T HEATREWORLD EDITORIAL
Picture - the next frontier
The old order changeth
If 2k represented the first wave of digitisation then 3d and 4k represented the second wave. To those who feel that all that was to be achieved has been achieved in the field of picture quality, the next wave, the third wave of digitization could see an exponential leap in picture quality. No it's not about 8k. That could anyways follow as a natural corollary to 4k. But currently the excitement is about higher frame rates (HFR) from the image capture side of the business and laser on the projection side. Let's face it â€Ś as of now 3d 4K is dull with so much less light on screen as also the problem of digital pixilation at times. With the xenon lamp reaching its physical limits looks like laser is the way to go as is HFR. Of the demoes held at CinemaCon and other venues, 3d 4k does come alive with greater brightness and if HFR is included then the image is even more real and stunning. Television and home theatre projection is already onto 3d 4k so cinema has to win the next race with HFR and laser. Given the health concerns swirling around laser and the business proposition, the commercial rollout could be delayed to 2015 onwards.
Last month Bangalore saw two events that brought the stark reality
management. Other multiplexes in the locality are Cinemax, Fame,
of single screens bowing out to multiplexes. The closure of three
Innovative, Q Cinemas.
single screens that had been glorious movie palaces in the past -
Tradeshows this season
Adarsha, Pallavi, Sagar - located in the traditional strongholds of old
separated by continents. In India we are at Cinema Today in Chennai
Bangalore. Many old timers were nostalgic about the good times spent at these cinemas and entire childhoods being shaped by the blockbusters on offer. Not only did the classic ones run to packed houses but also 100 days was quite common if not silver jubilees. These old timers also miss the vastness of such cinema houses with voluminous space, balconies, large screens, over-1,000 capacity cheering their favourite heroes. Those were the glory days of films
Meet TheatreWorld at two shows
26-28 July 2013. Cinema Today is about cinema for sure but also about television, radio and music, mainly for audiences of South India. Then we zoom across continents to St. Petersburg for Kino Expo, 16-19 September 2013, the one and only show for Russian and East European (erstwhile Soviet Union) markets. Kino Expo has grown over the years to be a mature industry tradeshow that is now well visited by the audiences of that region.
they reminisce. At the same time PVR announced the opening of its 9-screen multiplex at Phoenix Market City which is located in the Whitefield suburb of what is called New Bangalore. Whitefield known for its IT industry is populated by young techies many of them who have migrated from other parts of India. This young and upwardly mobile population took to the PVR multiplex like nothing before, much to the ecstatic delight of the
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TW-8 Issue # 60 July-August 2013
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TECHNOLOGY TM-21 Hearing the Picture CORRIGENDUM Technology Article - New Frontiers in Theatre Design (TW-33) carried in our last (May-June 2013) issue was prepared by Mike Cummings, AIA, a Principal with TK Architects International, Inc. Mike can be reached at: firstname.lastname@example.org
TheatreWorld is a bi-monthly 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. TheatreWorld seeks the healthy promotion of the theatre industry through dissemination of useful information. Some of the information is compiled from industry sources, trade journals, company brochures for the benefit of readers, especially, theatre owners. TheatreWorld acknowledges with thanks the authors and publishers of these printed materials. Views expressed in the articles are those of the authors and not necessarily of TheatreWorld. TheatreWorld is a trademark under registration. The contents of TheatreWorld are under copyright registration. All rights reserved. Reproduction by any means in whole or part without written permission is prohibited. Unsolicited printed material is welcome but no responsibility is undertaken for the same and will not be returned. TheatreWorld does not take responsibility for the absolute accuracy of information published.
USL Achieves 3,000 Systems Milestone with the LSS-100 Light & Sound Sensor Ultra Stereo Labs, announced that over 3,000 LSS-100 Light & Sound Sensors have been shipped and installed worldwide. This milestone demonstrates the continued industry demand for USL's innovative digital cinema products. The LSS-100 and the new economical JSD-60 digital cinema processor received attention and positive responses from attendees in April at the CinemaCon Convention in Las Vegas, Nevada. The LSS-100 and JSD-60, along with many of the other innovative USL products, were displayed at the CineEurope Convention in Barcelona, Spain. The LSS-100 allows exhibitors and industry network operation centers to continuously monitor on-screen technical performance to ensure the highest presentation quality. The small compact, wall mounted unit measures screen luminance, color accuracy and sound levels to maintain the best possible experience for the audience. In addition, the LSS-100 is a fully networked unit, making it possible for industry technicians to continuously monitor auditoriums located anywhere in the world. "We are delighted by the strong industry acceptance of the LSS-100. We have received encouraging compliments from field technicians on the ease of the installations and use of these new light and sound sensors," stated Jack Cashin, USL Inc.'s founder, president and chief technical designer. "We are very pleased by the continued demand for our digital cinema technology products," added Cashin. The innovative and economical JSD-60 digital cinema processor was designed by USL, Inc. to deliver superb presentations at an affordable cost to exhibitors. The basic unit offers 8 main outputs (for up to 7.1 auditoriums) plus HI and VI-N outputs (all balanced line level).
Additionally an optional internal bi-amp crossover is available for 5.1 and 7.1 DS auditoriums. Future
options will include digital outputs for the networked audio in boothless complexes. "The JSD-60 has been thoroughly tested in our manufacturing facility and our engineers have conducted many field tests, and the unit performed superbly," explained Cashin. "We began shipping the JSD-60 to our customers in January of this year."
Volfoni Acquires TriOviz Volfoni, specialist in 3D equipment, announced the acquisition of TriOviz, a French immersion-gaming company based in Paris and Los Angeles. TriOviz is known for creating the first stereoscopic 3D middleware for renowned games such as Assassin's Creed III and Assassin's Creed: Revelations (Ubisoft), Batman: Arkham City and Batman Arkham Asylum (Warner Interactive), and Gears of War 3 (Microsoft Studios). With their proprietary technology, TriOviz developed these titles into highly engaging 3D games. The TriOviz For Games SDK is quick and simple to integrate, and supports all major hardware, PCs, Microsoft Xbox 360, Sony PlayStation 3, and all 3D displays. There are 51 million 3DTVs worldwide according to NPD display, 30% of LCD-LED TV sold in 2013 will be 3D compatible.
Now, Volfoni and TriOviz will join forces in the development of products for the gaming, and virtual reality industries. Volfoni, already a trusted brand for active and passive 3D cinema technology, will benefit greatly from TriOviz's extensive game industry experience. With console and PC hardware now made for 4K resolution, the demand for visual immersion has never been higher. Combined with stereoscopic 3D and motion recognition technologies, it is an unmatched gaming experience. "Expectations for immersion gaming are growing rapidly. With the addition of the TriOviz team's assets, we strengthen our market share by providing simple solutions and easy access to immersion technologies," noted Thierry Henkinet CEO and Co-founder of Volfoni. "We are positioned to make gameplay more immersive, and more fun to play."
New York's Digital Arts Sets New Bar for Cinema Mixing with Meyer Sound Digital Arts in New York City installed a new Meyer Sound cinema monitoring system in its new post-production theatre. The system has already been used on such projects as Woody Allen's forthcoming film "Blue Jasmine," and the recent HBO movie "BeyoncĂŠ: Life Is But a Dream."
Doremi Maintains 70% Latin America Market Share
"With our new mix stage, we decided to take everything to the next level and redefine industry standards with meticulous attention to detail," says Axel Ericson, founder of Digital Arts. "We've put a lot of focus into the design and architecture of our facility, and created a luxurious modern oasis in a lofty, sky-lit penthouse with best of class equipment." The Meyer Sound 7.1 monitoring system in the 30-seat mixing room comprises three Acheron Studio screen channel loudspeakers, three X-800C cinema subwoofers, and 12 HMS-10 cinema surround loudspeakers. A Galileo loudspeaker management system with two Galileo 408 processors provides system optimization. "We've had several well known film editors and mixers come in to assess the theatre's capabilities, a practice that we encourage," notes Ericson. "We keep hearing how great the room sounds on everything from soft dialog to explosive action effects." According to Ericson, the contrast of the mixes in different films highlights the Meyer Sound system's accuracy and linearity. "The system easily handled the big sound for concert segments in
During the past 3 years, Cinepolis has completed the exclusive installation of over 3000 Doremi IMB (Integrated Media Block) with ShowVault. Cinepolis, Latin America's largest cinema chain has concluded its deployment in Mexico with 286 theatres that span 84 cities, and has expanded globally to operate over 3,000 screens.
BeyoncĂŠ's HBO movie, but it also accurately carried the subtle intimacy of "Blue Jasmine," Ericson explains. "In fact, before Woody Allen decided to mix here, his longtime legendary mixer, Lee Dichter, came in and played some of his old mixes. He noticed the clarity of the dialog, and a big smile spread across his face the second he heard the system." Digital Arts also provided dual 32 channel Avid ICON D-Control ES consoles linked to four Avid Pro Tools HDX2 systems with satellite options and 512 channels of MADI I/O. In addition, the studio includes a Christie 4K projector and a 17-foot mesh screen from IMAGE Screens. "We focus on the future and set the quality bar high," adds Ericson. "Meyer Sound has given us tremendous support and is playing a huge part in the results we're able to achieve."
Digital Arts offers a full range of production and post-production services for digital cinema, television, and other media industries. In addition, the 12,000 square-foot studio operates two shooting stages, and provides 4K and 2K Digital Intermediate color grading and finishing, as well as DCP mastering.
To date, Doremi has shipped over 50,000 units globally, and is holding a 70% market share in Latin America, confirming its principal role in the digital cinema industry. "Latin America's cinema industry is rapidly growing, and we are thrilled to supply Doremi's server technology to the cinema operators, ensuring their forefront position in digital cinemas" said Michael Archer, VP of Digital Cinema, Doremi Labs. "Our digital deployment has been facilitated by Doremi's unparalleled reliability of products and exceptional quality of service" stated Gabriel Morales Becker, Digital Cinema Deputy Director of Cinepolis. "We have formed a strong alliance over the years, and look forward to future collaborations as we continue to expand globally."
IMAX and Cineworld Group Add Three New Theatres Across the UK IMAX Corporation; NYSE and Cineworld Group PLC, announced an expansion of the companies' revenue sharing agreement with the addition of three IMAX theatre systems to be located in new construction projects including Telford and Broughton (near Chester). The deal will bring Cineworld's total IMAX footprint to 11 theatres. "IMAX continues to be a key competitive offering in our portfolio, providing a blockbuster film slate in the most immersive format; something that our customers love and for which they are willing to pay a premium," said Crispin Lilly, Vice President of Business Affairs, Cineworld Group PLC. As a result, IMAX will continue to play an important role in our UK expansion strategy and serve as an anchor attraction in many of our new locations. We are delighted to build on our successful partnership and look forward to adding more IMAX theatres to our circuit." "Cineworld is a valued partner and a true champion of the IMAX brand in the UK. Not only have they opened eight IMAX theatres in the span of 12 months, we've seen strong performances across these sites, including the Cineworld Sheffield IMAX theatre, which was ranked as the highest grossing new IMAX site globally in 2012," said Andrew Cripps, President, IMAX EMEA. "We are pleased with the expansion of such a key strategic partnership, which underscores the increasing demand we continue to see for IMAX in Europe."
Kinopolis Selects Unique Digital's RosettaBridge TMS Kinopolis has installed RosettaBridge TMS developed by Unique Digital Ltd, as an integral part of their digital cinema deployment in Germany, supplied and installed by dcinex. Kinopolis have 16 cinemas and 130 screens and commenced the TMS installations in Q1 2013. RosettaBridge is a full featured TMS providing Kinopolis cinema management and staff with an unrivalled suite of tools to manage film and advertising content within each site complex through an intuitive and easy to use interface. Key features include a scalable library server, agnostic player and projector interface, automation control and content distribution with all elements being managed using a simple drag and drop GUI. "Following the successful conversion of all our screens to digital in 2012, we required a completely integrated solution to manage our film scheduling and pre-show content. This requirement has been successfully delivered with the cooperation of our partners at DCP Germany, dcinex and of course Unique Digital who have now supplied a fully integrated technical solution" said Dr. Gregory Theile, CEO of the Kinopolis Group, adding "having trialled the system in a first step in a small three screen cinema and more recently in a larger 12 screen site at Sulzbach my operations team is extremely pleased with the result. Now we can make full use of the flexibility of programming for our feature and pre-show content in a seamless and reliable way. Rod Wheeler, Sales and Marketing Director of Unique Digital Ltd commented, "The requirement from Kinopolis was challenging as it required real-time integration of data feeds from several third party suppliers. We have worked closely with the Kinopolis and dcinex technical teams and are pleased to have been able to deliver a fully automated solution. Film schedules
created by Kinopolis management in their existing POS ticket system are automatically reflected in the RosettaBridge TMS on each site, and the pre-show content is also automatically integrated into each playlist on the playback servers that reflect the individual pre-show schedules."
Philips and dcinex Partner to Grow Digital Cinema Xenon Business in Europe Philips announced that dcinex has been selected as a key value added reseller of Philips digital cinema xenon lamps in the pan-European market. As a leader in supplying endto-end solutions and services to cinema exhibitors, dcinex will help expand Philips' xenon lamp sales to key European customers. "We are very happy to have dcinex represent Philips Xenon lamps in the European market", states Ana Simonian, Global Director of Sales of Cinema Xenon Lamps at Philips Lighting. "dcinex is leader in providing innovative services to cinema exhibitors throughout Europe. The partnership between dcinex and Philips will create new growth opportunities for both parties." "Our key mission is to be a solution provider for cinema operators and to provide the best solution for a specific need. We are happy to complete our product portfolio with the Philips Xenon lamps, as it adds a competitive, extensive and reliable product range to our existing offer in Xenon lamps", states Till Cussmann, Vice-President Exhibitor Services.
Harkness Screens Supports the Oscars Outdoors Summer Movie Series Harkness Screens, the world's leading manufacturer of cinema screens and front and rear projection surfaces for live events such as concerts, theatre productions and outdoor screenings has provided its popular Stagelite White/Black surface for the forthcoming Academy of Motion Picture Arts and Sciences' "Oscars Outdoors" summer series. The 40' x 22.5' black bordered Stagelite White/Black 100 screen has been installed at the Academy's open-air theatre at its 7.5 acre campus on Vine Street in the heart of Hollywood. "We were delighted to supply the Stagelite White/Black surface for the festival, says Keith Watanabe, Americas Sales Director at Harkness Screens. The Academy has always set the benchmark for film presentation and doubtless the festival will once again prove to be a major success with impeccable projection". Stagelite White event screens are flexible PVC front projection surfaces available as made up screens or off roll. Stagelite White 100 and Stagelite White 100 Super are general purpose contrast screen intended for a variety of auditoria, generally in dark conditions. Stagelite White/Black 100 is similar to Matt White 100 with a black reverse side for blocking ambient light behind the screen.
QSC Audio and dcinex Announce Service Partner Agreement QSC Audio Products, LLC announced a new service partner agreement with dcinex to provide support for QSC Cinema products and systems across the European continent and the United Kingdom. dcinex is a provider of fully integrated solutions for cinema operations, including Exhibitor Services, Content Services, and Consulting. The company has a long history in digital cinema services. Under the new agreement, dcinex will provide centralized customer telephone support and arrange advance replacement or repair of QSC cinema products when necessary. Services will be available to all customers of QSC Cinema products. The agreement will be effective on August 1, 2013. Cinema operators and QSC cinema products dealers will be able to access the dcinex support group seven days a week, from 0900 to 2400 hours (9:00 am to midnight) Central European Time. Support will be available to customers in the following countries: Germany, France, Italy, Belgium, Luxembourg, Netherlands, United Kingdom, Ireland, Norway, Sweden, Finland, Denmark, Switzerland, Spain, Portugal, Poland, Hungary, Romania, Czech Republic, Austria, Croatia, Slovenia, Slovakia, Bulgaria and Belarus. In addition, dcinex will provide support in several languages, including English, German, French, Dutch, Italian, Spanish, Portuguese and Croatian. "The new service agreement will allow QSC to provide superior customer service to our valued cinema exhibitor customers and authorized dealers, in the rare event that a QSC product fails to function properly," says Barry Ferrell, Vice President of Cinema for QSC. "We're confident that dcinex is the right partner for us, with the right skills, and the same customer-oriented business philosophy as QSC."
"For years, QSC has been our Preferred Partner for high quality cinema sound systems, and we are pleased that our strong relationship is now crowned by an official service & support agreement for Europe," says Till Cussmann, dcinex's Vice President of Exhibitor Services. "With this agreement, we're sure that all QSC customers across Europe will be even more satisfied with their choice of QSC by having local access to professional and timely support for their QSC cinema sound products."
AAM to Supply Germany's Iconic UFA Cinemas with Digital Cinema Software Arts Alliance Media announced that Germany's prestigious UFA Cinemas has taken AAM's flagship TMS software, SCREENWRITER on their 41 screens across 4 sites, in D端sseldorf, Dresden, Stuttgart and Recklinghausen, to manage all aspects of their digital cinema operations. This is the first deal under the new AAM/dcinex reseller partnership in Europe. UFA Cinemas, which has an existing VPF (Virtual Print Fee) deal with dcinex, will continue to receive maintenance and technical support from the company, but through this new reseller agreement, also now has access to AAM's software products. UFA Cinemas, headed by Marianne Riech, has a long history in the German cinema market. Mrs. Riech's father, Heinz Riech, was a pioneer in exhibition in Germany, and UFA now carries on the dynasty as one of the oldest chains in Germany. Eric Stevens, Arts Alliance Media's Commercial Director, said "We are delighted to have our first deal under the dcinex partnership. AAM July-August 2013
have been in Germany for many years in a VPF capacity and are delighted to now be working with partners to bring our software to exhibitors big and small. UFA is an institution in the German exhibition market and we're thrilled to be working with them." Marianne Riech from UFA said "We have evaluated many software solutions for our cinemas, but after trying AAM's Screenwriter, we were thrilled at how easy and intuitive it was to use, we didn't have to learn any complicated procedures, it just worked, and meant we can manage our content and automate our processes so much more efficiently." Arts Alliance Media have already installed 450 screens in Germany with CineStar, and are currently working with other exhibitors of various sizes to establish the optimum financing, maintenance and software solutions for their cinemas. Screenwriter, AAM's Theatre Management System, is currently installed on over 15,000 screens around the world.
RealD and Cinépolis Sign Agreement Extension Global 3D technology licensor RealD Inc and Cinépolis, announced the signing of an extension to their July 2008 agreement which names RealD the exclusive global 3D technology provider for the Cinépolis circuit.
The agreement also calls for at least 400 auditoriums across the Cinépolis circuit in Latin America, USA and India to be equipped with RealD 3D technology within the next twelve months. When combined with the approximately 800 auditoriums currently equipped with RealD 3D, the newly signed multiyear, exclusive agreement will see at least 1,200 total Cinépolis auditoriums enabled with RealD 3D. "RealD delivers an immediately noticeable brightness advantage over other 3D technologies and a business model that allows us to cost effectively equip a wider footprint of our auditoriums with their premium 3D presentation," said Miguel Mier Esparza, COO, Cinépolis. "Through this exclusive global relationship we expect to equip at least 40 percent of our auditoriums with RealD 3D so we can better accommodate the many 3D titles being released during the summer and holiday seasons while assuring the best available 3D experience for our customers." "Cinépolis is a fast growing, global circuit that recognizes the performance advantage of RealD 3D based on our double the brightness of other 3D technologies," said Marlene Songin, Vice President, Cinema at RealD. "With this commitment to equip a large footprint of their auditoriums exclusively with RealD 3D, Cinépolis will have the flexibility and bandwidth to accommodate the high moviegoer demand for RealD 3D across their theatre locations."
Cinedigm's Theatre Command Center at Omniplex Cinema Cinedigm Digital Cinema Corp. announced that Omniplex Cinema Group has completed installation of Cinedigm's Theatre Command Center
(TCC) software to streamline its circuit-wide movie operations. TCC serves as the operational hub within the theatre to manage and coordinate the scheduling and playout of all digital content, including features, advertisements and movie trailers. TCC's open and flexible design seamlessly integrates with every point of sale scheduling system, digital cinema media player and projector on the market for maximum, long-term exhibitor choice. By deploying TCC, Omniplex will immediately benefit from the increased operational efficiencies created by digital cinema. The Cinedigm TCC is locally supported by Digital Cinema Ltd., who is responsible for the installation, training and local support for the Cinedigm products. Omniplex have become the standard bearer for multiplex facilities in Ireland. The introduction of OmniplexMAXX, Giant Cinema Format in Antrim, Newry and shortly in Cork introduces audiences to this exciting new experience using the latest in projection and audio technology. With 163 screens at 22 theatres, Omniplex Theatres are the largest cinema circuit in Ireland. Currently Omniplex cinemas are located in Armagh, Bangor, Belfast, Carrickfergus, Carlow, Clonmel, Cork, Derry, Drogheda, Dublin, Dundonald, Enniskillen, Kilkenny, Limerick, Lisburn, Longford, Newry, Tralee and Wexford. "Cinedigm's TCC is by far the most automated and easy-to-use digital cinema solution in the market," explained Paul Anderson, Managing Director of Omniplex Holdings NI Ltd. "By automating all aspects of digital cinema distribution, we know we will save money and improve our efficiency." As well as providing a top class venue for viewing the latest Blockbuster movies, Omniplex offers LIVE events such as Concerts, Theatre, MET Opera, Bolshoi Ballet and Sporting Events.
Odeon and UCI Cinemas Group Selects Dolby Atmos for iSense Screens Across Europe Dolby Laboratories, Inc. announced that Odeon and UCI Cinemas Group, in Europe, plans to install Dolby Atmos technology in 27 cinema screens across Europe. Odeon and UCI Cinemas Group, the owner of Cinesa cinemas, plans to equip 27 of its flagship iSense screens with Dolby Atmos in Austria, Germany, Ireland, Italy, Spain, and the United Kingdom. The revolutionary new sound format has been embraced by the leading studios, directors, and exhibitors worldwide. More than 30 cinema screens have been equipped with Dolby Atmos in 15 countries across Europe, the Middle East, and Africa (EMEA). The next six months will bring the total to nearly 60 cinema screens across the region and more than 200 worldwide. With Dolby Atmos, filmmakers can position or move sounds anywhere in the movie theatre, including overhead, to heighten the realism and impact of every scene and make moviegoers feel as if they, too, are in the middle of the onscreen action. "In just six months, we've seen the number of Dolby Atmos screens worldwide grow fivefold, from 40 to more than 200. And in 2013 alone, we've announced 27 new titles, including films from France, Germany, Russia, the UK, and Spain, bringing the total number of Dolby Atmos films to more than 50," said Andreas Spechtler, Regional Vice President, EMEA, Dolby Laboratories. "More audiences in Europe, the Middle East, and Africa will be able to enjoy an engaging and lifelike cinema audio experience with Dolby Atmos, beyond pure channel-based formats like 5.1, 7.1, or even 11.1, that places them right in the centre of the action." "We look forward to working with Dolby to offer our audiences the best cinema audio and visual experience possible. This will add an additional
unique selling opportunity with iSense, our growing and successful premium large screen brand," said Drew Kaza, Executive Vice President for Digital Development, Odeon and UCI Cinemas Group.
HTS Announces Partnership with French Cinema Network CGR Highlands Technologies Solutions (HTS) announced a technology and commercial partnership with the French digital-pioneer exhibition network Circuit Georges Raymond (CGR) to test and evaluate YouActive, HTS's innovative solution dedicated to interactivity. Jocelyn Bouyssy, C.E.O. of CGR Cinemas comments: "Our strong and long relationship with the HTS founders encourages our group to enter into this new step for digital cinema. CGR has always supported innovation when it improves entertainment for our audience. We have successfully launched Digital projection, 3D and Live Events; interactivity will certainly be the next level." YouActive is an interactive product family offering permanent gaming and leaderboard by connecting the audience to the theaters through the main social networks. Patrick Zucchetta, President of HTS adds: "It is for us an honor to restart a new cooperation with CGR, who was the first in Europe to embrace their full migration to DCinema in 2007. We believe that Interactivity is a logical evolution of Digital Cinema capabilities". YouActive solutions will come as two new products; YouActive Lobby and YouActive Big Screen which have been designed to allow a dynamic profiling content playback, manage
precisely targeted marketing campaigns and boost the efficiency for advertising companies as well as for film distributors from the lobby to the big screen.
LMT Chosen for Croatian National Digitalization Project LMT Laboratory of Multimedia Technologies, a digital cinema and AV system integrator from Zagreb, Croatia, was awarded the public tender for the digitalization of independent cinemas as a part of the Croatian national digitalization project. This is the final stage of the project announced two years ago, which highlighted Croatia as the only country in southeast Europe that provided institutional support in the process of the digitalization of small and independent cinemas. "After helping the biggest commercial exhibitors in our region to switch to digital, we are honored to help small and independent cinemas to do the same. We are delighted with the opportunity to help small municipal cinemas survive, some of which include cinemas where movies were continually shown since 1907" says Zlatko Jelacic, General Manager at LMT. "The national digitalization project is scheduled to be completed within only 90 days and includes 24/7 NOC technical support for all remote sites during the next five-year period." Digital conversion covers 28 cinemas in different cities countrywide and 6 major Croatian film festivals, with a few remaining small cinemas joining the wave of digitalization very soon. "Starting this Autumn, Croatian art cinemas, as well as independent and municipality cinemas, will gain access to the largest possible selection of films, including premieres, as well as any and all additional content enabled by digital equipment." July-August 2013
Sony Digital Cinema Launches Theatre Management System "TMS Lite"
Datasat Digital Entertainment announced that it has become an official distributor of Klipsch Cinema Speakers. Effective immediately, the deal will see Datasat distribute the high performance, professional speakers alongside its market-leading AP20 cinema audio processors to the cinema market throughout Europe, the Middle East and Africa.
Sony Digital Cinema announced the launch of Sony Theatre Management System Lite (TMS Lite - STM-100L), a workflow management system specifically catered to non-VPF customers, independent and smallmedium sized cinemas. Sister product to Sony's revolutionary SRX-R515 projector, TMS Lite is designed specifically for exhibitors with up to five screens. A software solution, priced affordably with a one-off charge as opposed to an annual subscription fee, TMS Lite offers all of the core functions of the original TMS, which is in daily use by such leading exhibitors as Vue, CinemaxX and Showcase Cinemas. Users benefit from control and monitoring of the entire digital projection network within a theatre, asset management of content within the central content storage, support for various digital cinema servers and centralised schedule editing and management. The software can be operated on a variety of hardware solutions, from an existing PC or laptop computer to dedicated servers with extended central storage devices. The system's easy to use and intuitive interface results in reduced training requirements for operators. Centralisation and efficiency of
workflow management reduces daily workload, and in turn operational demands and costs. Another unique feature of TMS Lite is its ability, when used with Sony projectors, to manage intermissions centrally, using play lists to show dynamic content during intermissions. This was not previously possible, and enables exhibitors, particularly in Western Europe, to increase advertising revenue as well as concession sales. TMS Lite will be sold through selected Sony Digital Cinema solution specialists only and marks Sony's support of small-medium sized exhibitors and continued investment in expanding their managed service offering. TMS Lite paves the way for constant customer interaction and support, bringing the best possible service to customers. David McIntosh, Senior Vice President, Sony Digital Cinema said: "We are very excited to launch TMS Lite, bringing the full range of benefits from the original TMS to smaller exhibitors. TMS Lite will allow Sony to forge even stronger relationships with its customers, bringing best-in-class workflow benefits and cost savings; and ultimately showcasing our commitment to efficient and affordable solutions no matter what the size of the exhibitor."
Datasat Adds Klipsch Speakers
Datasat has established itself as a leading provider of audio solutions for the professional cinema industry. This distribution agreement is an important step in the company's strategy to diversify the range of complementary audio equipment it offers to customers. Klipsch reputation for quality engineered products ensures that its cinema speakers operate perfectly with Datasat cinema processors to deliver the full power of today's multichannel movie soundtracks. "Since our first major blockbuster, Jurassic Park, 20 years ago, Datasat has been at the forefront in ultimate multi-channel digital surround sound," said Ciaran Doran, Datasat Group CEO. "As audiences become accustomed to 3D visuals, I believe that audio performance will be a major differentiator for exhibitors over the next few years. With Klipsch as a partner in Europe, the Middle East and Africa, we are well positioned to offer a range of solutions to exhibitors that have simply not been experienced in this region to date." "Partnering with Datasat will provide us access to an established network of integrators and exhibitors, given the company's technical savvy and immeasurable experience in the cinema market. We're confident our speakers will align well with Datasat's high-end cinema processors, as well as when marketed as a standalone solution to new and existing Datasat customers," said Rob Standley, Director of Commercial Sales.
Harkness Screens Unveils New Versions of Digital Screen Modeller and Digital Screen Archiver Harkness Screens has released new versions of its recently launched iOS and web-based Digital Screen Modeller and Digital Screen Archiver apps. Both apps which were released at CinemaCon 2013 and are currently available as free apps on the Apple iTunes store and via the Harkness Screens website, have received graphical interface updates to enhance user experience and a series of functionality additions have also been added. The Digital Screen Modeller is a 3D simulation tool that allows architects, engineers and exhibitors to visualise and optimise digital cinema scenarios in a virtual environment to help make more informed decisions about screen, projector and lamp choices before they're even installed or as part of planned refurbishment projects. The Digital Screen Archiver is a secure cloud-based tool that aids projectionists, managers, engineers and exhibitors to maintain their digital cinema auditoria. The tools enables key cinema data to be captured in a standardised format during maintenance visits and use extensive back-end reporting tools to schedule maintenance and monitor screen performance against industry standards. "We're astonished by the speed of uptake of the apps. Since CinemaCon we've had over 650 downloads of the apps and from the feedback we're receiving, the apps are proving extremely useful to the industry as a whole. We've taken on-board a lot of the suggestions we've received from our user base and added many of these into this brand new release" says Richard Mitchell, Worldwide Marketing Manager at Harkness Screens. New functionality in the Digital Screen Modeller includes the ability
to offset screens within the auditorium, identify the seat closest to the spectral path, view light-on screen in candela per square metre (Cd/m2), export model data to email and use the new in-seat picker tool to move between seats. On top of this the Digital Screen Modeller now includes the new Sony 3D systems, Christie SP lamps and Harkness' newly launched 4th generation silver screen surface Clarus 170.
Arts Alliance Media Signs VPF Deal in Ireland with Empire Movieplex Arts Alliance Media has signed a Virtual Print Fee (VPF) digital cinema deal in Ireland with Empire Movieplex. Empire Movieplex, based in Ennis, Co. Clare, will receive digital cinema projection and server equipment for each of their screens, installed by AAM's Irish integration partner Cinetech. The cinema will also be installed with AAM's SCREENWRITER Theatre Management System (TMS), which will manage content, playlist, scheduling and reporting for each screen. The deal is being financed by Empire Movieplex, who will be utilising AAM's VPF deals with Hollywood studios and independent distributors to recoup the cost of the digital conversion. Michael Breen of Empire Movieplex said "We're delighted to have signed with AAM to handle our conversion to digital. Having someone on board with the expertise to handle both the technical side and the VPF management means that we can relax and look forward to operations being made easier with digital being able to schedule shows at the touch of a button will make running our multiplex much easier."
Bernard SaltAIMC Keynote Speaker On The Hows With Y's
Bernard Salt, KPMG Partner, bestselling author, business advisor and trend forecaster is confirmed to deliver the keynote address at the 68th Australian International Movie Convention (AIMC). In this keynote presentation, entitled "Managing and Engaging Generation Y: How demographic shifts are changing the mass market in Australia", Salt will provide his powerful take on how the Australian consumer market is changing. According to Salt, Generation Y's, now pushing out of the family home in their twenties and into their thirties, are looking for something different. Salt says Y's have been parodied as the 'special generation' and his presentation is peppered with amusing examples. Y's are antihierarchical and look for chaotic connection. They want to see creativity and connectivity. Most of all they want hope and aspirations for the future. This makes Generation Y challenging to manage and to retain. Salt offers strategies for working with the Y's. His keynote will examine other shifts in the Australian population including our growing 'cosmopolitanness' and moves towards being 'more aspirational and more global'.
Barco Releases App to Run Digital Cinema Equipment Barco released a free mobile app for both Apple iOS and Android devices. The CineMate app enables exhibitors to easily control and operate their digital cinema equipment via their smart phone, tablet or other mobile device. The app will be available for download in the App Store and Google Play from mid-July onwards. The digitization of the cinema industry has been very hardware oriented and digitizing the equipment in the projection booth has been the number one priority for all stakeholders involved in this transition. Now that the conversion to digital cinema is well on its way to completion, exhibitors worldwide are looking for ways to maximally leverage their digital installed base. To support them, Barco has developed a free app for mobile devices (both Apple iOS and Android) that brings the day-to-day operation of digital cinema equipment to their fingertips in an easy-to-use dashboard.
Fully scalable As of mid-July, the CineMate app will be available for download via the App Store and Google Play. Once installed onto a tablet or smart phone, users can easily control and run their web-enabled digital cinema equipment via their mobile device. As a fully scalable system, they can simply add screens and build the structure of their theatre from the intuitive user interface. The app plays nicely with Communicator LITE on Barco's DP2K-10S projector and with media servers featuring a web-based user interface. Currently, CineMate automatically detects Barco projectors and the Doremi IMS1000, which simplifies the initial theatre setup. It
also enables the integration of any other equipment with a web user interface into the dashboard. In this way, the app allows you to group and structure your digital cinema equipment in a clear overview that enables faster operation.
Easy day-to-day management From the theatre overview on the dashboard, users can zoom in on a specific projection booth and access the digital cinema equipment that's in there (e.g. servers or projectors). Thus, they have immediate and centralized access to everything they need for the day-to-day operations of their servers (content management, planning, etc.) and projectors (lamp, macros, dowser, etc.). Even troubleshooting and maintenance actions can quickly be performed via this interface, from any location in the theatre. In this way theatre managers and projectionists have the business-critical tools at their fingertips to run their theatre.
Unique Digital Launched RosettaNet Web TMS Unique Digital launched the next generation Cinema Management System, RosettaNet that provides Exhibitors complete management and support for their cinemas across the internet. Unique led the market with the first fully integrated TMS solution, RosettaBridge, in 2008 that offered a completely innovative GUI and a comprehensive set of content management and scheduling tools. RosettaBridge TMS has been adopted around the world, managing both large mulitplex installations as well as smaller independent cinema
operations. Exhibitors of all types have made full use of the system to manage their day-to-day operations and have enjoyed a wealth of additional add-on services supplied by Unique, such as integration with their POS booking systems, pre-show content management, KDM delivery through Basekey and automated receipt of DCP content via MovieTransit. RosettaNet takes the concept of the TMS to a new level by providing complete control of a network of cinema installations, not just at a local level but from any internet enabled PC or mobile device, via a completely secure web connection. In addition a dedicated mobile app will provide a system overview and basic operational control. The redesigned client GUI of RosettaBridge version 4 offers all the functionality of the current TMS product plus a host of additional features designed to provide greater network control, reporting and support. Existing RosettaBridge users will be able to retain their existing library hardware and network infrastructure and will benefit from a seamless upgrade path. New users can choose from a range of on-site hardware options and all customers can add access to RosettaNet and enjoy immediate benefit of full cinema management control. "We had a number of customers that requested the ability to manage and support their networks remotely, whether they had 100 cinema sites or just 3. Several systems on the market, including our own, provided a means of remote connection but these are usually limited to a single point-topoint arrangement" said Rod Wheeler, Sales & Marketing Director, Unique Digital Ltd, adding "We wanted to develop something completely new that would take full advantage of the latest network and interface technologies available and provide more than just monitoring functionality. RosettaNet provides a global overview for cinema operators and incorporates specific tools for each user.â€?
Neighborhood Cinema Group Selects Cinedigm Enterprise Software to Manage Head Office Functions Cinedigm announced that Neighborhood Cinema Group has selected Cinedigm Enterprise Web to manage their theatres. Enterprise Web is Cinedigm's newest Web-based circuit wide operational and oversight software and Neighborhood Cinema Group is the first client to sign on for this upgraded offering. Enterprise Web attaches to Cinedigm's theatre management system (TCC3) for operational insight to every theatre in the circuit. Neighborhood Cinema Group, branded as NCG Cinemas, is a chain of movie theatres headquartered in Owosso, Michigan. The chain consists at present of 14 theatres with 137 screens. Most of the theatres are located in Michigan, especially in the Flint and Great Lakes Bay region and the Greater Lansing area. In recent years the chain has expanded to include theatres in the Nashville, Tennessee and Metro Atlanta areas and to Indiana. As part of this installation, Neighborhood Cinema Group is replacing the software in two theatres and upgrading them to Cinedigm's TCC3 so all screens and theatres will be included in the circuit-wide management. "Given our small staff, efficiency is not only desired, but mandated. Enterprise web eliminates redundant efforts circuit-wide with its ability to save missed and late shows so we can provide the customer the best possible experience available," said Mark Henning, NCG's Chief Operating Officer. "With Enterprise Web, we are delivering the ability for an exhibitor to fully realize the operational efficiencies that the digital revolution offers," said Dan Sherlock, President of Cinedigm Software. "Given their history of
innovation, we aren't surprised that Mark Henning and his team are the first customers to sign up for this new program."
The QALIF Solution selected By the Cinemas Gaumont Pathe Highlands Technologies Solutions (HTS) is proud to have signed a partnership with the French leading exhibitor network, Cinémas Gaumont Pathé (CGP), for the pilot rollout of its projector calibration solution, named "Qalif", within the multiplexes network. As part of the pilot, the rollout includes 10x CGP multiplexes sites carefully selected; it will then be followed by a full deployment scheduled in a second step. CGP will use a fixed version of Qalif in premiere theaters, and a mobile version in every site. A central monitoring will also be implemented. Offered as a full stand-alone solution, Qalif is an innovative measurement and calibration tool for the digital projection system quality. It measures all the digital cinema screening parameters such as color gamut, luminance, uniformity, focus, convergence, sequential and intraframe contrast, and as a result, helps to fine-tune automatically the projector settings, the lamp settings and to log each parameter during operation. For instance, using Qalif, the projector lamps will also have better operating conditions, which will extend their life and reduce the maintenance costs for the exhibitors. Indeed, after every lamp replacement, Qalif automatically adapts the power in order to increase the lamps lifetime and improve their working conditions as advised by the lamp manufacturers.
Qalif takes care the modes changes, and adapts to 2D and 3D projections. The Cinemas Gaumont Pathé network will use Qalif to obtain and secure the highest level of quality for projection, as well as automatic alignments of dual projectors 2K/4K. Using the central monitoring, Qalif will also trigger the field visits to optimize the field maintenance costs.
Scrabble’s First Successful Digital Conversion Looking to help exhibitors convert to digital cinema easily and in the most cost-effective manner, Scrabble Ventures is excited to have deployed the first digital projection system under their new program to Full Moon Drive-In, San Diego, CA. "Working with Scrabble has been an incredible experience, all the process to get things going was smooth and we are now very happy to have our new projector at the drive-in. This new technology will allow us to bring a better experience for our customers, while still maintaining the classic experience everyone is looking for." Says David Adler, Owner, Full Moon Drive-In. Utilizing the Christie DLP Cinema CP2220 projector, Scrabble Ventures was able to deploy and deliver under their new lease-to-own program, making conversion to digital projection simple and affordable. "Scrabble is here to make the digital conversion process as easy as possible for all remaining exhibitors in North America," Says Ranjit Thakur, CEO of Scrabble Ventures LLC. "Our plan takes care of both, the financial and business requirements of the cinemas, making it a win-win model that benefits everyone in the game, including the studios." "We're glad it worked well for Full Moon Drive In. Scrabble wishes them success for this as well as all their future endeavors," concluded Thakur. July-August 2013
Cine Colombia Amplifies its Digital Rollout with 124 New Doremi Servers
Cine Colombia, Colombia's leading exhibitor is continuing its digital cinema rollout with the addition of 124 Doremi ShowVaults and Integrated Media Blocks (IMBs). The Doremi IMB is the number one integrated media block solution with over 15,000 installations globally as part of a larger deployment of 50,000 units. Established in 1927, Cine Colombia manages 36 state-of-the-art cinema complexes and 236 screens in ten Colombian cities, offering more than 47,000 seats to audiences of 18 million annually. The IMB utilizes Doremi's patented 4K media block technology. With the IMB installed in a DLP Series-II 4K-ready projector along with Doremi's external ShowVault, theatre owners have a proven lasting digital cinema solution in the industry. In addition to 4K and HFR capabilities, the IMB features HDMI or HDSDI (single or dual) inputs. It easily scales all video resolutions to 2048 x 1080 or 4096 x 2160 and provides de-interlacing support (1080i) and automatic color space conversions. As Cine Colombia has managed the challenges of digital conversion, partnership with Doremi has proved to be a key advantage. "Our exhibit partners have learned to manage the cost and technical challenges of cinema evolution by trusting the expertise we offer and the track record we have established around the world" said Michael Archer, Vice President Digital Cinema, Doremi Labs. "Our intention is to deploy both efficiency and future-proof technology to South America. Our relationship with Cine Colombia is a prime example." "Our partnership with Doremi was a result of their unparalleled customer service, product reliability and a flexible feature set" said Munir Falah,
CEO of Cine Colombia. "As a pioneer in the digital cinema industry, Doremi understands and meets the needs of the modern exhibitor with the industry's best product offerings; which has played a key role in positioning Doremi as the global market leader."
Doremi's Perfect Performance at Cannes For the second consecutive year, Doremi was once again technical partner of the Cannes Film Festival, May 15 to 26, marking its eleventh successive year of involvement for the world-famous event. It supplied digital cinema servers throughout the Festival, delivering flawless replays for expert audiences. Doremi supplied more digital cinema servers than ever before, with a total of sixty installed for both the competition screenings and the Film Market. The company worked in conjunction with the CST (Commission SupĂŠrieure Technique de l'Image et du Son) to reliably deliver the highest quality screenings for the expert industry audience. "We are always very proud to be involved in the Festival de Cannes," says Patrick Zucchetta, European Director of Doremi. "This year was a total success and on a large scale. The Festival strives for the highest technical standards and its confidence in our products is also confirmed by our partners, emphasizing the quality and reliability of Doremi's solutions." Alain Besse, Responsable Secteur Diffusion CST, commented, "We knew Doremi would do an excellent job for the Festival. Even with movies from all over the world, in 2K and 4K, everything worked perfectly. This is a testament to the strength and quality of the DCI standards and ISO standards, the equipment and the people supporting it."
Behind the scenes, the CST have managed a partnership with Eclair Group to provide technical repairs of DCPs supplied for the Film Market, using a Doremi RAPID mastering station, a CINEASSET mastering solution and a DCP-2000 player for reviews. Frantz Delbecque, Director R&D and New Technologies at Eclair, commented, "We rely on Doremi. They were the first to meet DCI standards and to receive certification. They also understand what's needed in digital cinema and provide very practical tools to get the job done."
CFEC Signs on as Distributor for Philips Cinema Xenon Lamps Philips announced that China Film Equipment Corporation (CFEC) has been selected as a key value added reseller of Philips Digital Cinema Xenon lamps in the China market. As a leading equipment supplier to cinema exhibitors throughout mainland China, CFEC will help expand Philips' Cinema Xenon lamp sales in this fast growing region. "We are thrilled to have CFEC represent Philips Xenon lamps in the world's fastest growing cinema exhibition market", states Ana Simonian, Global Director of Sales of Cinema Xenon Lamps at Philips Lighting. "CFEC has a long distinguished history and provides a wealth of resources and contacts to grow our sales in China." Mr. Mao Daping, Director of China Research Institute of Film Science & Technology and General Manager of CFEC-Bosheng, said: "The film industry in China has been growing very rapidly for the past few years, especially cinemas. As a leading company of film equipment business in China, CFEC needs Philips as a strong and powerful partner. We are establishing a close cooperation and look forward to build together a healthy and organic market in China."
Kerasotes ShowPlace Theatres Debuts ICONoX, Dolby Atmos Enhanced Xperience Kerasotes ShowPlace Theatres, LLC announced that the ShowPlace ICON Theatres at Roosevelt Collection at 1011 South Delano Court East (near Roosevelt and Clark) in Chicago's South Loop, now houses Kerasotes' first premium large format screen, the ICONoX, Dolby Atmos Enhanced Xperience. The ICONoX Xperience begins with high-back Euro-style chairs in the ICON Reserved seating section or deluxe memory-foam chairs in the VIP Reserved section; a giant screen that is almost 1500 square feet; Real-D 3D capability; all-digital Barco UltraBrite enhanced 4K projection for the brightest and sharpest picture on screens today; and Dolby Atmos, a break-through, next-generation audio platform that changes the way people experience entertainment sound. Dolby Atmos places sounds anywhere in the auditorium, delivering a unique and compelling
experience with natural and lifelike soundscapes, surpassing anything else currently available in theatres. Dolby Atmos has quickly become the preferred choice for next-generation sound in the cinema with major studios, directors, sound teams and exhibitors from around the world adopting the solution. "We're raising the bar yet again for moviegoing in Chicago with ICONoX. Features presented in ICONoX will not only look spectacular on screen, but with the addition of the cutting edge Dolby Atmos sound technology, guests will feel immersed in the presentation. It's a sensory experience surpassing anything else that is currently out
there," said Fred Walraven, Director of Digital Projection and Sound. ShowPlace ICON Theatres at Roosevelt Collection redefines how movies are enjoyed in Chicago with a multi-sensory experience of digital widescreen picture and sound, the Lobby Lounge where you can enjoy cocktails and food, and Premium VIP Reserved Seating. First in Chicago to offer reserved seating, all digital projection, and Dolby Surround 7.1, the ICON continues to lead the way with ICONoX, Dolby ATMOS Enhanced Xperience. The ShowPlace ICON Theatres at Roosevelt Collection was the first theatre in Chicago to deploy the Atmos system.
Light Iron Chooses Christie Solaria Projection For Postproduction Needs Light Iron, a leading postproduction house based in Los Angeles, has expanded its use of Christie Solaria Series digital cinema projectors offering rich, saturated color, high brightness and sharp, 4K resolution to its ever growing clientele. "We've used other manufacturer's 4K projectors when 4K projectors first hit the streets, but the fact to the matter is it's more important to be the best at something than the first. And the best 4K solution is exactly what Christie brings to the market. With its reliable and proven name, it was an easy decision to make Christie the standard for our screening rooms in both Los Angeles and New York City, with Christie Solaria 2K and 4K projectors in operation at both locations, including a Christie Solaria CP4230, which was highlighted at the official unveiling of our new facility in New York City," said Michael Cioni, CEO, Light Iron. "Christie's all-in-one design allows us to view 4K content without an external cinema server. This allows us to stream uncompressed 4K content from our DI color systems directly to Christie projectors in our LA and New York facilities. This makes the integration of 4K into our technical pipeline nearly identical to our 2K pipeline, and that's one of the reasons it's the best projection solution on the market," added Cioni.
Christie DLP Cinema Projectors a Hit with Postproduction Houses "Our product flexibility is gaining us a lot of converts in the postproduction space. One of our key differentiators here is that the user doesn't have to swap input cards when switching between uncompressed and packaged cinema content, as two slots are standard on the Solaria 4K projectors," said Don Shaw, senior director, Product Management with Christie's Entertainment Solutions group.
"And as one of these connections is a professional-grade quad 3G-SDI connect, Christie can ensure that post facilities have a robust and convenient digital interface for flawless viewing of 4K digital cinema or alternative content." After four years in Los Angeles, Light Iron has expanded into New York to help serve the postproduction community there. A pioneer in 4K postproduction projection, Light Iron hopes to demonstrate to the NYC cinema and postproduction community the solid workflows that 4K enables and how easy, costeffective and quick it is to implement a 4K workflow as an alternative to 2K workflows, which don't facilitate 4K digital content as well. Light Iron's New York screening room has a 35foot throw and a Microperf screen 16 feet wide by 9 feet. The 4K content is played out of a Quantel Pablo Rio with AJA Corvid Ultra video card, while 4K content is fed via 4 by 3GSDI. The facility at 580 Broadway will be unveiled to a broad cross-section of the industry at its grand opening tonight. "Ours is the only post facility designed for 4K from the ground up. While working with 4K files is becoming common, viewing pixelfor-pixel results is not. The Christie CP4230 expands Light Iron's creative freedom by enabling real-time 4K monitoring in a calibrated DCI space. Since that's where the cinema is headed, that's where Light Iron needs to be. There's really no one else on either coast that feels as strongly about this as we do," said Cioni.
MIT Teams Up with Independent Act V Theatres Moving iMage Technologies continues to support the small and medium size exhibitors throughout the industry. MIT, with its partners in VPF finance and technology industries, offered a creative digital cinema solution crafted specifically for converting Act V Theatres' site in Cornelius Oregon. The flexible package was created to accommodate the special requirements needed to convert the Cornelius Cinema multiplex to digital. "We are placing our customers in the best possible opportunity with respect to digital cinema conversions. With help from friends like Robert Perkins, an independent cinema exhibitor himself and owner of Act V Theatres, MIT has been able to learn a great deal about the trials and tribulations of the independent. Our package of digital solutions reflects our knowledge and understanding of the independent exhibitor" says Tom Lipiec VP of Sales and Customer Service who works closely with both large and independent cinema chains. While financing and technology can prove daunting to the independent cinema owners, operators like ACT V Theatres, known in their community as Cornelius Cinemas, push the boundaries of what independent operators provide to their cliental. Robert Perkins, president of ACT V likes to say "Digital Cinema is the future of Motion Picture Exhibition. The content, format and opportunities are constantly changing and being 100% digital gives us the flexibility to meet the demands of an ever-changing marketplace. Moving Image Technologies, LLC was enormously helpful getting us fully deployed. There were so many different technologies and applications to consider. It was great to have one source to help us assemble all the components in one place and then deliver our digital equipment package in total, ready for our discerning audience."
Alcons' Digital Cinema Experience at Spain Alcons brought to Barcelona her latest cinema developments, the Cinemarray screen systems, now consisting of two models: The CRA24 and the larger CRA30. This evolutionary system addresses all requirements dictated by the Digital Cinema standard, by utilizing Alcons' renowned pro-ribbon based linearray technology. Specifically aimed at medium to large applications, the systems offer maximum projection control for reduced influence of room acoustics and superb, non-compressed 1:1 digital sound reproduction. Cinemarray systems were recently installed in PathĂŠ's Tuschinski theatre and the EYE Film Institute, both located in Amsterdam, The Netherlands. Also showcased was the CR3 medium-sized 3-way pro-ribbon screen system, and the CRS8 proribbon reference surround; By utilizing identical componentry as the screen systems, the CRS8 offers the same voicing for the surround channels. This makes the screen and surround channels blend perfectly, for a homogeneous sound stage. The company also previewed the CRMS compact Cinema Reference Monitor System, with which the company makes its pro-ribbon cinema line-up accessible to the postproduction studio and residential home-cinema market. CRMS compact is a complete system, which includes shallow subwoofers, screen loudspeakers with newly developed 2" high-power pro-ribbon and matching pro-ribbon surround speakers.
amplifier stages, the powerful Sentinel units feature 192kHz capable AES digital inputs, audiophile-grade amplifier stages, and all-digital signal control and processing.
Qube Cinema Released QubeMaster Preview Qube Cinema introduced QubeMaster Preview, its standalone software application for previewing DCPs, at CineEurope in Barcelona, June 24-27. QubeMaster Preview allows DCPs, mastered from any source, to be viewed on a PC. Postproduction studios, independent filmmakers and mastering facilities
now have an affordable way to preview and QC their mastered DCPs. QubeMaster Preview provides users of QubeMaster Xport and QubeMaster Xpress with a means to play back DCPs directly from their original location on the local drive, with a useful "ingest-in-place" option that removes the need to copy large media files multiple times. Preview can ingest a DCP along with its KDM and simulates digital cinema server playback of encrypted, non-encrypted, as well as stereoscopic DCPs. "Users were asking us for a simple and inexpensive way to preview mastered DCPs on their PCs," said Eric Bergez, director of sales and marketing for Qube Cinema. "With QubeMaster Preview clients can use a proven professional DCP QC player without having to purchase a complete mastering package or expensive DCI equipment." QubeMaster Preview is the latest addition to the QubeMaster family of digital cinema mastering products, which includes: QubeMaster Pro, the comprehensive mastering system aimed at high-end post facilities and distribution service providers; QubeMaster Packager, for DCP ingest, preview, encryption and KDM generation; QubeMaster Xpress 2.0, the user-friendly standalone Windows-based DCP mastering application; and QubeMaster Xport 2.0 for Mac OS X users.
Also first showcased at CineEurope were the Sentinel multi-channel amplified loudspeaker controllers. Featuring a 400MHz Analog Devices SHARC DSP processor with 4 individual patent-pending Class D
NEC Display Solutions at CineEurope NEC Display Solutions Europe showcased a range of innovative products and technologies for the digital cinema industry at CineEurope 2013 from June 24 to 27 in Barcelona. The highlights at Suite D included the first NEC 4K laser projector on the market in Europe and a Silencer Housing for the compact NC900C digital cinema projector. Also on show were NEC's 2K and 4K 3D digital cinema projectors, venue signage solutions and ticketing displays. From ticketing over concessions to cinema projection, NEC Display Solutions demonstrated how its display solutions optimise and modernise the whole cinema experience.
For the first time on any projector system, NEC's 4K laser projector delivers outstanding resolution for colours beyond the DCI or Adobe RGB specifications, whilst significantly reducing operating costs for cinemas of the future. With extremely wide colour gamut, stable brightness and premium 4K image quality the NEC NC1040L captivated audiences with crisp video images. Another highlight was a new Silencer Housing for the NEC NC900C DCIcertified digital cinema projector. This is the first projector to incorporate the S2K chipset and to use a NSH Dual-Lamp system, which makes it easy to implement and maintain and thus generates a lowered total cost of ownership (TCO). The Silencer Housing guarantees whisper quiet operation and eliminates the need for a projection booth. It is also easy to mount, without the need for an external ventilation system, allowing
future cinemas to be built without the need for a projection booth. NEC demonstrated its one-stop Integrated Media Server (IMS) solution on the stand. With IMS, customers can download, store and stream digital content straight from digital projectors. IMS comes with an integrated RAID5 server system of 2TB net capacity for convenient library management and faster access with full High Frame Rate (HFR) support.
Also displayed was the NEC NC3240S projector, which is designed for auditoriums with large screens (up to 32 metres wide) and provides a premium image quality and brightness. The projector delivers precise 4K resolution, 3D capabilities and high contrast images (2000:1) with a newly designed separate cooling system. Built for the discerning digital cinema industry, the projector incorporates high picture quality, innovation and reliability in combination with low cost of ownership.
Harkness Screens Launches New Clarus 170 Passive Screen 3D Surface Harkness screens has launched its brand new passive 3D screen surface Clarus 170. Designed for use in large format auditoria (using two projectors) or smaller to mid-sized theatres where 3D systems using polarised light are deployed, the
Clarus 170 3D surface also enhances conventional 2D presentation enabling DCI compliance with optimised theatre geometry. "We developed our new Clarus 170 screens to provide cinema operators with the ability to optimise digital projection and improve overall light distribution across the screen for polarised 3D; a key customer requirement. It is these conditions where light loss is proven to be most significant and where consequently presentation quality can sometimes be below the standard required," says Richard Mitchell, Worldwide Marketing Manager of Harkness Screens. Clarus 170 3D screens use Harkness' brand new 4th generation screen technology to provide a wide viewing angle and significantly increases overall brightness uniformity across the screen whilst maintaining suitable light on screen for 2D and 3D projection. "With our new Clarus 170 3D surface we've been able to significantly reduce visual hot spotting which is often seen on higher gain screens. Clarus 170 allows exhibitors to benefit from more even light distribution across the screen without the need to radically alter equipment specification such as lamp size or lamp power which lower gain 3D screens might require," Mitchell adds. Specialist aluminium flake based coating applied to the unique base material provides high gain characteristics, strong signal to noise ratios, generous viewing angles and excellent colour temperature whilst utilising Harkness' proprietary and unique seam welding process to ensure that these screens have no visible seams under projection conditions. "Harkness Screens has always been committed to providing the cinema industry with cutting edge, state-ofthe-art presentation surfaces and in Clarus 170 we are ready to springboard towards the next generation of the world's leading screens for 3D," adds Mitchell.
Volfoni Introduces SmartCrystal Cinema Dual At this year's CineEurope in Barcelona, Volfoni showcased their latest advancement in passive 3D cinema technology: SmartCrystal Cinema Dual. This follows the success of their previous models (SmartCrystal Cinema Vertical and Horizontal), which are already installed in over 500 locations worldwide. Volfoni is proud to take their concepts further with another passive 3D solution, this time for cinemas using dual-projection systems. Dual systems are notably used for creating brightness on very large screens. SmartCrystal Cinema Dual is perfect for retaining the brightest 3D possible when using two projectors. Exhibitors can now show passive 3D with their current dual projector set-ups-no investment in highpowered projectors necessary.
Entirely designed and manufactured in Europe, SmartCrystal Cinema Dual comes in two models: automatic and manual. Both are compatible with all DCI projectors available. They retain all the high quality features of SmartCrystal Cinema Horizontal and Vertical, including quick and easy installation, temperature-control via ventilation system, and 3D approved by the major Hollywood Studios. The automatic version, the SmartCrystal Cinema DualAutomatic closely mirrors
SmartCrystal Cinema Horizontal in its features, including automatic 2D3D toggling, protection of polarizer filter from dust and damage, and various "boothless" configurations possible. "We are very excited about this new modular version of SmartCrystal Cinema," says Alain Chamaillard, VP of Cinema at Volfoni. "Now, exhibitors with dual projection systems can choose a simple passive 3D solution to suit their needs."
â€˘ INSTALLS â€˘
Heligoland Goes Digital
Germany's only cinema in the high seas reopened in Heligoland. The operators, Ina Martens-Rostig and Michael Becker, worked hard to restore the theatre in the Nordseehalle to life. Kinoton equipped it with a modern, operator-friendly D-Cinema projection solution and a premium sound system. This fall the projector will be made mobile so it can also be used in the building's large auditorium for events like opera broadcasts from the Met in New York. The technicians of Kinoton's Northern German branch installed a type DCP 30 SX II - 2K D-Cinema projector, the ideal cost-saving solution for D-Cinema and digital cinema on smaller screens. The projector is based on projection technology supplied by Barco. The 1.2-inch 2K DLP Cinema Series II
technology from Texas Instruments guarantees highly precise color reproduction and brilliant contrast. The projector also delivers convincing image quality and is both easy and inexpensive to operate. The cinema's operators additionally opted for a Kinoton maintenance and service contract. Regular professional system maintenance will ensure consistently high-quality pictures and sound. It will also minimize the risk of costly failures and extend the service life of the valuable equipment. The "High Seas Cinema" project has received financial support from the
Uthlande region, the town of Heligoland, and the spa administration. Without their help, it probably would have been impossible to equip the cinema as well. The theatre features 32 comfortable seats with plenty of legroom. Nachos, popcorn, cold drinks, ice cream, and candy are sold.
â€˘ INSTALLS â€˘ Pakistanâ€™s
Centaurus Cineplex Opens in Digital The new Centaurus Cineplex opened its doors in June, outfitted with multiple high-lumen DCS Digital Cinema Solutions from Kinoton. The multiplex theatre is prominently located in the prestigious new "The Centaurus" mega-mall in Islamabad, enriching Pakistan's capital city with yet another major attraction. High-end D-Cinema projection solutions have been installed in all five of its auditoriums. They boast high light efficiency and costeffective lamp and cooling technologies, and incur only minimal maintenance expenditures. Throughout the multiplex, programs are controlled and managed by Kinoton's innovative, user-friendly Theatre Management System (TMS). All of the connected systems can also be remotely maintained and monitored via the Kinoton Remote System (KRS) to generate significant time and cost savings. Brand-new, state-of-the-art sound systems round out the digital cinema experience. The Kinoton DCS Digital Cinema Solutions were installed in by Kinoton's Pakistani distributor, Pakwestrex, in collaboration with Mandviwalla Entertainment, which operates the Centaurus Cineplex. The installed projection solutions include the Kinoton Theatre Management System (TMS), which networks cinema hardware and software for comfortable, user-friendly operation: the intuitive TMS software enables central control and management of both auditoriums and projection booths. This includes loading, managing, and distributing content, DCPs, and KDMs, programming and planning of shows, and central storage of DCPs in a library.
and monitor equipment in projection booths and offer assistance if any problems develop. Via "My Cinemas", Centaurus Cineplex personnel can use the Internet to view the status of the connected D-Cinema equipment in all projection booths from anywhere. For showing 3D movies, some of the auditoriums feature active and passive 3D systems. The Centaurus Cineplex is integrated in "The Centaurus", a modern building complex that combines a
mall with residential and business facilities. Its five auditoriums seat a total of 520. Cinema 5, with only 17 seats, is designed as a premium auditorium for meeting high expectations. The Centaurus shopping center, which was inaugurated in February 2013, is intended to boost Pakistan's attractiveness for organizers of international conferences and seminars while symbolizing the country's growth.
In addition, all D-Cinema project systems can be remotely maintained with the aid of the time-saving Kinoton Remote Service (KRS). As a result, the Kinoton distributor's service technicians can quickly access
• INSTALLS • Cine Colombia’s
Mega Sala Cineco with Very Best Technology
For the biggest entertainment company in Colombia, only the very best technology is good enough. That's why Cine Colombia has been working with Barco for four years now. Featuring an impressive amount of digital Barco projectors, the group can offer its audiences the best quality movies with equally superior image quality. The flagships of Cine Colombia are its "Mega Sala Cineco" theatres in Titan Plaza in Bogota and Cacique Mall in Bucaramanga. Thanks to the state-of-the-art Auro 11.1 cinema sound format by Barco and high-quality Barco 4K projectors, moviegoers now experience an astounding cinematic adventure. Mr. Munir Falah, President of Cine Colombia praises Barco for its easy-to-use, high-quality cinema solutions. "Technology can make or break our customers' movie experiences. That's why we've been working with Barco for four years now. We don't want to settle for less than the best." Mr. Munir Falah, President of Cine Colombia
Founded in 1927 by twenty businessmen, Cine Colombia has evolved into one of the major movie exhibition and distribution companies in Latin America. That didn't happen overnight. While growing big, the group never lost sight of some crucial success factors. Innovation, sustainable growth, corporate social responsibility, attention to local communities and great customer service: they have all helped make Cine Colombia the biggest in its field. Some impressive numbers to illustrate that fact: 36
cinema complexes, 236 theatres, over 47,663 seats and 18 million viewers.
Barco solution and services: - 150 digital projectors, incl. 94 DP2K and 30 DP4K projectors - Auro 11.1 by Barco
Ultimate image quality Exceptional sound experience Serviceability of the products Great personal service
Cine Colombia has always ensured the best quality, services and technology. Their movie theaters are equipped with high-standard technology for awesome visualization and sounds. "We have always been committed to technological development. Which is obvious, because our goal is to be one step ahead of our competitors. In other words; we want to be a technological forerunner," said President Munir Falah.
â€˘ INSTALLS â€˘ (width, depth and height), rather than the two axes found in traditional surround sound, the cinema sound format provides an immersive sound experience with sound coming from all directions. It ensures an unequalled audiovisual adventure.
The importance of trust
A technological forerunner "In 2007, we were the first Colombian movie company to use a digital projector," he continued. "Technology can make or break our customers' movie experiences. That's why we've been working with Barco for four years now. We don't want to settle for less than the best." In 2008, seven new digital projection systems were installed. From then on, the advances in technology came thick and fast. By 2010, nearly every movie theatre had a digital projector. Nowadays, no fewer than 75 Barco projectors are used to provide amazing movie experiences in Colombia. That amount is to rise to 150 in the course of 2013.
150 times superb images Cine Colombia has got a wide variety
of Barco digital projectors, securing perfect matches for every cinema screen. The DP2K-15C and DP2K-23B projectors are ideal for screens up to 49 and 75 ft., respectively. The DP4K range offers the ultimate image quality. The DP4K-32, which is designed for the biggest screens (up to 105 ft.), is the brightest digital projector in its class, thanks to its highly efficient optical design and patented DMD cooling system.
Auro 11.1 by Barco: an audiovisual adventure Exceptional image quality should have an equally exceptional audio companion. So Cine Colombia equipped both its "Mega Sala Cineco" theatres in Bogota's biggest shopping mall and in Bucaramanga's newest one with Auro 11.1 by Barco. Designed along three spatial axes
"Besides the quality, also the serviceability and ease-of-use of the projectors are re-markable", confirmed Alexandra Villamizar, Projection and Sound Manager at Cine Colombia. "Our operators really appreciate that. And thanks to training, we now know the equipment in depth. It enables us to fix problems quickly." Alexandra Villamizar further praises Barco's experience, expertise and after-sales services: "In those four years of our collaboration, they've always exceeded our expectations. They really feel know our needs and wants. Yes, it's a business relationship to cherish."
Future collaborations The Cine Colombia success story is still happening. Over 1,000 employees are continuously improving, innovating and expanding the company. With the Barco project ongoing, both partners are focused on future cinema collaborations. That way, movie audiences in Colombia and beyond can continue to enjoy this magical medium at the highest level.
• TECHNOLOGY •
REEL Cinemas is Ready for the Next Ten Years Jim Slater spoke with REEL Cinemas Owner and Managing Director KC Suri about his exciting plans for taking the cinema group forward. Jim Slater
One thing I have learned over the past few years of knowing KC Suri is that you should always expect the unexpected! Jim Slater has followed the continuous growth of the REEL cinema estate during the years from 2001 when property developer KC first moved into the cinema business after ‘falling in love with’ the charms of the magnificent but very rundown art-deco Curzon cinema in the centre of Loughborough. It must have cost a fortune to refurbish and redecorate, but he really did do a magnificent job of the restoration, with immense care and attention to period detail, as I described when I first visited the site. Stained glass
windows were cleaned and restored, the wonderful glass dome, which had been destroyed in WWII was completely rebuilt and reglazed, and chrome handrails with gold trim were created to match the originals. Since then he demonstrated similar long-term KC Suri at REEL’s Loughborough HQ and inset commitment to time when that company was keeping ‘classic’ cinemas going by planning to close it, but he has also taking on the old Odeon in York at a invested in several new-build cinema sites around the country, and currently owns and operates 15 sites, all within a couple of hours drive of Reel’s Sital House headquarters in Loughborough - named after KC’s father.
Surprise one - KC sells four
The art deco splendour of REEL Loughborough
Imagine then my surprise, and that of many others in the industry, when in 2011 Odeon acquired four of the REEL cinemas, at Crewe, Newark, Andover, and, astonishingly, the much loved Loughborough cinema. KC told the local press at the time that his decision to lease the art-deco building had been ‘taken with a heavy heart’ and that he was ‘a bit tearful’, but, ever the businessman, that ’the deal made a lot of sense for my property company, and that it is great to have a big company like Odeon as a tenant’. Many in the
• TECHNOLOGY • cinema business were speculating as to why he would have sold at that time, with an unspoken suggestion that he must have needed the money for some other project. When I cheekily put this to him he replied robustly that any such speculation was complete “b******s” and that REEL is the only cinema chain in the country that doesn’t have any external debt!
Surprise two - KC buys four more Early in 2013 many in the business were again surprised to learn that REEL had agreed to buy four more cinemas. The takeover of the Apollo circuit by Vue had threatened to raise consequential competition concerns in four areas, so with OFT approval Vue agreed to sell the cinemas in Fareham, Port Talbot, Morecambe, and Burnley to REEL. So that brought the number of sites up to 15.
Where next? I asked KC what his plans are, and he was unequivocal in saying ‘We are going for controlled and structured growth’. He obviously keeps a constant eye open for potential sites. When pushed, he said that the next phase might well include between five and ten new sites, but always depending upon what opportunities come along, and when they do appear you can be sure that KC and his team will be ready to do the ‘due diligence’ enquiries. I asked if he prefers old or new-build cinemas. He said that new-builds are
With classic cinemas like the one at York, above and below right, REEL’s KC Suri has taken great care to ensure that both the outside and the inside retain their original special character.
much easier, but that there can be something very special about old classic cinemas, although they can be very much harder work to maintain and refurbish. Everything depends on the particular building and its ambience. You can’t build in that sort of ‘character’ to a new-build. Sometimes things like noise transfer between auditoria can prove so difficult to overcome that the necessary building work would be totally uneconomical, so an otherwise ideal site might have to be rejected. He does, however, believe that sometimes it is a privilege to be able to restore the history and preserve the past, and he stresses yet again that his love for the cinema business is far more than just the desire of a property developer. KC said that he has generally been
very pleased with the designs of the various new-builds that he has been responsible for - he has always taken care to see that they provide a far nicer experience than ‘the sheds’ that some operators are content with.
The digital transformation The last time I visited Loughborough the move to digital was still of great concern to operators like KC - not only the important financial decisions, but the many technical issues too. KC was proud to tell me that the whole REEL circuit is now fully digital, that a high percentage of the screens are 3D, and that many are now equipped with the latest generation of Barco projectors which are ready for Higher Frame Rate displays as they come along. We
REEL York auditorium
• TECHNOLOGY • spoke of the recent takeover of the four former Apollo cinemas from Vue. These had been previously equipped with Sony 4K projectors and the RealD 3D system requiring lens changeovers when moving between 2D and 3D showings. It would obviously have been easiest to take over these cinemas complete with their existing Sony projection kit, but taking what KC described as ‘one of the hardest decisions of my life’ he decided not to take on the existing equipment but instead did a deal with dcinex whereby 24 projectors were replaced in the four sites over a period of 18 days, without any unplanned loss of shows. New Barco projectors fitted with the Dolby 3D system were installed, and KC explained that it was their existing good experience of the operation and reliability of this equipment that was the key factor involved in the decision to scrap the existing projection kit in the ex-Apollo sites. The Reel technical staff were already trained and certified as Barco installation engineers, and dcinex had already proven their worth as trusted partners, not only in providing finance and technical expertise, but also as a provider of Network Operation Centre monitoring and service advice services.
Service and maintenance in-house I asked who carried out the maintenance for the REEL circuit, and was surprised to learn that as part of the carefully planned move to an all-digital operation they had decided to invest in training up some of their key technical staff, using training courses from manufacturers of projectors, servers, 3D systems etc. REEL have a strong history of training their technical staff. REEL now have a team of five highly trained technical people who are accredited by the equipment manufacturers, and they cope with all installation and maintenance work for the existing 15 sites. KC explained that Loughborough is a very central site for a maintenance
New builds, like the one at Widnes, above, are also designed to make the most of their attractive modern architecture.
base, and that in emergencies an engineer can be on site at any of their cinemas within two hours, and usually much less than that. I asked how they would cope with the new sites that will be added to the REEL empire as it grows, and KC said that generally they will be favouring sites within this sort of travelling time from Loughborough. He pointed out that the Sital House Head Office was built with plenty of spare capacity for expansion, and that the number of cinema sites could grow substantially whilst remaining easily manageable from Loughborough, and that the circuit would actually become more cost-effective as the costs of centrally managed services like billing and accountancy are spread over a larger number of sites, with no need for extra Head Office staff.
Keeping customers happy... Having been involved with recent ‘keep cinema special’ surveys and reading some of the ‘flack’ that comes from dissatisfied cinema visitors, I asked KC about how REEL deals with customer complaints. He stressed that the whole circuit trades on a ‘family friendly’ basis and that feedback from customers is vital. All complaints, no matter how seemingly trivial, whether they concern auditorium temperatures or seating problems, are fed to KC as emails, and he spends some time each week going through them, responding as appropriate, and ensuring that staff training reflects the customer needs.
Look out for... Although I wasn’t given any firm information about dates, I gather that
there are well developed plans to open new cinemas in parts of London and the South-East, although I am not sure how they would fit in with the two-hour travelling time stipulation! The next ten years should show a mixture of organic growth and new acquisitions, as well as one or two new ideas to keep the competition guessing. As we had discussed on previous occasions, KC has longer term ambitions to open up ‘Bollywood-Style’ event venues, and these really could provide a whole new entertainment genre for the UK. KC has for many years now been on the lookout for cinema opportunities and said that they are constantly keeping an eye open for new sites that will fit their business pattern.
Sheer enthusiasm... I guess that the really big difference from talking with KC rather than those at the top of other cinema circuits is his sheer enthusiasm! Any cinema related topic that we discussed was responded to positively, and, rather like the champagne that he delights in drinking on all possible occasions, this very different cinema owner is bubbling with enthusiasm effervescent, with enough energy to tackle whatever comes along in the cinema business. And the outcomes of that particular discussion - “what will happen technically in the next ten years, and how will we cope?” really will have to wait for another article. (The author Jim Slater is the Editor of Cinema Technology magazine, the specialist publication for cinema professionals. He can be reached at email@example.com)
• TECHNOLOGY •
Software Solutions for
Modern Cinemas Jim Slater visited Jack Roe (CS) Ltd. in Ross-on-Wye to learn about their Software Solutions for Modern Cinemas.
Technology) roles, sitting around a large open-plan office writing software solutions to cinema related problems and tasks.
In the West, but convenient
modern industrial estate on the outskirts of Ross, conveniently situated just a mile from the end of the M50 motorway, making distribution to most parts of the UK straightforward and convenient.
The company has actually moved premises twice during the decade since I last visited, always within the Ross-on-Wye area, and currently occupies a number of buildings on a
I was introduced to many of the staff, and was surprised to find that instead of the mainly manufacturing environment that I had expected, most of them were in IT (Information
I confess to then having wondered why a relatively small company would need all these software guys. Surely once the ticketing and automation software had been
So much software...
It is always interesting to think how companies get and keep their reputations. Ask any projectionist about Jack Roe and they will tell you that the company can provide almost any of the bits and pieces that are required to keep a cinema going. Their catalogue has long been recognised as the entry point to a cornucopia of cinema supplies and sundries including film trailers, film editing supplies and equipment, including their world famous film splicing tapes, film handling kit and spares and service items for a whole range of film projection kit. The printed catalogue is still in demand, but is also available as an online version and in pdf form on USB storage sticks. Now I have deliberately used the word ‘film’ in many of the categories referred to above, since most of the ‘old guard’ projectionists saw Jack Roe as being primarily based around film, and over more than 80 years the company has worked hard and gained an enviable reputation for the superb service that it provides; if you have a problem there is a strong likelihood that a phone call to Jack Roe, and particularly to its Head of Sales, Sandie Caffelle, who knows everyone in the business and seems equally well known herself, will sort you out promptly and efficiently. But although film supplies and services continue to be an important source of income, especially in countries around the world where digital cinema has not yet taken over, there is and has been for the last 30 years so much more to Jack Roe than film, so that thanks to far-sighted forward planning, the company has had little to fear from the remorseless advance of digital cinema. Brian Roe, Grandson of the eponymous founder has been deeply ‘into computers’ for a long time, and the company’s computer division has for decades provided computer management systems and solutions for customers including garden centres, horticultural suppliers and those needing to stay in control of general warehouse storage and distribution logistics. It is interesting to note that back in 1997 Cinema Technology carried articles about Jack Roe’s cinema automation and control systems, and that after my last visit to their factory in 2003 (can it really be ten years ago?) I wrote about their then revolutionary new ticketing system for cinemas.
• TECHNOLOGY •
Sandie Caffelle, Simon Clarke and Ben Saunders
developed, as it had, over the past years, so that the systems worked reliably and well, that would be that, with perhaps one person needed to make any small mods or fix any bugs that might unexpectedly arise? Simon Clarke, IT Manager and Ben Saunders, IT Support, soon put me right and explained that the policy of continuous improvement in the software and services that the company provides is in fact one of the secrets of Jack Roe’s success. They are constantly taking note of comments and suggestions from customers around the world, constantly introducing new facilities that make life easier and more profitable for the cinema operator. As new technologies such as smartphones and tablet computers have come into use, Jack Roe are at the forefront of developing applications for use with such devices, allowing current generations of users to choose and book their cinema seats whilst paying for them in a number of different ways.
And across the pond... Sister company Jack Roe USA, Inc (run by Alan Roe, fourth generation of the Roe family) provides similar solutions focused on the needs of US cinema operators, and the UK software team works closely with its US colleagues to provide the specially tailored solutions that they need. There was so much for us to talk about, with Jack Roe being into so many different areas of the cinema business, that we decided that for a article it would be best to concentrate on three major areas. • Ticketing • Signage and
• Telephone information and booking systems.
TaPoS - Ticketing and Point of Sale systems for cinemas TaPoS is designed and sold as a complete system and includes hardware, software and support. Although the range of component parts is standard, each cinema installation is different, and each is effectively customised to suit the requirements of each cinema business. TaPoS can handle all on site sales, including ticketing, food, drinks and vouchers, plus loyalty schemes and ‘club’ memberships. The system works by linking the servers and computing equipment in cinemas via secure internet links to the secure servers at Jack Roe’s headquarters.
Reliability, usability, flexibility Key factors in developing the TaPoS system were to build systems which would be highly reliable with extremely low failure rates and which would keep overhead costs low, so as to be able to provide even the smallest cinema sites with an affordable and flexible product. Small cinemas won’t have IT experts, so everything has to be readily usable. As one who works on usability aspects of TV and computing for elderly people I was delighted to hear from Sandie just how much care and attention is put into making their systems simple to use, and she was keen to tell me about an anonymous ‘old lady’ who runs a small cinema with TaPoS and who has readily learned to make use of the system. As an interesting aside, later in the day when I was ‘playing’ with the seat selection program on an automated ticket machine,
I obviously showed that I had a little bit of ‘finger trouble’ difficulty in using the touch screen to highlight and change the seats I wanted to reserve. I subsequently learned that this had been noticed by those who were watching me, and at a development meeting later that week the team discussed how to make the process a little less ‘clunky’ and decided to improve it, even though they hadn’t actually had any complaints from customers. It was an interesting example of the need for continuing software development as part of the ‘continuous improvement’ policy. I was told that customers regularly come up with ideas for improvements - recent examples of such requests have resulted in such things as the ticket booking console automatically prompting the operator to ask the customer ‘do you need to purchase glasses?’ and stock control systems for both 3D glasses and the closed-caption glasses which are likely to become increasingly important as cinema ‘access’ systems reach a wider audience. I asked if such improvements cost the cinema operator more, and was told that all such upgrades and developments are generally included in the single annual ‘maintenance’ bill that TaPoS customers pay. The reasoning is that a suggested improvement for one customer is likely to prove beneficial for lots of others. Once you are a TaPoS customer you can choose a whole range of options from the modular software system. Loyalty card systems are popular, you can mount special ticketing or discount offers, perhaps emailing all the people on your customer database, and TaPoS provides the backup software system that makes it easy for a cinema to know exactly how effective a marketing campaign has been. Such things would be enormously difficult for a small cinema to arrange and monitor, but they all come as part of the TaPoS ‘maintenance’ contract. Perhaps
• TECHNOLOGY •
The TaPoS system securely links the servers at a cinema with those at Jack Roe’s HQ
‘maintenance’ isn’t the most appropriate word for such a wide range of services. There are two levels of what is effectively a service contract, one providing a full out of hours service for emergency support, and as part of the agreement any software upgrades are included ‘for free’. I was interested to see that customers are provided with an emergency support number, but more impressed to read a letter telling them that if they don’t get a response within 20 minutes they can ring the personal mobile numbers of the IT Managers and they are even given the mobile number for ‘our Sandie’ as a last resort, who you can be sure will sort things out! The TaPoS system can effectively provide all the database services that a small cinema group could need, monitoring the complete system and looking after everything from stock control to detailed facts and figures about ticket and concession sales numbers. Some cinemas use the data for their own individual purposes, other cinema groups find it more efficient to send detailed overviews to their head offices. Although Jack Roe don’t regularly monitor the data they are holding for customers, they can do if required, and they carry out regular tests to see that the broadband connections are
in good order - automatic emails can be generated so that Jack Roe staff can alert the customer to any problems that might occur.
Computing All TaPoS systems use the Linux ‘opensource’ operating system which Jack Roe has been using since the 1990s. Their long experience of Linux ensures that they have the flexibility to make system modifications and introduce new features with relative ease, whilst at the same time well understanding how to achieve the long-term reliability that is essential for cinema operators. The TaPoS application software is generally written in the C++ programming language, and is centred around the low cost SQL (Structured Query Language). Linux based systems are particularly well suited to networking, and the TaPoS system has been configured to keep network traffic to a minimum, thus ensuring fast system operation between cinemas and the Jack Roe servers in Ross. Communications from cinemas relating to seat bookings or to stock control take the form of ‘Queries’ which interrogate the SQL database that lives on the cinema server. There is a fast data link between the UK site and Jack Roe USA which enables the IT development team to work closely with their US colleagues.
There is a weekly ‘Skype’ videoconference between the US and UK teams, during which important factors affecting one or the other can be highlighted and discussed. Cinemas using TaPoS (there are 46 sites in the UK and many more worldwide) have parts of their software individually tailored - for example, security for cinema staff logging in to the system can range from a simple PIN number through individual staff codes to biometric security systems including fingerprint recognition - there is a hierarchical system of security control to suit all customer requirements. Simon and Ben told me that as tablet computers and smartphones become more and more used by the younger generation the IT guys at Jack Roe are busy designing and building software solutions to enable people to choose, book and pay for cinema tickets directly from their phones. Considerable software development is ongoing in both Android and Apple IoS to overcome some of the technical challenges that the new systems pose. Cinemas will be able to provide their own tailored ‘apps’ for their customers, enabling them to simply touch an icon on their smartphone screen to book a cinema ticket - with all the clever technology behind it being designed and operated by Jack Roe.
• TECHNOLOGY • Web booking To provide the internet booking service Jack Roe act as their own ISP (Internet Service Provider) and have set up their own booking server that is permanently linked to the internet. They deliberately don’t try to compete with cinemas’ own web sites, and I was interested to see from my home computer when trying to buy seats from the Prince Charles cinema website, for example, that as you make the decision to book you are transferred seamlessly via a hyperlink to the Jack Roe booking server - see screen shots. From then on the customer is using the TaPoS site, and can sort by film or show time, selecting the individual seats required I was interested to learn that the cinema can set up any show to have all the seats available for website purchase or can ‘block out’ some seats to reserve space for those booking on the night, for example. When a booking is made, the JACRO booking server checks, holds and sells the actual seat stock from the cinema’s own booking server, so that the latest information is always available to the purchaser, and, should this be wanted, the tickets can immediately be collected from the cinema. This pre-empted my next question - ‘what happens if the links to the Jack Roe servers should fail?’ Since the cinema server is always up to date all transactions can take place locally until such time as the link is restored.
Security and reliability This line of questioning led to the revelation that parts of the Ross-onWye site have been designed to be as totally secure as possible, both
computing equipment is fed from short-term uninterruptible power supplies, and there is a huge electrical generator on site which automatically takes over after a few seconds of mains outage (below left). This, and its auto-start circuitry is regularly tested to ensure that power will always be available.
In the cinema
physically and electronically. The secure server room is heavily protected against fire, floods and break-ins and is out of bounds to all but a few key personnel. Back up servers are kept in a different building some distance from the main factory to allow for ‘disaster recovery’ should the worst occur. Since the high speed data links between cinemas and the HQ are a vital part of the Jack Roe operation there are two completely separate fibre optic links to the site, coming in via different routes, just in case a JCB should decide to dig up one of them. Simon told me that a great deal of money has been spent on the security hardware and systems, and that the overall system is regularly tested by external security consultants to check for potential weaknesses. In case the incoming mains electricity should fail all the
TaPoS provides a dedicated ticket office interface for box office sales, which can be run on a customer’s existing PC equipment if required, although Jack Roe would prefer you to use their customised terminal. There is also a separate point of sale touchscreen terminal running Javpos software (below right) which can be customised by the cinema operator to provide ‘touch buttons’ for everything from the different priced cinema seats to a wide range of food, drink and confectionery items. I ‘played’ with one of these at the factory and was impressed at how easy it was to make changes to the screen. There are also self-service kiosks and ticket print kiosks available, as well as a substantial Automatic Ticket Machine (above the page) which is used with credit or debit cards to allow you to select seats and to pay for them (either at the machine or on your home computer) and print out the tickets. If you have bought them via the web you just need to insert your credit card or type in the unique booking code in order to print out the tickets when you arrive at the cinema. I was interested to learn that the ATM is manufactured on site at Ross-on-Wye. ATMs and the point of sale units are pre-configured on the Jack Roe site before being despatched to the cinemas, and Ben and his colleagues often carry out the installations and provide the initial on-site training for the customers. Jack Roe also offers the components for the ATM that can be countersunk into the existing interior of a cinema or incorporated into a unit designed locally. The ATMs are networked into the system and
• TECHNOLOGY • release tickets in real time, in communication with the site’s central server. Tickets produced by ATMs may have been bought via the internet, in person or over the phone from an operator or via one of the TaPoS automated telesales servers.
Payments system Using its guaranteed safe internet server system, Jack Roe is authorised to provide all credit and debit card handling services on behalf of its cinema customers. In what would nowadays be considered an unusual arrangement, but which clearly demonstrates the company’s trusted status with the banks, card transactions from those buying tickets or merchandise are first passed directly to Jack Roe. This is obviously advantageous to the company, which can take out its administration and service charges before making payment in batch transfers to the cinema’s bank account. It is a good arrangement for many cinemas, since all administration regarding payments and cards, which can be a complex task for the small operator, is carried out by Jack Roe, reducing the need for finance staff at the cinema. The TaPoS system comes with a wide range of easy to use reports built-in, allowing the cinema manager to rapidly access information on any aspect of his business, and custom reports can be designed to meet specific requirements.
Who uses TaPoS? With hundreds of selling stations worldwide and customers in the UK including Reel Cinemas, Moviehouse Group in Northern Ireland, Scott Cinemas, WTW and the Prince Charles in London, I was intrigued to know just how and why such customers select TaPoS and why the big cinema groups prefer to do their own thing. It seems from my conversations that Jack Roe is content to work closely and personally with its small cinema customers who they get to know well and whose requirements they are able to understand and satisfy. In an
ideal world they would certainly like to look after all the UK’s independent cinemas, but they wouldn’t really be interested in working ‘for’ (rather than ‘with’) the big circuits who would inevitably want to change their ‘family’ way of working. From my observations it seems that after over 80 years in the business Jack Roe knows what it is doing and is continuing to prosper as the industry changes, by continuously anticipating and adapting to whatever its customers need.
Premiere Display Systems As the cost of large flat screen displays has come down in recent years it has become more practical for even small cinemas to replace their traditional paper posters inside and outside a cinema by vastly more flexible electronic signage systems. Jack Roe was quick to spot the opportunity here, and used its existing in-depth knowledge of the needs of cinema owners and their customers to design its JACRO Premiere Digital Signage system, which provides a one-stop tailored solution for cinemas large and small. The strapline ‘Unlock the potential of digital signage’ clearly explains the aim. From a single screen in the reception area to a foyer that is clad wall to wall with flat screens, Jack Roe can design a scheme for any cinema. The displays can show moving trailers for any or all cinema screens and dynamic ads and special offers behind the concession stands can help to maximise sales. With the displays linked to a theatre’s management system and the TaPoS database, Box Office information can be kept up to date, showing special prices for special showings or encouraging people to watch a particular movie. Showtimes can be shown accurately, even if short delays have occurred, and ‘starting in five minutes’ messages can be automatically triggered, encouraging stragglers to get to their seats. The software behind the system not only allows a cinema to take full control of its displays - it really is easy for an operator to quickly update any
Showing how the TaPoS system carries out a web-booking, switching seamlessly from the Prince Charles client site to the Jack Roe booking system when the ‘book now’ tab (yellow arrow on top shot) is clicked.
display - but also allows for the collection of customer data and details, as well as providing valuable marketing information about how July-August 2013
• TECHNOLOGY •
much a particular video promotion increased the sales of a featured product, for example. Cinemas are also discovering the PR value of being able to easily display special customer greetings such as ‘Happy Birthday to Simon’ or ‘Welcome to the Newtown Small Business Association’.
Fone and Go® Telephone information systems have long been used by cinemas to let customers know what is on and when, but setting up and keeping such systems up to the minute is often difficult for the operator of a small cinema to achieve. Jack Roe have taken a revolutionary new software based approach to such systems which takes away all the hard work from the cinema, and have had great success, initially in the USA but now also in Europe, with their Fone and Go system. The cinema doesn’t have to have TaPoS installed for Fone and Go to work - Jack Roe has
provided a separate interface for the new system. From the customer’s point of view nothing could be simpler - they dial a single number (can be freephone or a premium rate number) for any particular cinema and are greeted with a professionally recorded voice message giving various choices. Responses are made by key presses. Up to the minute information about movies, runtimes, ratings and synopses is automatically provided from the cinema’s Theatre Management System (doesn’t have to be TaPoS) so that the information received by the telephone callers is always up to date. I was a little surprised that the system currently provides ‘information only’ and doesn’t actually allow you to book for the screening that you have just been told about, but was assured that this is how they do things in the USA. Customers first phone for information
and then make a separate booking the US version is actually called a ‘Showtimes Announcing System’. Certainly the customer responses to Fone and Go from cinema owners and cinemagoers in the USA have been enthusiastic, but I wasn’t at all surprised when Simon told me that the Jack Roe IT team is currently working on a development of the system which will allow tickets to be booked from the same phone call. To me that seems an essential development for potential users in Europe.
No more busy lines The telephone technology is IP based (think Skype) so means that cinemas don’t need to pay for lots of separate telephone lines, and the customer should never get an ‘engaged’ tone since there can be as many ‘virtual’ IP phone lines as required.
• TECHNOLOGY • for small cinemas to use displays to maximum advantage - once again providing a solution that frees cinemas from the complexities of designing and running a system that is outside their main areas of expertise and allowing them to provide facilities that would otherwise be outside their scope.
Providing the voices A major problem for any cinema wanting to get into this type of voice based information system is the actual making of the recordings anyone who has tried to keep a traditional telephone answering service updated will recognise the problem. But Jack Roe now provides all the recordings, each tailored to a specific cinema, each made by professional voice artists and recorded in high quality digital audio. I expressed incredulity at this why would Jack Roe want to get involved with all the complexity of providing a world-wide voice recording service? I was assured that the business idea had been carefully thought through and that already recordings can be quickly and efficiently produced in English (US and European versions) and in Spanish and African languages. It certainly takes all the hassle out of using such a system for the cinema operator, and I was impressed by the quality of the speech on their Fone and Go demo line.
Management tools The Fone and Go system also provides a number of useful management tools for cinemas - I was shown typical ‘Excel’ type graphs detailing the number of calls to each cinema site and for a whole group, day by day and week by week, providing valuable management information
about the effectiveness of the phone announcing system. I look forward to seeing how this develops as it rolls out across Europe - the growth in then use of smartphones is going to have a big impact on the way cinema bookings are made.
Jack Roe - A company with a purpose When you stand back and consider what Jack Roe does, time and again the message comes that they are making life easier and business better for the small cinema operator. The various systems that they have introduced over the years have all had the aim of allowing the small operator to have straightforward access to technologies that would otherwise be beyond their capabilities, allowing them to compete more effectively with the big chains. As well as providing management information and control, a major benefit of TaPoS for the cinema operator is that it takes all the hassle out of payments - many a small business owner has tales of how difficult the credit card companies are to deal with. Similarly, Jack Roe provides cinemas with their own tailored web-based booking systems, so that they don’t need to employ IT experts. Having recognised the growing importance of electronic signage, Jack Roe designed and built the Premiere system that makes it easy
The Fone and Go system is yet another manifestation of the company’s understanding of the needs of cinema operators. They saw the growth of such systems in the USA and recognised that they could usefully be applied elsewhere. Understanding the complexities of providing the voice recordings that form an integral part of such systems, Jack Roe set up an arrangement to provide cinema operators with all the necessary recordings, and already these are available in multiple language versions. There is an unspoken fact behind all the services that Jack Roe provides small cinemas don’t generally have a lot of money to throw around on new technologies and systems, so all the solutions that the company provides have to be reasonably priced, and this is something the company has long understood, and it regularly works with its customers to help them to achieve the results they want at a cost that they can afford. From the cinemas I speak with there is also a rare feeling of warmth towards the company - cinemas see Jack Roe not only as a family business but also part of the wider family of small cinema businesses; many have tales to tell of the outstanding service that they have received over the years. And if I had to come up with a few words to summarise exactly what makes the company unique, I would have to say, quite simply ‘the superb service that it provides to the small cinema’. (The author Jim Slater is the Editor of Cinema Technology magazine, the specialist publication for cinema professionals. He can be reached at firstname.lastname@example.org) July-August 2013
Place to be this September - Russia TheatreWorld in conversation with Dmitri Kazuto, Director of KINO EXPO International Convention & Trade Fair and KINOALLIANCE - Cinema Exhibitors' Association of Russian Federation TW – Tell us about Kino Expo 2013 and how does it feel to have the 15th Convention and tradeshow this year? DK – In its 15th year, Kino Expo is a major annual international cinema industry convention & trade fair, with the focus on the markets of 15 countries, which once formed USSR, where the Russian language is spoken, representing over 300 million people - Russian Federation, Ukraine, Kazakhstan, Belarus, Lithuania, Latvia, Estonia, Armenia, Moldova, Azerbaijan, Central Asian countries. Kino Expo, established in 1999, is now world's third largest international exhibition of cinema theatre equipment. The first exhibition 15 years ago took place in the foyer of one of the St. Petersburg cinemas. Now Kino Expo occupies the largest pavilion of St. Petersburg's Expoforum Exhibition Complex. Convention is the central event for local cinema professionals and the meeting place of Russian and international cinema business communities. At Kino Expo the local offices of major studios, Russian and international independent distribution and production companies present their upcoming films and product reels to the local exhibitors. TW – What's new at Kino Expo 2013 and what are the highlights of this year's expo?
DK – Kino Expo 2013 is again by all means a record breaking show. Trade fair growth has by far exceeded our NO EXPO - Director, KI Dmitri Kazuto expectations, and international participation panel discussion, Kino Expo is unprecedented. We expect over 25 University - a series of technical and international companies taking part marketing presentations by in the exhibition. Besides trade show equipment vendors, international exhibitors, there are international conference "Cinema Exhibition sponsors, and their contribution is Business" and the new conference on also unprecedented. They are The film production. Coca-Cola Company, Christie, Dolby, NEC, Doremi, XpanD, IMAX, Texas TW – Tell us about the Russian/CIS Instruments DLP Cinema, exhibition market potential? Masterimage, dcinex, Rentrak, RealD. DK – Russia/CIS market is one of the The local sponsors are Nevafilm, Asia world's leading in terms of box Cinema, Kinoproject. office, D-Cinema roll-out (75% of The Coca-Cola Company remains total screens) and new multiplex Kino Expo's partner and General construction growth (more than 500 Sponsor, while Christie continues to new screens last year in Russia alone, hold the spot of Kino Expo D-Cinema not counting CIS countries). It is Partner and major sponsor for the now clear that this year Russian box 9th consecutive year. office will again exceed 1 billion USD for the 4th consecutive year, Speaking about films, as always, which keeps Russia advancing in there will be spectacular Europe's top 5 and world's top 10 presentations of new major studio largest cinema markets. All these releases by 20th Century Fox, Walt factors make Kino Expo one of the Disney Studios Sony Pictures most important international events Releasing, Universal, Paramount and for both major studios and Warner Bros. Pictures (the latter two equipment vendors. Russia and CIS represented by sub-distributors, are one of the most lucrative cinema Central Partnership and Karo markets in the world, and will Premiere respectively). A lot of local remain so for many years ahead, as and independent content is also to new cinemas are being opened in be presented. smaller towns all over Russia and CIS The educational program will feature countries. Coca-Cola concession conference and
TW – What would you like to say about the cinema production in Hollywood and Russia/CIS? DK – Russia is one of the world's leaders in film production. However, the share of local films in theatrical exhibition, which used to be about 30% in 2007, has since then went down to less than 20%. This is major concern for our government and all of the cinema industry. TW – How is the growth of digital cinema in Russia in the past years? DK – The growth of D-Cinema has been nothing but phenomenal. The first few D-Cinema projectors were installed in late 2006, after the first DCinema screening was arranged at Kino Expo. Now there are more than 2500 screens in operation. We expect that the digitization will be over by the end of the next year. TW – How many delegates are expected this year and from which all regions? DK – Over 2000 people take part in Kino Expo Convention and trade fair each year. There are delegates from all regions of Russia, and all of the CIS and Baltic countries. TW – Tell us more about the Kinoalliance, the Russian Exhibitors Association? DK – Kinoalliance was founded in 2004 by the leading cinema circuits. In September 2011, due to lobbying efforts by KinoAlliance, the Russian cinema exhibitors' association, the 15% customs duty on D-Cinema projectors was reduced to 0%, effective in the countries of Eurasian Economic Commonwealth - Russian Federation, Kazakhstan and Belarus. This makes it easier for cinemas to finalize D-Cinema roll-out.
up until now we had to confront Ministry's on culture and some of the parliament members' initiatives to introduce legally binding screening quota on local films and limiting VAT break on cinema tickets for local films only. Led by Kinoalliance, Russian cinema industry spoke out unanimously against these measures, which, if accepted, would have deep negative impact. It is noteworthy, that supporters of screening quota for local films referred to positive European experience in this field. Our UNIC colleagues made it clear in an open statement, that there were no legally binding screening quotas in any UNIC territories. Russian government's concern over continuing downfall of local films' market share is understandable, especially in view of the fact that it is the Russian government who sponsors most of the local film production. However, it is absolutely clear that putting more economic pressure on cinemas will not lead to increasing attendance of local films. The cinema theatres' operators in Russia are doing their best to promote local films, and have put forward a number of initiatives which are aimed at stimulating attendance, completion of digitization and limiting piracy. The greatest challenge to cinema business in Russia is film theft.
Kinoalliance is in the forefront of the ongoing fight to protect copyright. Last year Kinoalliance joined other creative industry organizations in founded Coordination Council on Intellectual Property Protection, which coordinates joint efforts to combat film theft and lobby for improving copyright legislation. Our efforts have now resulted in the new anti-piracy federal law of Russia, which will take effect on 1st August this year. This law is expected to seriously limit illegal sharing and downloading of films, and obliges ISPs to remove illegal content. In support of the MPA initiative, Kinoalliance members-leading cinema circuits and individual cinemas are now demonstrating special anti-camcord trailer in their theatres. Kinoalliance is working together with European and American colleagues for the benefit of the film exhibition industry. Our top priorities are as follows: •
Combating film theft, including camcording;
Revising music rights fees in Russia and internationally;
Supporting and encouraging DCinema transition;
Developing Kino Expo cinema industry convention & trade fair.
Kinoalliance is busy working out solutions, which will provide financing to finish digitization before film prints are no longer supplied. And after years of negotiations, the VPF train has finally arrived to Russia. It was very difficult year for Kinoalliance, as since July 2012 and
16-19 September 2013 St. Petersburg • Russia
Kino Expo 2013, in its 15th year will open its door to the International Convention and Trade Fair to its patrons from 16th to 19th September in Russia, St. Petersburg. Kino Expo is a major annual international cinema industry convention & trade fair, with the focus on the markets of 15 countries. Kino Expo is your gateway to world's fastest growing cinema and entertainment industry markets of Russia and neighboring countries. If your company aims at accessing these multimillion markets, Kino
Expo is the key instrument of your success. Taking part in Kino Expo is the most effective way to present and market your company's products and/ or services catered to all sectors of the cinema industry - film exhibition, distribution, production, and also to entertainment segment of the shopping malls, from all regions of Russia and countries of the former USSR.
Exhibitors at Kino Expo Kino Expo unites professionals in all branches of motion picture industry film production & post production,
distribution & marketing, film exhibition. The Exhibitors at Kino Expo are manufacturers and suppliers of equipment and service providers in the following areas, as well as film and other audiovisual content distribution companies. •
Motion picture theatre equipment
Cinema theatre infrastructure
Film & Audiovisual content distribution & marketing
Entertainment technologies for shopping malls, cinemas and entertainment centers
Advantage to the exhibitors •
Present and market products and/or services directly to owners and top managers of all the cinema circuits and individual cinemas, film distributors, film and TV production companies, shopping malls' operators and etc., reaching 100% awareness of your company's brand name, products and services among these targeted audiences.
Find new clients in cinema industry and commercial real estate.
Establish new business contacts and meet existing customers.
Gain access to the important insider information.
representatives of film studios, film and TV production companies, producers, artists
production, distribution and exhibition •
Kino Expo attendees •
Cinema exhibitors from all regions of Russia and neighboring countries, both chains and individual cinemas; representatives of the largest international cinema chains
Representatives of international motion picture industry
Individual investors and companies, which plan establishing new cinemas. Shopping malls' operators, developers, commercial real estate professionals
Distributors of films and other audiovisual content, for theatrical, DVD and TV release, rights' owners, both domestic and international
Representatives of TV channels from all regions of Russia and the countries of the former USSR
Film production and post production professionals,
Individual investors and companies, which plan establishing new cinemas. Shopping malls' operators, developers, commercial real estate professionals
Cinema equipment manufacturers and suppliers, service providers for film exhibition, production and distribution. Entertainment systems' and technologies' manufacturers and suppliers
Federal and regional government officials, who oversee film
Mass media representatives
Kino Expo 2013 program main features •
15th international trade fair, with extensive foreign participation, showcasing the latest in motion picture industry equipment and services, entertainment systems and technologies, D-Cinema technologies, and services for film exhibition, distribution and production.
Screenings of new blockbuster films and upcoming product presentations by major studios, Russian and international film companies, prior to Russian release and special sponsored events.
Conferences and seminars, dedicated to film exhibition, distribution and production business issues, presentations of new products. Business development seminar, hosted by The Coca-Cola Company.
National Cinema Industry Awards Ceremony.
All Industry Opening Reception.
PREVIEW 26-28 JULY
CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
26-28 July 2013, Chennai • India
16-19 SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
14-17 OCTOBER AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
21-24 OCTOBER SHOWEAST, FLORIDA, USA www.showeast.com
10-12 DECEMBER CINEASIA, HONG KONG www.cineasia.com
2014 12-14 MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com
24-27 MARCH CAESARS PALACE, LAS VEGAS, USA www.cinemacon.com
16-19 JUNE CINEEUROPE BARCELONA, SPAIN www.cinemaexpo.com
The 7th edition of Cinema Today Asia - the trade show that brings the Cinema - Production Broadcast - Theatre - Pro Sound Light under one roof is scheduled for 26, 27 & and 28th July 2013 at Chennai Trade Centre, Chennai. The exhibition focuses on the latest equipment, techniques and trends prevalent in production, animation, VFX, broadcast, professional audio, lighting, video, music and entertainment industry. India has the second largest screen count in the world with multiplexes mushrooming across the nation. Chennai Today will cater to this segment showcasing equipment and services related to up gradation of infrastructure in theatres, going digital and 3D technology. This show is a unique event that will offer a great opportunity for business and networking to all its exhibitors and attendees. It will also help them to all its exhibitors to get detailed information and knowledge about the sector and develop this field further. India is the largest film producing country of the world and invests a lot of its
resources in this field, this show aims to bring all kinds of exhibitors together in order to help the country to channelize and cut down on its financial resources that it spends in the sector and increase the interest of many professionals relate with it. This international show will also help all its exhibitors to get connected with different attendees who will be present at the venue to attend the event. Highlights • Seminars • Conferences • Product Launches • New Technology • Participation of Industry leaders • International Exhibits • Live Demonstrations • Latest Trends • Best networking platform • New Business Opportunities • Best Deals Visitors Profile • Theatre / Multiplex Promoters • Theatre Owners • Production Equipment Dealers • Film Distributors • AV & Acoustic Engineers • Interior & Lighting Designers • Shopping Mall Promoters
24-27 June 2013 Barcelona â€˘ Spain Held from 24 to 27th June 2013 at El Centro De Convenciones Internacional De Barcelona, Spain, the convention offered a unique opportunity to interact with stakeholders from the sector and included a trade-show of latest products, services and industry trends, an innovative conference programmed of highest relevance to European exhibitors and numerous screenings of the most exciting upcoming films. CineEurope, the official annual convention of UNIC and the premier get-together of the cinema exhibition community in Europe and organised in collaboration with Prometheus Global Media (PGM) ended with a remarkable response from the Exhibitors and Attendees. Pamela McClintock, senior film reporter at The Hollywood Reporter, on the opening day moderated an Exhibitor Roundtable covering vital topics as digital projection, 3D, immersive sound, high frame rates, laser projection, alternative content and the cinema of the future. The distinguished panel included Eddy Duquenne, CEO, Kinepolis Group (representing Europe); Miguel Mier, COO, Cinepolis (South America); Ben Murray Bruce, chairman, Silverbird Group (Africa); and Mark Walukevich, senior VP of film, international, National Amusements (North America). Later that day, Rory Bruer, president of worldwide distribution, Sony Pictures, delivered the keynote address, followed by an industry address
by Phil Clapp, president of UNIC, and the presentation of the UNIC Award of Achievement to former UNIC head Ad Weststrate. On Tuesday, RealD offered a product presentation introducing its new Precision White Screen for 3D and 2D and Barco Auro 11.1 demoed its 3D sound system, both at the Cinesa Diagonal Mar. The wednesday programmed highlight was the Cinema Retail Workshop presented by The CocaCola Company. Another Wednesday highlight was "Event Cinema: New Frontiers in Alternative Content, a session exploring exciting new possibilities for alternative programming in cinemas beyond opera, live theatre and ballet. The Event Cinema Association showcased 45 minutes of upcoming live and recorded events as part of the presentation. CineEurope had an exciting lineup of movies for summer attractions: Warner Bros. International's Pacific Rim and We're the Millers, Paramount Pictures International's
World War Z, Walt Disney International's Planes and The Lone Ranger, Universal Pictures International's Despicable Me 2, 20th Century Fox International's and DreamWorks Animation's Turbo, and Lionsgate's RED 2. The show concluded on June 27 with a celebratory awards luncheon. CineEurope presented its 2013 International Distributor of the Year award to Dave Hollis, Executive Vice President, Theatrical Exhibition Sales & Distribution, The Walt Disney Studios. Turkey's Mars Entertainment Group Founder and CEO Muzaffer Yildirim was Accorded The CineEurope "International Exhibitor Of The Year" Award. Independent Cinema Owner and UNIC President Ad Weststrate was accorded UNIC Achievement award at CineEurope 2013.
TAJ Cinemas Jordan
The Ultimate Ribbon Concept TAJ Cinemas opened in Jordan, promising to entertain the movie goers in style. This behemoth multiplex contains sixteen cinemas which include 12 regular theatres and 4 VIP halls. The concept of ribbons was used throughout the entire multiplex, distinctively in the mainstream cinema lobby and the more exclusive VIP lounge. Guests enter the premises through a circular room, resembling a roll of film. The walls are fitted with screens that display movie trailers, forthcoming attractions, and clips of famous films. This space acts as the intermediate space leading patrons to the Mainstream lobby and the VIP lounge. July-August 2013
entertainworld TAJ Cinemas is spread over 7000 square meters, with a total seating capacity of 1700 people through its 16 theatre multiplex. The mainstream lobby is a two stories zone which provides access to twelve cinema screens. The concept omnipresent throughout this lobby is the flow of a ribbon and can be found throughout the walls, flooring, and ceiling of the lobby. The false ceiling in the lobby exhibits the radial and focal point principle of design. The ribbons all emanate from a center point, which acts as the focal point fitted with LED lights. Voids between the ribbons are also fitted with LED
Eranna Yekbote Chief Architect Era Architects Mumbai, India
lights, further adding a sense of direction and flow. In the corridors leading to the entrance of the cinema halls, the flow of the ribbon found on the ceiling is mirrored onto the flooring as well. Intermediate spaces between the ribbons are fitted with LED lights for added effect. In contrast to the stark white walls and ceiling, the flooring is made up of grey and black marble arranged in a fluid manner. The interiors of the cinema halls consist of waving lines along the sides, fitted with LED lights for added dramatic effect. The number of lines and the colors of LED lights July-August 2013
incorporated along the sides vary from theatre to theatre, giving every theatre its own unique identity. Dual colored seating is incorporated into the chairs as well in the theatres, further accentuating the element of flow in the premises. TAJ Cinemas also introduced the VIP theatres halls, called the TAJ Class, have a capacity of 113 VIP seats with fully reclining leather armchairs and butler service. The four VIP theatres are equipped with 4K projectors and Dolby Atmos 7.1 sound. TAJ cinemas also provide online ticketing, ekiosks for making booking and purchasing tickets. The flow of the ribbon is incorporated into the design of the washroom as well. The ceiling is fitted with wave like motions, with lights between them and against the wall, resulting in a bright, playful vibe in the washroom. Similar to the lobby, the wavy motions of the ceiling are mirrored on the flooring as well. TW-50
F U T U R E
R E L E A S E S
A glimpse of movies coming soon… 2 Guns
Disney’s Planes Production Universal Pictures
Production Walt Disney
Director Baltasar Kormakur
Director Klay Hall
Starring Denzel Washington, Mark Wahlberg
Starring Dane Cook, Stacy Keach
Genre Action, Crime, Thriller
Genre Animation, Family, Adventure
Percy Jackson: Sea of Monsters
Production 20th Century Fox
Production TriStar Pictures
Director Thor Freudenthal
Director Neill Blomkamp
Starring Logan Lerman, Brandon T
Starring Matt Damon, Jodie Foster
Genre Adventure, Fantasy
We’re the Millers
Production New Line Cinema
Production The Weinstein
Director Rawson Marshall
Director Lee Daniels
Starring Jennifer Aniston, Jason Sudeikis
Starring Forest Whitaker, Oprah Winfrey
Genre Action, Comedy
Genre Biography, Drama
F U T U R E
The World’s End Production Universal Pictures
Production Focus Features
Director Jeff Wadlow
Director Edgar Wright
Starring Aaron TaylorJohnson
Starring Simon Pegg, Nick Frost
Genre Action, Comedy
You’re Next Production Relativity Media
Director Robert Luketic
Director Adam Wingard
Starring Liam Hemsworth, Gary Oldman
Starring Sharni Vinson, AJ Bowen
The Mortal Instruments: City of Bones
Production Screen Gems
Production Focus Features
Director Harald Zwart
Director John Crowley
Starring Lily Collins, Jamie Campbell Bower
Starring Eric Bana, Rebecca Hall
Genre Action, Fantasy
Genre Drama, Thriller
R E L E A S E S
Getaway Production Vertical Entertain.
Production Warner Bros.
Director Kevin Goetz
Director Courtney Solomon
Starring Josh Duhamel, Dan Fogler
Starring Ethan Hawke, Selena Gomez
Genre Drama, Thriller
F U T U R E
One Direction: This is Us
R E L E A S E S
Insidious Chapter 2
Production TriStar Pictures
Director Morgan Spurlock
Director James Wan
Starring Niall Horan, Zayn Malik
Starring Patrick Wilson, Rose Byrne
Riddick Production Universal Pictures
Production Warner Bros.
Director David Twohy
Director Denis Villeneuve
Starring Vin Diesel, Karl Urban
Starring Hugh Jackman, Jake Gyllenhaal
Genre Action, Sci-Fi
Battle of the Year 3D
Production Screen Gems
Production Universal Pictures
Director Benson Lee
Director Ron Howard
Starring Josh Holloway, Laz Alonso
Starring Chris Hemsworth, Daniel Br端hl
Genre Drama, Musical
Genre Action, Drama
Cloudy with a Chance of Meatballs 2
The Family Production Relativity Media
Production Sony Pictures
Director Luc Besson
Director Cody Cameron
Starring Robert De Niro, Michelle Pfeiffer
Starring Bill Hader, Anna Faris
Genre Action, Comedy
Genre Animation, Family
F U T U R E
R E L E A S E S
Production UTV Motion Pictures
Production Mukta Arts
Director Rohit Shetty
Director Subhash Ghai
Starring Shahrukh Khan, Deepika Padukone
Starring Rishi Kapoor, Mithun Chakraborty
Ungli Production Utv Motion Pic.
Production Dharma Production
Director Prakash Jha
Director Rensil Dsilva
Starring Amitabh Bachchan, Kareena Kapoor
Starring Sanjay Dutt, Emraan Hashmi, Kangna Ranaut
Published on Jul 22, 2013