in the mesh, compliments the overall harmony of the space. The design axis-like hexagonal form is a 'fine art' of a balanced contract between acrylic solid surface finished shell and the stark Belgium black flooring. It also is finished in solid wood planks emerging out of the white 'duco' painted plane whereas Italian marbles form the back drop for the seating niches and lift lobbies. Intelligently employed LED lighting aids in achieving not only low-energy consumption but also and twisting forms take the
The location of the recessed
visitor to a different dimension of
seating lobbies would provide
space. The design exploits the 15
excellent vantage points for the
feet -high linear space of the
patrons to appreciate the massive
concessions lobby by
scale of the dynamic form. Well
accommodating the circulation
identified niches within the form
and service spaces - such as the
create a dramatic entrance to the
entrances to the cinema,
screens. The spatial treatment of
concessions and administration
the double height entrance lobby
wings - within a dynamic
is charactertised by a geometrical
hexagonal form that acts as the
relief work and travertine
focal point of the whole design,
cladding, respecting the
The sound and projection system
creating an ambience of a walk in
proportionate volume of the
was supplied and installed by MRH
entire space. The Fun Cinema
Digital Systems while the acoustics
the different moods and effects. The auditoria simply carry the wonderment of the design, but with the addition of a threedimensional movie watching experience. While all the five screens are equipped with DCIcompliant 2K digital projection system, one of them is elevated still higher with 3D system.
was done by Jal Mistry.
entertainworld Fun Cinemas Jaipur The Fun Cinemas that has come up as part of the massive Triton Mega Mall at Jhotwara in Jaipur, is yet another expression of dynamism in art and architecture blended into cinematic entertainment. This four-screen multiplex has a total of 959 seats that include Business Class Recliner Seats- a unique feature brought to the movie-crazy Pink City for the first time. Designed again by Arris Architects, the dynamic fine art
experience begins right from the
office set up in the centre of a
large space. The experience only
goes up, as the visitor moves up
the cinema area and through the
concessions- a 3500 square feet
massive recreational space. The
attempt here again is for a new
by the box
spatial experience by means of
entertainworld visual negotiation of different functional elements is achieved through the use of neutral materials, gushes of rich colour and focal graphics. Extensive use of red coloured back painted glass and granites in the floor reflects a warmth that invites the patrons into the cinema. The sound and projection system was again done by MRH Digital, while the acoustics was done by Neville Daruwala.
some radical expressions. The
in the backdrop of the
dynamism of the entire design is
made evident in the grey
Use of Light
coloured veneered envelope that
articulates the concessions as the
point of confluence. A sense of
motion is created by the fluid like
orange element, discreetly used
F U T U R E
R E L E A S E S
A glimpse of movies coming to Asia this spring or later… Case 39
The Spy Next Door Production Paramount
Director Christian Alvart
Director Brian Levant
Starring Renée Zellweger, Jodelle Ferland
Starring Jackie Chan, Madeline Carroll
Genre Action, Comedy
Legion Production Lionsgate
Production Screen Gems
Director Peter Spierig
Director Scott Stewart
Starring Ethan Hawke, Willem Dafoe
Starring Paul Bettany, Dennis Quaid
Youth in Revolt
Extraordinary Measures Production Dimension Films
Production CBS Films
Director Miguel Arteta
Director Tom Vaughan
Starring Michael Cera, Portia Doubleday
Starring Harrison Ford, Brendan Fraser
F U T U R E
R E L E A S E S
From Paris With Love Production 20th Century Fox
Director Michael Lembeck
Director Pierre Morel
Starring Dwayne Johnson, Ashley Judd
Starring John Travolta, Jonathan Rhys
Genre Comedy, Family
Edge of Darkness
Percy Jackson &The Olympians: The Lightning Thief
Production Warner Bros.
Production 20th Century Fox
Director Martin Campbell
Director Chris Columbus
Starring Mel Gibson, Ray Winstone
Starring Logan Lerman, Brandon T. Jackson
Genre Adventure, Fantasy
When in Rome
The Wolfman Production Touchstone
Director Mark Steven
Director Joe Johnston
Starring Kristen Bell, Josh Duhamel
Starring Benicio Del Toro, Anthony Hopkins
Genre Action, Horror
Valentine's Day Production Screen Gems
Production New Line
Director Lasse Hallstrom
Director Garry Marshall
Starring Channing Tatum, Amanda Seyfried
Starring Julia Roberts, Anne Hathaway
Genre Drama, Romance
F U T U R E
Alice in Wonderland Production Paramount
Production Walt Disney
Director Martin Scorsese
Director Tim Burton
Starring Leonardo DiCaprio, Mark Ruffalo
Starring Johnny Depp, Anne Hathaway
Genre Psychological Thriller
The Crazies Production Overture
Production CBS Films
Director Breck Eisner
Director Alan Poul
Starring Timothy Olyphant, Radha Mitchell
Starring Jennifer Lopez, Alex Oâ€™Loughlin
Genre Drama, Horror
Genre Comedy, Romance
Green Zone Production Screen Gems
Director John Luessenhop
Director Paul Greengrass
Starring Matt Dillon, Paul Walker
Starring Matt Damon, Greg Kinnear
Saint John of Las Vegas
The Back-Up Plan
R E L E A S E S
Clash of the Titans
Production Warner Bros.
Director Hue Rhodes
Director Louis Leterrier
Starring Steve Buscemi, Sarah Silverman
Starring Sam Worthington, Liam Neeson
Genre Comedy, Drama
Genre Action, Adventure
F U T U R E
How to Train Your Dragon
R E L E A S E S
My Name is Khan
Director Chris Sanders,
Director Karan Johar
Starring Jay Baruchel, Gerard Butler
Starring Shahrukh Khan, Kajol
Genre Animation, Fantasy
Pyaar Impossible Production Filmkraft
Production Yash Raj
Director Anurag Basu
Director Jugal Hansraj
Starring Hrithik Roshan, Kangna Ranaut
Starring Uday Chopra, Priyanka Chopra
Genre Thriller / Romance
Genre Comedy / Romance
Shaapit Production Vistaar Religare
Production ASA Film
Director Ram Gopal Varma
Director Vikram Bhatt
Starring Amitabh Bachchan, Ritesh Deshmukh
Starring Aditya Narayan, Shweta Agarwal
Chance Pe Dance
Production UTV Motion
Director Ken Ghosh
Director Leena Yadav
Starring Shahid Kapoor, Genelia Dsouza
Starring Amitabh Bachchan, Sir Ben Kingsley
ADVERTISERSâ€™ INDEX Company Name
Email / Website
email@example.com / www.anutone.com
firstname.lastname@example.org / www.barco.com
email@example.com / www.bigcinemas.com
firstname.lastname@example.org / www.bluestarindia.com
Juliana.Tong@christiedigital.com / www.christiedigital.com
email@example.com / www.cinematoday.in
firstname.lastname@example.org / www.datasatdigital.com
email@example.com / www.doremicinema.com
firstname.lastname@example.org / www.esselgroup.com
email@example.com / www.funcinemas.com
firstname.lastname@example.org / www.galalitescreens.com
email@example.com / www.harkness-screens.com
firstname.lastname@example.org / www.hdilbroadway.in
Hi Tech Audio
email@example.com / www.hitechaudiosystems.com
firstname.lastname@example.org / www.imax.com
email@example.com / www.realimage.com
firstname.lastname@example.org / www.scrabbleentertainment.com
Shri Krishnashray TM-35
email@example.com / www.shrikrishnashray.com
firstname.lastname@example.org / www.uslinc.com
The next issue of TheatreWorld is our Spring Special. It will be promoted at Showest - Las Vegas. The last date for advertising orders is 20 February 2010. Email email@example.com This issue of TW has two sets of page numbers - International pages TW-1 to TW-64 for TW, and India pages TM-1 to TM-36 for TM. TM is inserted between pages TW-50 and TW-51 of TW.
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