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A roundup of some of the issues of interest to cinema exhibitors today:

Sound Things are hotting up in the 3D sound space. We just reported on the four major 3D sound systems in the previous edition of TheatreWorld and Dolby as already bought ImmSound to reinforce its position in this new, interesting and promising front. It was inevitable and is synergistic as it brings ImmSound’s patented technologies to Dolby’s Atmos platform and saves the industry from a bleeding war since a new sound format can be capital intensive in gaining acceptance both with producers and exhibitors. We would think further consolidation is on the anvil with both Barco’s Auro and Dolby’s Atmos going aggressive much like DTS and Dolby in yesteryears.

Picture Exhibitors have much to rejoice as the capital costs of 2k digital cinema are steadily going south. 4k too is gradually moving in. Brands are competing furiously to cost-optimise their projectors what with xenon being replaced with mercury lamps and integrated media blocks (IMB) enabling boothless projection. Satyam’s Escape at Chennai in India has already implemented this successfully with all their projectors

suspended in the lobby ceiling. They are not even inside the auditoriums! This is truly pathbreaking and kudos to the owner, Kiran Reddy, who always thinks ahead as a multiplexer. Projection booths were a must in the film era. Being nitrate, film was flammable and local byelaws ordained a fire-isolated design. Digital projectors and building automation have done away with all these reasons and more. Boothless projection provides exhibitors with a lot of flexibility and saving on space and all this can only be good for the bottomline. Next on the tech front would be laser projection that will improve 3D picture dramatically but it is still some years away.

Aspect Ratio Both sound and picture have gained freedom from the limitations of the film era. Digital technology and automation have made it much more flexible for the cinema of the future. So much so that aspect ratio, that holy cow of film projection, looks also to see exciting changes ahead. It should be possible to boast varying aspect ratios as per movie content and maybe 2:1 can become the new standard. From 1.33 to 1.85 to 2.40, the transition has been dictated by competition from television so far, but cinema could forge ahead with variable aspect ratios that suits picture content, anchored around 2:1!

components like metal skeleton, foam, fabric, back, cupholder armrests, lighted numbering etc. The next frontier, motion seating, is still the preserve of theme parks and yet to take off in mainstream multiplexes. Like 3D sound has been around for a decade and only now taken off, motion seating in which every seat vibrates in sync with screen action, should take off as complementary to 3D picture provided the technology matures and becomes viable. We had the same doubts with digital cinema, 3D picture, 3D sound all of which are reality today so do not be surprised if motion becomes a reality by 2020!

Cinema Today While we discuss the latest concepts and future technologies it would be worth to emphasise that exhibitors need to focus on the now as well. Stick to the basics of providing a clean, healthy and state-of-the-art experience for patrons to come in with their family and friends and enjoy the wholesome storytelling sessions on screen. It sounds simple yet it is so true that exhibitors tend to lose sight of the core of their business which is essentially a smooth, seamless experience for their patrons - easy parking and ticketing, smart lobbies, hygienic concessions, comfortable seats, state-of-the-art sound and picture, clean toilets, safe exit and a polite staff.

Seating Seating continues to get plusher and offered more as a monoblock, a single unit with closer integration of its


July-September 2012

Sandeep Mittal Editor / Publisher


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July-September 2012

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Christie Brings Future of Premium Cinema Entertainment Solutions to Asia Pacific Christie is proud to bring the future of premium cinema entertainment solutions to Asia Pacific at its Entertainment Solutions Summit (ES Summit) at the Great Hall of the People in Beijing, China. Christie's signature digital cinema technologies impressed more than 200 exhibitors from China and Asia Pacific with live demonstrations of 2D and 3D movie contents using Christie Duo, a product preview of the Christie Solaria One digital cinema projector and a demo of the Christie SKA-3D processor. Christie also reinforced its commitment to innovation by helping to create the standards and equipment for 3D High Frame Rate (HFR) movies and new laser-powered projection solutions. Participants were inspired by a presentation of Christie's roadmap of laser-powered projection technology. Presenting Christie's latest product solutions at the event, Dr. Don Shaw, senior director, product management, Christie Entertainment Solutions, commented, "As the world advances into the technological era, consumers are becoming more sophisticated with the choice of entertainment options available in

the market. Both filmmakers and exhibitors are rapidly adopting new technologies to improve the cinematic experience of the audience." Continuing, Dr. Shaw said, "At the Christie Entertainment Solutions Summit, we presented the world's most complete line up of entertainment solutions products to Asia Pacific exhibitors and industry partners. Participants had the exclusive opportunity to learn about Christie's industry-leading products and technology, including 4K, HFR, and laser projectors, which are set to take the digital cinema world by storm."

"We welcomed our invited guests to witness Christie's revolutionary cinema technology at the Great Hall of the People, our distinguished client who has benefited from Christie's advanced technological solutions in conveying its public messages to more than 1.3 billion people in China," said Lin Yu, vice president, Christie Asia Pacific. "By holding our Entertainment Solutions Summit at the Great Hall of the People, we aimed to influence the technological landscape of cinemas in Asia Pacific. Following the success of the event, the exhibitors were impressed with our full suite of cinema technologies. The interest shown in the presentation of our laser projection technology roadmap clearly illustrates the confidence in our next generation technology. We look forward to demonstrating our laser-powered projection solutions to the exhibitors and industry partners in September 2012." Leading the entertainment solutions product presentation at the ES Summit was Christie Duo, a new dual projection integration kit that gives exhibitors the flexibility to deliver the brightest 2K or 4K movie experience in 2D or 3D on the world's largest screens. The integration kit is the basis of a


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compact and convenient stacking system for 3D installations, or a choice of two innovative physical configuration that perfectly align every pixel on the screen for optimal 2D and 3D presentations. When combined with world-leading 3D systems, exhibitors can achieve 3D image brightness levels up to twice as high as what can be achieved using the current large-format market leader at a significant overall cost saving. Christie also presented its DCI Compliant (Digital Cinema Initiatives) integrated media block (IMB) solution with 4K and HFR capabilities at the ES Summit. The Christie IMB operates within the projector to become an integral part of the display device, creating a secure connection that can manage the high bandwidth required for HFR and 4K content without compromising image quality. Also, featuring MPEG2 and H.264 support, the Christie IMB allows end-users to display a larger variety of alternative and advertising content from the same storage device that holds the packaged cinema content. It was clear from the product preview of the Christie Solaria One digital cinema projector that it will set a new level of performance and value for digital cinema technology. The Christie Solaria One projectors are designed for reliability and packed with features - including brilliant 3D technology and high frame rate capability - that combine to deliver amazing image quality to meet the highest demands of cinemas around the world. Christie SKA-3D, an audio and video processor that connects digital cinema projectors to the widest possible range of 2D and 3D alternative-content feeds, was also featured during the ES Summit. Combining the function of powerful audio and visual processing under a single product, Christie SKA-3D makes alternative content look and


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sound as spectacular as feature presentations. Exhibitors can transform the experience of moviegoers by extracting the latest, high-quality lossless audio from HDMI signals and integrating them into the cinema audio system. As cinema multiplexes grow in screen count to accommodate their diverse audiences, managing multiple projection operations has become a real challenge for cinema operators. To meet this challenge, Christie introduced the Christie Avias-TMS late last year. Christie Avias-TMS is a Theater Management System (TMS) software application designed specifically for cinema operators to centrally manage and orchestrate all of their projection operations within a multiplex, regardless of the diverse projectors, servers or operating systems (OS) in use. The user-friendly software application is easy to install and can be accessed securely from any location through a standard Web browser, offering cinema exhibitors the ultimate freedom and flexibility to conduct theater operations from an office or home PC, tablet computer or iPad. Christie Avias-TMS also allows centralised scheduling of all content, devices and Key Delivery Messages (KDMs), including a drag and drop playlist to cater to rapid changes based on changing customer demands.

Pittsburgh Theatres Upgrade Under Phoenix Big Management Two of Pittsburgh's largest cinemas, Chartiers Valley 20 in Bridgeville and North Versailles 22, reopened after a temporary closure on August 3, with new releases Total Recall and Diary of a Wimpy Kid: Dog Days. The theatres were closed for two days for the properties to undergo changes including the introduction

of new operator Phoenix Big Cinemas Management. Other changes to the sites included the introduction of RealD 3D, gift cards, online and advance ticketing through and an expanded concession menu. Guests can also join the free "Motion Picture Points" loyalty club to earn points for free popcorn, soft drinks and movie tickets at both locations. "Phoenix Big Cinemas brings a track record of high quality entertainment to the Pittsburgh cinemas," said Marc Kossman, part of the ownership group of the two megaplexes. "The theatre upgrades and renovations will improve the overall cinema experience by offering a state-of-theart Hollywood destination to our guests." Additional changes and enhancements for the all-stadium theatres are planned during the next several months including a conversion to all digital projection, upgrades to digital surround sound, more screens offering RealD 3D and new signage. With the upgrades, Chartiers Valley will change from 20 to 18 stadium auditoriums with approximately 4,000 seats and North Versailles will adjust from 22 screens to 18 with over 3,000 seats. "As we transition the theatres under our management, we hope to bring a new, refreshed energy and provide the best possible entertainment experience possible," said Phil Zacheretti, president of Phoenix Big Cinemas Management. As of August 1, Phoenix Big managed 27 theatres with a total of 220 screens in 16 states throughout North America.

Christie MicroTiles and Christie Spyder X20 at History Colorado Center The breathtaking majesty of the Rocky Mountains is featured at the History Colorado Center (HCC) in Denver on a 134-unit Christie MicroTiles array designed to emulate the jagged peaks of the famous mountain range, complete with spectacular video footage. The HCC, which celebrated its grand opening recently, wanted a large, expressive statement characterising the history of the picturesque state while redefining the museum with relevant and engaging content. "The HCC wanted a dazzling display in their atrium," said Howard Steele, director, Technology Plus, the project's consultant. "The atrium is very bright and only a 30K lumen projector would even begin to display images in that strong light, but that created issues with where to place the projector and exhaust." Ed Nichols, president and CEO, Colorado History Museum, agreed. "We had a wall in our atrium begging for a major media treatment because there was a visitor orientation problem. We thought of projectors but the architect

introduced the museum to the Christie MicroTiles. As our staff contemplated the possibilities with a MicroTiles wall, we were intrigued with the idea of letting the wall tell the museum's story to its visitors. "The Museum also liked MicroTiles' flexibility: they are high resolution, high visibility in bright light at different angles and distances. We

wanted rear projection and a product that would be financially sustainable. The tiles have a long lifespan, which means a low cost of ownership." Christie MicroTiles are perfect for color matching and self-calibration according to Craig Shonka, project manager for AVI-SPL, project integrator. The first plan for using the MicroTiles was installing three simple, yet attractive ribbons running down the wall. "It was Randy Pagnan of RP Visuals who made the mounting support brackets for the design we went with which really made it all come together and align properly," added Steele. "The atrium is very big and full of daylight pouring in especially from the south facing glass wall and the skylights," said Stephanie Stewart, project manager, Richard Lewis Media Group. "When the museum saw the color saturation of the Christie MicroTiles, they went crazy; they loved how beautifully bright and crisp the images are and so do


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we. The MicroTiles fit perfectly with what the museum is trying to say." Driving the content is the Christie Spyder X20 video processor. A versatile, hardware based video processor combined with the flexibility of a universal routing switcher, the Christie Spyder X20's integrated source monitoring allows for simultaneous, real-time, fullframe-rate monitoring of all inputs. "We also have the option of reconfiguring the wall if we want to change things up or even growing the wall, and, in the end, we have great products (Christie MicroTiles and Spyder) that are running consistently," continued Stewart. "This project was huge and both an artistic and technical challenge, but that made it exciting. The team that Kevin Barlow (Senior Director, Control Rooms, Christie) put together did a fantastic job. Ken Hartling (Western Regional Sales Manager, Control Rooms, Christie) was so helpful and it was terrific to work with Christie. The entire Christie team kept the project going smoothly; they were always solid and got us what we needed when we needed it." Dan Waltens, director of operations, AVI-SPL, said the project went smoothly. "Having worked with Christie in the past, we had that level of comfort when working on a project of this scope. Christie knew every detail, was involved in the project meetings so they understood what the HCC was trying to accomplish, and gave appropriate advice that was key. The beauty of Christie MicroTiles is that you can access the power supply from the front as well as the back." Hartling said the Christie MicroTiles and Christie Spyder installation is "one of the most extraordinarily complex projects I've ever been a part of and one of the most impressive installations I've seen. It's eye-catching, creative and mindblowing."


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"What we have is so different because a high-tech array in the atrium is an immediate signal to visitors that this is not a typical state history museum," concluded Nichols. "The Christie MicroTiles array captures the magnificence of the Colorado landscape and furthers our mission in a financially sustainable manner."

Megaplex Theatres Chooses Doremi to Complete Digital Conversion Doremi has been selected by Megaplex Theatres as the primary technology provider for the upgrade of its remaining screens across six locations throughout the state of Utah. Forty-one (41) Doremi DCP-2K4 servers are scheduled for installation. Moreover, Doremi's accessibility product line including the CaptiView closed captioning system and the Fidelio device for the visually impaired are also scheduled for installation in the theatre complexes. The theatre chain expects to have the upgrade completed by the end of September, 2012. "We are happy to offer enhanced services in these new cities to our guests, especially those with hearing or visual limitations," said Blake Andersen, senior vice president and general manager of Megaplex Theatres. "We chose Doremi products because of their unmatched reliability and performance characteristics. We are very pleased and excited to be partnering with the industry's leading technology provider in ensuring the best quality experience for our guests."

Megaplex Theatres has the highest grossing box office per capita in the U.S. Megaplex Theatres recently finished in the top five in the U.S. for the midnight premiere of The Dark Knight Rises as well as several other films including the Twilight franchise, the Harry Potter franchise, and the Pirates of the Caribbean franchise among others.

New $4.6 Million Cinema/retail Complex up for Auction One World Bank authorised the real estate and equipment auction of Reel Grill Cinema & Tavern at 108 Tulane Avenue, Alvarado, Texas, on Tuesday, August 14 at 11 a.m. by Maas Companies of Rochester, Minn. The two-year-old, $4.6 million cinema and entertainment complex operated for less than 90 days. The real estate includes a 22,541 square foot, two-story theatre with stadium seating plus a 4,280-square-foot unfinished retail space and a 1.47acre retail out lot. Theater equipment includes four digital theatres, one with 3D technology, and a 2,000square-foot Lasertron Laser tag arena plus all support equipment. The auction property will be offered in individual lots and then as a package and will sell whichever way brings the greatest money. Tyler Maas, director of sales and marketing for Maas Companies, states, "This auction offers a unique opportunity for a new owner. The property operated for such a short time, the equipment is like new and includes current technology." The seller chose to market the property via auction to actively recruit a new owner and return the building to a functioning status to benefit the community.

Hoyts Chooses Christie Duo for Blacktown Cinema 5 Christie, is proud to announce that Hoyts has chosen Christie Duo for the theater's premium custom projection needs, lighting up Australia's biggest traditional screen, the Blacktown Cinema 5 with the brightest images available. The single-mirror configuration of Christie Duo with projectors from theChristie Solaria CP4230 Series was installed in time for the June 21 premiere of Snow White and the Huntsman.

Xtremescreen - Australia's Largest Multiplex Screen with its recordbreaking 28.1-meter wide screen. The entire complex features 10 state-ofthe-art cinemas, with comfortable stadium seating and the latest Digital Surround Sound.

"We're very excited to be the first exhibitor in the world to deploy the Christie Duo single-mirror, 90 degree projector configuration, which is a cutting-edge technology that delivers the brightest, pixel-perfect 4K images onto Australia's largest traditional movie screen," said Adam Wrightson, executive director and CTO of Hoyts Cinema Technology Group. "The technical capabilities that the product opens up for us will help us give our guests all the features of advanced cinema that they expect from Hoyts." "The light levels achievable with the Christie Duo are unprecedented for large screens. Most dual projector installations are installed for 3D output, and configured to use only one of the projectors for 2D films, resulting in lower than acceptable light levels. Christie's solution allows both projectors to be utilised for playback of 2D content, delivering spectacular images on large screens. Christie's technology ensures that convergence is not a problem, with Christie Duo perfectly aligning each of the 8 million pixels from the two projectors," added Wrightson. Hoyts Blacktown is the destination for Sydney moviegoers to enjoy


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The engineering teams from Hoyts' Cinema Technology Group and Christie worked flawlessly together to resolve operational issues and get the world's first single-mirror installation up and running in just a few days. To ensure the sound experience matched that of the new visual experience, Hoyts also replaced the auditoriums speakers and sound processing equipment with the latest equipment from QSC. "The system has been tested with 4K content and in my opinion is second to none in regards to Big Screen experiences available in mainstream multiplexes today," added Wrightson. "We pride ourselves on responding to customer needs and when numerous exhibitors approached us in late 2011 and into January with requests for a flexible and economical alternative to the industry's standard premium-cinema experience, Christie responded with Christie Duo. With Christie Duo, Hoyts is receiving the ultimate in performance, at a reasonable price point," said Jim Dukes, product manager for Christie Duo, Christie Entertainment Solutions. Christie Duo, available for the 2K or 4K Christie Solaria Series digital cinema projectors, is an integration kit specially designed to optimise 3D and other special effects on the

largest screens. It features a choice of configurations including a compact stacking system for 3D installations, or a physical configuration that exactly aligns every pixel on the screen for optimal 2D and 3D presentations. With automated features that calibrate, align and optimise the images for 2K or 4K projectors, Christie Duo delivers a completely seamless, premium movie experience for the world's largest screens at a cost that all manner and size of exhibitors can afford. Christie Duo answers the global market demand for a solution that delivers a high performance and financially accessible premium movie experience.

CFG-Barco Implements Localisation Strategy Barco announces the successful implementation of its localisation strategy in China. CFG-Barco (Beijing) Electronics Co., Ltd. (CFGBarco) a joint venture between Barco and China Film Group delivers localised total solutions catering to the Chinese market. Through its long-term investment and commitment, Barco's localised approach is building trusting relationships with local customers. Up to June 2012, more than 6,600 Barco DC projectors have been installed in Mainland China, covering over 60% of the market share. In addition, Barco University has trained a large number of technical people for China's digital cinema industry, including: 1,208 DCOC engineers, 294 DCIC engineers, and 35 DCAC engineers. These results illustrate Barco's strong and solid position in the digital cinema market in China and CFG-Barco's successful transition since the company was founded last year.

Historic Movie Theatre goes Digital with Kinoton

Drawing on Barco's world-class technological advances and level of service, CFG-Barco provides customers with localised, premium products and services, thus strengthening Barco's leadership in China's digital cinema market. At the 2012 New Digital Cinema Technology Presentation & Exchange Conference held in Nanjing in June, Barco premiered its new digital cinema projector, which is based on the latest DLP S2K chipset recently launched by Texas Instruments. Mr. Chen Xuxiang, General Manager of CFG-Barco, commented "Barco partnered with Texas Instruments for nearly two years to develop this projector. The field presentation at the Conference showed that its features are better than those of other DLP Cinema S2K chipset based projectors and local experts and customers had high praise for Barco's new projector." Earlier in June, CFG-Barco has started to deliver its first integrated digital projection system - the DP2K-11Cx and DP2K-18Cx - for Chinese customers including Shanghai United Circuit Co., Ltd. and Sichuan Pacific Cinema Circuit Co., Ltd., among others. Tailored exclusively for China, the DP2K-Cx Series boasts intelligent modular design and a user-friendly interface.

Kinoton has equipped the Cinema Paris in Berlin, a movie theatre with a grand tradition, with a modern Kinoton DCS Digital Cinema Solution. The cinema, which is located right at the Kurfürstendamm and enjoys protected status as a historic building, has thus caught up with the digital age and is now excellently prepared for the future. The Cinema Paris is inside the Maison de France - Institut Français cultural center and has specialised in original French movies. Kinoton installed a modern DCS Digital Cinema Solution with integrated Dolby Server and a new micro-perforated screen. The Kinoton DCS now ensures an outstanding digital cinema experience with accurately reproduced colors. The tradition-steeped theatre has already been relying on projection equipment from Kinoton for quite a while. Highly reliable Kinoton FP 30 und FP 38 film projectors excel with their low operating costs and first-class projection quality. An FP 38 projector will also be installed parallel to the new D-Cinema projection solutions to

enable screenings of classic film material. In recent years the Cinema Paris has acquired a reputation as one of Germany's leading repertory cinemas. It was originally established mainly for the purpose of presenting French film culture but deviated significantly from this mission in the 1980s. This prompted the French government to buy it up and look for someone to lease it and consistently offer a program of European and French cinematic art. The Yorck Group won out, and in 1994 ushered in a new, successful era in the Cinema Paris with Claude Chabrol's "L'Enfer". The original films are nearly always shown parallel to the dubbed German versions. Since 1995, the establishment has also belonged to Europa Cinémas, a network of European movie theatres whose members have pledged to screen a significant number of European films. Thanks to this clear orientation, the Cinema Paris has won its audience's lasting loyalty, even in this age of multiplex theatres.

In mid-June, CFG-Barco held the 'Cinema of the Future - 2012 CFG-Barco Digital Film Summit', showcasing Barco's leading technologies and total solutions for digital cinema, including a 4K laser projector and the DLP S2K chipset-based projector. Over 130 experts in China's film industry participated, discussing the technology trends and market potential of the 'cinema of the future'. July-September 2012


Christie Inspires Indonesian Business Community with Compelling 3D Projection and Christie MicroTiles Christie MicroTiles were used for the Jakarta Governor Elections at RCTI TV station in the TV programme 'Laporan khusus pilkada DKI Jakarta di Program seputar Indonesia,' as well as the Grand Final of Indonesia Idol 2012. Christie also presented a compelling 3D projection mapping demonstration using two Christie projectors in Jakarta with its partner Hitecindo Kharisma (M) Sdn Bhd (HIKA). Argo Visual Omega Prima, HIKA's valued rental partner - owner of the first two Christie Roadster HD20K-J projectors in Indonesia - and PT V2 Indonesia, HIKA's Christie MicroTiles master dealer who acquired the first MicroTiles in Indonesia, supported the event. The event attracted more than 200 representatives of the Indonesian business community. "Through our entertainment solutions partner, PT. Megatech Engineering, Christie is highly recognised for its superb performance in the digital cinema market in Indonesia. Our success is especially remarkable with the deployment of 100 4K digital cinema projectors (Christie CP4220 andChristie CP4230, in Cinema 21, the largest cinema chain in Indonesia," mentioned Lin Yu, vice president, Christie Asia Pacific. "To further extend our footprint in Indonesia, we are showcasing our suite of solutions for business application in Indonesia for the first time. Through this event, we are demonstrating our competence in delivering end-to-end projection solutions." "With an established network of business associates in Jakarta, HIKA understands its needs and priorities. By partnering with industry veteran


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Christie, we are committed to bringing the latest visual technologies to meet their business demand to provide powerful visual communications to the Indonesian audiences," commented C. K. Lum, general manager, HIKA. Taking the multi-dimensional surface of the building exterior architectural structure into consideration, two Christie Roadster HD20K-J projectors were deployed for projection mapping onto its upper and lower levels. The projectors delivered exceptional image quality that stunned the audience with Level D and Yi studio, Aptronim Team, and Eightniq Production providing projection-mapping content. The representatives were also captivated by the brightness and image quality of the Christie MicroTiles array. Leveraging the strengths of both DLP projection and Light Emitting Diode (LED) technology, Christie MicroTiles offer substantially brighter images and a much wider color palette than conventional flat panel LCD and plasma displays. Christie MicroTiles produce a virtually seamless canvas with an unlimited number of superfine pixels, making them ideal for a wide range of demanding applications, including architectural elements, out-of-home advertising, command and control video walls, and event production.

Christie MicroTiles to Shine at Shanghai Film Museum When the Shanghai Film Museum opens in the fall of 2012, visitors will be greeted with an 11-meter wide by 5-meter high video wall comprising 416 Christie MicroTiles, the largest in Asia. The 12-storey main building will house an exhibition hall, a digital cinema and an interactive platform to chronicle the legacy of Shanghai movies. The strategic location of the Christie MicroTiles installation poses a stringent requirement on the installation as Gang Zhao, Chairman of Shanghai Film Museum Steering Committee, elaborated, "We need a solution that not only provides bright, colorful and clear projection but one that integrates seamlessly with the design and environment of the venue. It should be able to be viewed in a short distance setting and continuously provide projection 365 days throughout the year. After assessing the various solutions available, we are confident that Christie MicroTiles are capable of meeting our criteria." With a thickness of 26cm, Christie MicroTiles are more superior to conventional LED display in terms of the outlook and image quality with no image pixel lost in transmission. Built on proven DLP technology and specifically designed for maximum image quality in high-ambient light environments, Christie MicroTiles are the next frontier of display technology. By utilising its unique strengths of both rear projection and Light Emitting Diode (LED) technology, Christie MicroTiles offer substantially brighter images and a much wider color palette than conventional LCD and plasma displays.

"To realise the vision of the Shanghai Film Museum, Christie is proud of this Christie MicroTiles installation. At the same time, we will supply Christie Solaria Series digital cinema projectors and Christie's business projectors," said Lin Yu, vice president, Christie Asia Pacific. "This is a milestone for Christie in the movie industry as we provide multiple visual solutions for the Shanghai Film Museum."

LANG AG meets Demand for Higher Light Output with 30 New Bright Barco Projectors Amongst the important deals that visualization expert Barco closed in the aftermath of Infocomm is the one with LANG AG. Headquartered in Lindlar, near Cologne, the 120strong company dry-hires and sells a wide range of visual presentation technologies, including Barco projectors. To meet the rental market's pressing demand for everbetter brightness, LANG AG has now purchased 30 of Barco's new ultrabright HDF-W26 and HDQ-2K40 projectors. "This is just the beginning," CEO Tobias Lang said. Founded in 1978 as a small business renting out slide projectors, LANG AG now is one of Europe's largest suppliers of audiovisual material, rental and sales to rental companies

and system integrators. LANG's product portfolio comprises selected products from leading international manufacturers like Barco, with whom the company is forging a long-term relationship. "Last year, we brainstormed on how to meet the market's demand for more and more light output. Barco's efforts resulted in the recently launched HDF-W26 and HDQ-2K40 projectors, which we are now adding to our rental offering," Tobias Lang stated. The HDF-W26 projectors will supplement the existing stock of FLM-HD20 and FLM-R22+ products, to meet the needs of customers wanting a compact, yet very bright projector. The top-of-range HDQ2K40 projectors will replace the XLM30 products, which LANG AG has had in its portfolio for almost seven years now. "The XLM-30 was the brightest projector around at that time and has been rented out week after week, throughout Europe," Lang continued. "Of course, technology has changed massively in the past few years. While we will add the HDF-W26 projectors to our existing stock of FLM products, we plan to really replace our XLM projectors by the HDQ-2K40. As only a few XLM products are available in Europe, there is hardly any demand for crossrental of XLMs, making it easy for us to fully convert to digital. The benefits of the HDQ-2K40 are so impressive that the few other dryhire companies who have XLMs in their stock will, I think, replace them by the HDQ-2K40 too. I am confident our investment in the new products is just the beginning." Barco's HDF-W26 and HDQ-2K40 HD three-chip DLP projectors are part of a series of three that Barco launched this June during Infocomm. With a light output of 26,000 and 40,000 lumens respectively, both 3D-ready projectors display crisp images with rich colors even in venues with lots of ambient light. Much-appreciated extras include the wireless control features (smartphone or tablet), the

modular design for easy installation and service and the 'built-for-theroad' ruggedness - the latter ensuring years of reliable service. "The market indeed demands an ever-increasing degree of brightness," said Mark Bultinck, Barco's Vice-President Sales Western Europe, Entertainment Division. "Building on years of experience in rental and staging, our R&D team designed these two newcomers to combine brightness with other features like robustness and ease-ofinstallation. We are glad that a leading player like LANG AG decided to immediately add them to their product offering. I believe the investment will further boost the success of LANG AG, as well as that of Barco.

Cineplex Theatres Broadcasts Wimbledon Men's Final Live in 3D Cineplex Entertainment's Front Row Centre Events, SuperVision Media and Sony Digital Cinema broadcasted the Wimbledon tennis championship in high-definition 3D at select theatres across Canada on Sunday, July 8, at 9:00 a.m. EDT. "This is our second year showing the Wimbledon men's final, and last year's event drew rave reviews from thousands of tennis fans across Canada," said Pat Marshall, Cineplex VP, communications and investor relations. "The only better way to experience Wimbledon is to be there live."

July-September 2012


IMAX and TGV Cinemas Expand Joint Revenue Share Agreement with Seven Additional IMAX Theatres in Malaysia IMAX Corporation (NYSE: IMAX; TSX: IMX) and TGV Cinemas Sdn Bhd (TGV Cinemas), one of Malaysia's premier film exhibition companies announced an expansion of the parties' joint revenue sharing agreement announced in October 2011 to include the installation of seven additional IMAX theatre systems. The deal brings to eight the exhibitor's total IMAX commitment and brings to 321 the total number of IMAX theatres open or contracted to open in the Asia Pacific region. Under the terms of the new agreement, the first IMAX theatre is scheduled to open in a new construction project in the city of Bandar Utama in the fall, with the second theatre opening in December 2012 in an existing multiplex in Johor Bahru. The third and fourth IMAX theatre systems will also be located in new construction projects in the cities of Penang and Kuala Lumpur, which are slated to open in December 2013 and December 2015, respectively. Locations for the remaining three theatres will be determined by the parties at a later date. "IMAX's immersive experience makes our guests feel like they're a part of the blockbusters - something no other cinematic format or in-home entertainment option can replicate," said Kenny Wong, CEO of TGV Cinemas. "Our first IMAX theatre has been a tremendous success and we are keen to build on this momentum with today's agreement. We're confident that our new IMAX theatres will continue to strengthen our business and delight our guests." "With a large population and growing middle-class fueling consumer demand for entertainment options, Malaysia is a key area of growth for IMAX in the Asia Pacific


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region," said IMAX CEO Richard L. Gelfond. "It is great to see TGV already realising value from its first IMAX theatre in such a short period of time and together we look forward to bringing our unparalleled movie-going experience to more audiences throughout Malaysia." "We are pleased to expand our relationship with TGV, a strategic partner that is committed to delivering the best cinematic experiences and developing IMAX as a premium brand in Malaysia," said Don Savant, Senior Vice President and Managing Director, Asia Pacific. "With today's agreement, TGV will bring IMAX theatres into highgrowth areas further supporting our expansion efforts in this key part of Asia."

Sharing the Passion in 3D with Panasonic at London 2012 On July 27, the 2012 London Olympic Games were officially opened, and after a spectacular opening ceremony, this year's Olympic Games are now fully underway, and the whole of London is buzzing with the Olympic spirit. Panasonic has been supporting the

Olympic Games with its cutting edge AV technology for over 25 years, starting with the 1988 Calgary Olympic Games. This year, the company has delivered its largest ever supply of audio-visual and broadcasting equipment to the Olympic Games. Panasonic has also supplied large screens and professional sound systems which have been installed in sites all around the Olympic Park, so spectators can enjoy the Olympic Games wherever they are in the Park. The Olympic Games have always been at the forefront of AV technology, and this year is no exception. This year, Panasonic has supplied its 3D camera recorders and equipment to the 2012 London Olympic Games, and through a 3D technical partnership with the International Olympic Committee (IOC) and the Olympic Broadcasting Services (OBS), the 2012 London Olympic Games will be the first Olympic Games ever to be broadcast in 3D. In addition to the 3D broadcasting of the Olympic Games, Panasonic has also set up a showcase in the Olympic Park, the Panasonic Full HD 3D Theatre, where visitors to the Park can experience the Olympic Games in full HD 3D on large 152-inch and 103-inch plasma displays. Under the slogan of "Sharing the Passion", Panasonic hopes to bring the excitement and thrill of the Olympic Games to people all over the world.

NEC Picks Doremi's Integrated Media Server (IMS1000) to Support New Projector Line Doremi Cinema has secured its second DLP licensee for its IMS1000 platform, making it a de facto standard for movie servers supporting the digital cinema industry. "Our agreement with NEC Display Solutions, Ltd. will help ensure exhibitors will receive the highest quality product with the greatest feature set. The new generation IMS1000 platform brings new features not available today or in next generation platforms from our competitors," said Michael Archer, Vice President Digital Cinema, Doremi. "Doremi is now a fundamental building block in next generation DLP technology based projectors. We look forward to our continued growth alongside our support for the digital cinema industry in the years ahead." NEC Display Solutions has licensed the Doremi IMS1000 for standard distribution with their new NC900C model. The IMS1000 is an integrated media server that combines a digital cinema server and an Integrated Media Block (IMB), making it an efficient and cost effective solution. "NEC wanted to ensure our customers received the most reliable integrated solution available with our NC900C model," stated Atsushi Kuroda, General Manager, Projector Development Division, NEC Display Solutions. "It was the right decision for us to work with the market leader who has proven over the last six years to bring feature rich, reliable products to the market." Designed for the future, the new Doremi IMS1000 platform is the server of choice among next generation projectors introduced by two dominant and leading projector manufacturers, NEC and Barco, which in turn solidifies Doremi's position as the market leader as new technologies develop.

XPAND 3D at Sarajevo Film Festival Combining the highest-quality 3D technology with stylish appearance for one of the world's most prestigious film festivals of the year, XPAND 3D glasses were used for a technical 3D presentation at the 18th Sarajevo Film Festival, which took place on June 6 - 14. The Sarajevo Film Festival has grown into one of the biggest film festivals in the world, drawing the most successful regional artists and international stars alike. This year's festival drew approximately 100,000 attendees and featured 210 films from 57 countries. Nine feature films from Bosnia, Serbia, Macedonia, Turkey, Austria and Romania were entered in competition for the festival's Heart of Sarajevo award.

The festival included a technical presentation, hosted by XPAND partner dcinex at the Meeting Point Cinema in Sarajevo, which discussed the present state and future of 3D technology. For the event, XPAND supplied 200 of its Infinity 3D glasses. The Infinity 3D glasses provide up to 38% transparency and a 3000:1 contrast ratio. The glasses' lightweight ergonomic designs ensure longwearing comfort, and their wide 3D viewing angle provides an optimal 3D image across the entire cinema. All new XPAND cinema systems and glasses fully support HFR (High Frame Rate) double and single flash at 96fps, 120fps, 144fps, 192fps, 240fps and even variable fps. "The enduring success of the Sarajevo Film Festival and its development into one of the world's most prestigious festivals is a source of tremendous joy for everyone here at XPAND 3D," said Maria Costeira, CEO of XPAND 3D. "We are of course honored to provide our 3D cinema glasses for the event and continue to spread the word that XPAND 3D offers the best 3D experience, whether it's at the Sarajevo Film Festival or in your home!"

'Star Trek: The Next Generation' Journeys to Canadian Cinemas "Trekkers" across Canada were invited to the "Star Trek: The Next Generation 25th Anniversary Event," a one-night in-theatre celebration on July 23 at 7:15 p.m. local time at select Cineplex Entertainment locations (7:30 p.m. at some locations). The anniversary event marked the debut of the first season of "Star Trek: The Next Generation" on Bluray on July 24 and featured two episodes that have been remastered from the original camera negatives


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during a multi-million-dollar restoration: "Where No One Has Gone Before" and "Datalore." The episodes were handpicked by "Star Trek" experts and restoration consultants Mike and Denise Okuda, who chose "Where No One Has Gone Before" for its spectacular visual effects and its embodiment of the series' central theme: wonder in exploring the unknown. They selected "Datalore" because it features the fan-favorite character Data and his evil twin, Lore. "We're thrilled to be able to introduce 'Star Trek: The Next Generation' to a new generation," said Ken Ross, executive VP and general manager of CBS Home Entertainment. "Seeing the episodes in a theatre setting is the perfect way to show off the pristine picture that high-definition allows, while also launching the first season on Blu-ray." Fans were treated to specially recorded episode introductions by the Okudas and a glimpse of the new special features on the season one Blu-ray, including never-beforeseen cast interviews. The evening concluded with an extended preview of the "Star Trek: The Next Generation' season two Blu-ray.

Wehrenberg Expands 'Five Star Lounge' Concept

Wehrenberg Theatres recently expanded its "Five Star Lounge" to Des Peres 14 Cine in Des Peres, MO. The concept originated in the nearby Galaxy 14 Cine in Chesterfield, MO, and features a luxury movie environment. All seats are plush, heated recliners with a call button to summon wait staff. Reserved seating and a full menu with appetizers, entrees and drinks, including adult beverages, are available. The two Five Star Lounge houses at Des Peres are partnered with the Five Star Lounge lobby bar, a separate bar area where guests can mingle or meet up before or after a show. They can order food, have a few drinks and enjoy sports or other shows on the HDTV. The bar, like the Five Star Lounges themselves, is available for all guests over the age of 21. Wehrenberg Theatres plans to build more Five Star Lounge facilities in St. Charles 18 Cine and Ronnies 20 Cine, both also located in the St. Louis area. Des Peres will also get two more of their own by 2013. In the coming months, St. Charles 18 will introduce a food service ordertype operation in its auditoriums. The entire theatre will undergo a renovation that will begin this fall. In addition, Wehrenberg's Eagles Landing 8 Cine is under construction in Osage Beach, MO. Osage Village 5 Cine, the current theatre in town, will remain.

Apollo Cinemas Screens a New EPoS Solution from J2 and Vista Locally focused, independentlyowned multiplex cinema chain, Apollo Cinemas, has turned to two companies that specialise in the cinema sector for a new EPoS solution on which to run its business. Apollo has now equipped each of its fourteen cinemas with a point-of-sale solution comprising PC-based touchscreen terminals from J2 Retail Systems running software from Vista Entertainment Solutions. Between them the cinemas have forty points-of-sale, each a J2 615 terminal running Vista POS and enterprise management software, running ticketing and sales of food, drinks and confectionery. Both J2 Retail Systems and Vista are known for their expertise and extensive installed base in the sector. The companies share many UK cinema clients, including Vue, Empire, Cineworld and Everyman, to whom they supply and support an integrated solution that they tailor to the needs of the cinema operator. Explains Imtiaz Ullah, Head of IT at Apollo Cinemas: "We pride ourselves on being innovative when it comes to technology. We were the first fully digital circuit in the UK and use equipment such as Sony 4K Digital Cinema projection, Real D screens and Dolby Surround sound that produces a picture detail at the highest level the human eye can see." Continues Ullah: "We are equally demanding when it comes to the systems that run our commercial and

customer-facing operations. Efficiency at point of sale is critical to keep queues down and customer service standards high. We were influenced by the credentials and experience that both J2 and Vista could offer in our industry. The performance and reliability that the J2 terminals give us is critical, as is the range of functionality at front-of-house and in the back-office that Vista provides to run our business." With 83 screens over 14 sites, Apollo Cinemas is the UK's 6th largest operator in screen terms. The company's vision is to be a local entertainment hub and to achieve this it is extending the range of its nonfilm screen performances to include concerts, sporting events, opera and ballet. It is also developing existing and new cinemas to include cafĂŠ-bars, lounge areas, gaming and Wi Fi.

AAM Announces Digital Cinema Software Deal for 2,000 Screens Cinemex, the world's 6th largest exhibitor, has chosen Arts Alliance Media (AAM) to be the exclusive provider of software to its cinema screens across Mexico. The chain, which has 2,000 screens in Mexico, will use AAM's proprietary software suite to manage content across all its digital cinema estate. Cinemex, which is negotiating its own VPF (Virtual Print Fee) deals directly with the studios, will roll out digital across its network over the next 18 months, and will utilise a range of AAM software products to manage various aspects of the deployment. All screens will employ AAM's worldclass and newly enhanced Screenwriter Theatre Management System to manage content, playlist, scheduling and reports, and the enterprise Producer software will be used to

manage the entire Cinemex chain with circuit-wide schedule management, centralised advertising and pre-show creation, and dynamic playlist updating. For monitoring and maintenance of all screens, Cinemex will use AAM's Lifeguard suite to monitor equipment 24/7, and provide notifications of any exceptions which need to be resolved. AAM's Auditor will manage all aspects of Cinemex's VPF deployment, managing and tracking all equipment deployed in the field, gathering data and reconciling to booking reports. To deliver advertising across the Cinemex network, the circuit will use Courier, the content delivery system designed to deliver centrally stored content to sites over existing network connections, providing complete control and visibility over all pre-show content. Andrei Savtchenko, Head of Information Technology at Cinemex said "Managing a digital rollout across a circuit of 2,000 screens can be a logistical challenge, but with AAM's integrated software that has been repeatedly proven in the field, we know that all the details and commitments for running a digital cinema chain will be taken care of by software built by digital cinema experts." Howard Kiedaisch, Chief Executive Officer of AAM, commented "Deploying our suite of software products across a chain as large and respected as Cinemex is a really exciting opportunity for AAM. We've used all of our experience over the past years in digital cinema to build solutions to best serve the needs of exhibitors like Cinemex who are poised for tremendous growth over the coming years and we're thrilled to be working with them. The digital cinema opportunity in Latin America at the moment is very exciting, and we look forward to working with other exhibitors in the region, large and small, to support and facilitate their digital rollouts" July-September 2012


More2Screen to Distribute World's First 3D Nutcracker Ballet to Digital Cinemas Worldwide More2Screen is delighted to announce that it has been appointed by EuroArts Music to distribute the Mariinsky Theatre's The Nutcracker In 3D, the world's first 3D Nutcracker ballet to digital cinemas worldwide from November 2012. Filmed at the historic Mariinsky Theatre in St. Petersburg, this is a sumptuously traditional production brought to life on the big screen in stunning 3D. As the all time favorite ballet for the festive season, the Mariinsky Theatre's The Nutcracker In 3D is perfect Christmas entertainment for families, ballet fans and 3D aficionados worldwide. This is the third 3D ballet distributed by More2Screen, following on from the Mariinsky Theatre's Giselle In 3D in 2011 (the first 3D ballet) and in 2012 Matthew Bourne's Swan Lake In 3D, which continues to delight audiences as it rolls out worldwide. 3D is the perfect medium for dance as it illustrates the space between the dancers as well as bringing the viewer right into the performance, a truly immersive experience. Under the leadership of Artistic Director and renowned conductor,

Valery Gergiev, the Mariinsky Theatre was the first ballet company to embrace 3D technology. Working with EuroArts Music who have more than thirty years of experience in creating spectacular arts events for the screen, The Nutcracker In 3D demonstrates the Mariinsky Theatre's commitment to the synthesis of tradition with cutting edge modernity. Christine Costello, Managing Director, More2Screen comments: "We are thrilled to be working with EuroArts Music and the Mariinsky Theatre again on this superb 3D production. It is a privilege to add the world's first 3D Nutcracker to our portfolio of special events for digital cinemas." Bernd Hellthaler, CEO and Executive Producer of EuroArts Music, says of the collaboration with More2Screen: "With their impressive track record in distributing alternative content to exhibitors across the globe, and previous experience with 3D ballet productions, More2Screen is the ideal partner to work with us on the release of the world's first 3D Nutcracker."

More2Screen is the leading London based alternative content distributor with more than 6 years of experience acquiring and distributing world class opera, ballet, music concerts, theatre and special event films to cinemas across the globe including 23 live broadcasts, and over 100 different recorded productions and 3D live/ recorded content.

Cinedigm and Arc Entertainment to Partner Cinedigm Entertainment Group, announced the company is partnering with ARC Entertainment for the distributor's highly anticipated Nitro Circus The Movie 3D opening in theaters nationwide on Wednesday, August 8th. A fully integrated distribution company, ARC will utilise the expertise of Cinedigm to supplement the theatrical release of the film. In the world of the sports adventure troupe known as Nitro Circus, no dream is too out-there, no idea is too high-risk and no never-beforeseen stunt is too impossiblesounding to attempt. They laugh at gravity as they somersault across skyscrapers, gleefully morph their bodies into human torpedoes and generally aim to have more fearless fun than anyone else on the planet. And now, this summer, the actionathletes who never stop pushing the boundaries of what others say can and can't be done head off on their wildest and most inspiring quest yet, in three dimensions. They're on the road to world domination or at least to Las Vegas as they pull off a series of one-of-a-kind, irreverent stunts in pursuit of creating the ultimate live show in the heart of America's entertainment mecca. Using innovative 3D cinematography and the latest compact camera rigs, the filmmakers provide moviegoers with a groundbreaking experience in


July-September 2012

Cinemark to Open NextGen Theatre in Los Angeles Area Cinemark plans to construct a ninescreen, all-digital movie theatre that will feature the company's new Cinemark NextGen design concept in the Los Angeles area. The Runway at Playa Vista development will be located south of Santa Monica in the Playa Vista neighborhood. Cinemark XD is a complete entertainment environment featuring a 72 foot, wall-to-wall and ceiling-to-floor screen, plush seating and a custom digital surround sound system featuring the latest in sound technology. A Doremi server and a Barco DLP digital projector will deliver the digital images.

3D cinema that puts the audience in the shotgun seat with The Crew as they pilot motorcycles, rally cars, parachutes, mountain bikes, monster trucks and more. "ARC Entertainment is the perfect partner to utilise our theatrical distribution expertise and TDS software to manage their film releases," said Brad Carroll, Vice President of Theatrical Distribution, Cinedigm. "With ARC's pre-existing relationships, the two companies together form a powerful and efficient distribution machine."

"We are thrilled to introduce our new Cinemark NextGen movie theatre experience with VIP premium seating, that features the latest in digital and sound technologies, to guests in Los Angeles," says Tim Warner, Cinemark's chief executive officer. "The Runway at Playa Vista promises to be one of the premier developments in Southern California and our theatre will quickly become recognised as the preferred place in the market to enjoy a great moviegoing experience. We plan to move very quickly to open the theatre in early 2014."

"The Cinemark Playa Vista will provide a convenient opportunity for movie screenings and Premiers as we combine the best technical theatrical experience with dining and cocktails," says Steve Bunnell, senior vice president global content programming. "We will feature ample parking with valet service and a secure environment for red carpet press events. All of this will be conveniently located in an area that is near the studios, the 405 Freeway and LAX." "We are ecstatic to have Cinemark open what will be the premier theater experience in Los Angeles at Runway," says Lincoln Property Company's executive vice president, David Binswanger. "Runway is designed to reflect the Southern California coastal culture and we are pleased to be adding Cinemark to our tenant mix which will also include a gourmet grocer, pharmacy and other neighborhood serving restaurants and retailers. The open public spaces, landscaped walkways, and outdoor fire places will make Runway a natural community gathering place."

"Cinedigm has emerged as a true 21st Century company within the entertainment industry," said Trevor Drinkwater, Chief Executive Officer of ARC Entertainment. "Nitro Circus The Movie 3D' brings out the best in those who see it, and our unique partnership brings together the best of ARC and the best of Cinedigm." "This film is certain to have the legions of Nitro Circus fans thoroughly entertained," continued Carroll. "It is action-packed from the beginning to the end, with each stunt crazier than the last."

July-September 2012


Christie to Deliver Superior Visual Experiences at Toronto International Film Festival 2012

Christie announced its continued sponsorship of theToronto International Film Festival by providing multiple Christie Solaria Series digital cinema projectors. Recognised around the world for presenting the best of international and Canadian cinema to film lovers, the Festival screens more than 300 films from 60+ countries during its 11-day program September 6-16, in addition to offering year-long programming. This year represents Christie's 12th year as the official projection sponsor, supporting The Festival's mission of transforming the way people see the world through film. In 2011, The Festival selected Christie's industry-leading Christie Solaria 4K DLP Cinema projector for screening filmmakers' Ron Fricke's and Mark Magidson's 70mm movie Samsara - marking the first 4K screening at The Festival, while Francis Ford Coppola's movie Twixt was shown in 3D on a Christie CP2230 4K-ready DLP Cinema projector. "The explosion of digital cinema technology has provided the industry with accessibility while meeting the rising demand of filmmakers around the world who want their films screened in the


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highest digital quality available," said Diane Cappelletto, The Festival's Director of Technical Production. Cappelleto adds "Transforming many of our screens to digital format was made possible with the support of Christie, whose digital projectors are recognised worldwide for performance and reliability. We value Christie's exceptional image quality and expert service to help make the Festival successful every year." "Throughout Christie's longstanding partnership with The Festival, we have seen a growing use of digital projection technology for screenings. Last year, the sold-out documentary "Samsara" was screened in 4K,"said Kathryn Cress, vice president, Global and Corporate Marketing, Christie. "With its international flavor, The Festival truly transforms the way people see the world, and Christie is proud to support it as it transitions from what was once a film-only industry to one predominantly digital," adds Cress. Christie digital projectors are used by leading Festivals around the globe. This year, Christie renewed its official technical sponsorship of the Festival de Cannes for the next three years, a position it has held since

2006. In addition, Christie was the exclusive projection sponsor of the "Water for Elephants" screening at the opening gala of the 14th Shanghai International Film Festival last year. Today, Christie equipment is found in more than half of all digital projection rooms - about 33, 000 projectors in use.

ShowEast to Honor Lionsgate's Fay with Humanitarian Award Richard Fay, president of domestic theatrical distribution for Lionsgate Distribution, will receive the 2012 Salah M. Hassanein Humanitarian Award during the final night banquet and awards ceremony at this year's ShowEast convention at the Westin Diplomat Resort and Spa in Hollywood, Florida, on Nov. 8. The Hassanein Award was established in 1987 and has been presented to a leader in the industry each year who has distinguished him or herself in the philanthropic community. ShowEast managing director Robert Sunshine stated, "Richie has been at

the forefront in supporting humanitarian and charitable organisations both within and outside the cinema exhibition and distribution communities and we are pleased to honor him with this prestigious award." Fay, a 40-year industry veteran, oversees and executes the distribution strategy for Lionsgate's domestic film slate. His prior position was president of Summit Entertainment from 2007 to 2012. Before that, he headed his own firm, Fay Enterprises, which consulted for a number of enterprises including Deluxe Labs as well as several motion picture and in-theatre marketing companies including Movie Me and Timeplay. Prior to starting his own firm in 2005, Fay was president of AMC Film Marketing for ten years, where he was responsible for film buying and intheatre marketing. During his tenure at AMC, Fay was also responsible for negotiating all the film settlements with distributors and initiating aggregate film deals as AMC grew into a circuit of megaplexes. Before working at AMC, Fay had a solid foothold in both the exhibition and distribution arenas, holding the positions of senior VP and assistant general sales manager for Sony Pictures Releasing, senior VP and head film buyer for United Artists Theatres, and VP and film buyer for Loews Theaters. He got his start in the early 1970s as a salesman for United Artists Pictures and as a booker and salesman for Warner Bros. in New York. Fay has received many awards for his charitable work including the 1995 ShowEast Kodak Reel Award, the Variety Boys & Girls Club of Queens 1997 Humanitarian Award and the ShowEast 2001 Al Shapiro Distinguished Service Award. He is a board member of The Options for Life Foundation and is a board member and former secretary of the Will Rogers Institute. He also served as VP and board member of the Motion Picture Club in New York.

Minnesota's Red Wing Cinema 8 with Sony Digital Cinema 4K Projection Red Wing Cinema 8 is the latest theater to adopt Sony's Digital Cinema 4K technology. The popular family owned cinema, located near the Mississippi River in Red Wing, Minn., recently installed Sony 4K projectors in all eight of its auditoriums. The upgrade is the newest enhancement made by co-owners Chris and Amber Brown, who took over the theater in 2010 with the goal of redefining the viewing experience for their customers. Sprucing up the theater meant updating the technology and improving picture presentation, so the Browns selected Sony 4K projection for its image resolution attributes and operational benefits. "In the long run there are so many positives," Chris Brown said. "The presentation quality is beautiful and improving the customer experience was our number one consideration. Plus, the possibilities with alternative content are really interesting and digital is an easier process for owners." According to Brown, converting Red Wing Cinema 8 to Sony digital technology was a carefully researched decision, one made easier through Sony's flexible financing and lease programs. "We looked at several other lease programs and, with advice from our finance advisors, we decided that Sony 4K was definitely the best fit," he said. Sony also offers an exhibitormanaged finance program based on Sony's VPF administration. By leveraging this full menu of customised options, exhibitors of all sizes, like Red Wing, can take advantage of state-of-the-art technology, reinforce their dedication to loyal customers and increase sales and market share through the competitive advantages offered by Sony 4K. With its highestresolution image quality and more

than 12,500 4K projectors deployed in movie theaters worldwide, Sony is the gold standard for the digital cinema industry. "It's not easy for independent theaters to make the transition to digital," said Christopher Simpson, national account manager for Sony Electronics' Digital Cinema Solutions Group. "Our affordable leasing programs illustrate our commitment to smaller theaters who are interested in upgrading and help theaters like Red Wing Cinema offer the best possible movie-going experience." With the 4K installation at Red Wing Cinema 8 fully complete, the Browns are now beginning to advertise the Sony 4K experience to their theatergoers. "It's been a great experience with Sony," said Brown. "They have made it so easy for us, and we look forward to sharing their technology with our customers."

Marcus Upgrades its Duluth Theatre Marcus Theatres has completed a new UltraScreen auditorium and remodeled its cinema in the Duluth Entertainment Convention Center in Duluth, Minnesota. The project included the renovation of the former adjacent DECC OmniMax Theatre structure into the company's 14th UltraScreen, adding a Take Five Lounge and remodeling the cinema's lobby, entrance and box office. "The new UltraScreen takes moviegoers to a totally new level of excitement and entertainment, with an extremely wide screen, awardwinning sound, custom seating and the amazing D-Box motion seat technology," said Bruce J. Olson, president of Marcus Theatres. The cutting-edge D-Box completely immerse audiences in the viewing experience by making realistic July-September 2012


"The Take Five Lounge offers a complete selection of beer, wine and creative cocktails, as well as a variety of appetizers, pizza and finger foods. The lounge seats 65 guests, with elegant soft leather seating for relaxing and critiquing the movie while enjoying a favorite cocktail and snack," added Olson. movements and vibrations in perfect sync with the on-screen action. We are excited to introduce this new multisensory revolution in movie-watching to our audiences in Duluth." The patented D-Box MFX technology is available in 29 of the auditorium's 244 seats for an additional $8.00 per reserved ticket. Each year, approximately 15 to 18 movies are programmed with the D-Box system. "We're delighted to be a part of this new state-of-the-art cinema, our first with Marcus Theatres, and to introduce a new dimension to moviegoing with our incredibly immersive D-Box MFX experience," said Claude Mc Master, president and CEO of D-Box Technologies. Olson added, "The UltraScreen digital cinema experience doesn't end there. Viewers are put right in the center of the excitement with the 65-foot-wide, three-and-a-half stories tall screen. The latest MDX (Marcus Digital Xperience) digital projection technology presents movies in 4K high resolution for superior clarity, vivid color and outstanding definition and depth. When it comes to sound effects, the 39,000-watt 7.1 digital sound system featuring JBL's Academy Award winning Screen Array speaker system creates an incredible audio experience. Seating in the new auditorium features new luxurious velour high-back memoryfoam chairs designed for the ultimate relaxation and comfort. With the allencompassing look, feel and sound of the UltraScreen, moviegoers will enjoy the latest Hollywood blockbusters like never before." UltraScreen admission is $2 more than standard movie prices.


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Additional enhancements to the Duluth Cinema include a relocated box office, new entrance and renovated lobby area that connects the UltraScreen auditorium with the existing 10-screen lobby, as well as new design elements that extend the existing look and feel of the theatre. Self-service soda stations, which are extremely popular with guests at other Marcus Theatres locations, have also been added.

Sony Announces First Worldwide Sales of 4K Projector SRX-R515 Sony Digital Cinema is pleased to announce that leading Irish independent cinema chain, Spurling Group Cinema (SGC), will be the first exhibitor to install Sony's new 4K projectors on its site in Dungarvan, Ireland, from November 2012. Now offering the latest in digital projection and sound technology, SGC Dungarvan has become the standard bearer for multiplex facilities and is at the forefront of embracing

digital cinema in Ireland. The four screen cinema is the perfect location to install Sony's next generation SRXR515 projector, as it enables the chain to deliver a superior viewing experience to its visitors. With Sony's launch of the SRX-R515 last month at CineEurope, smaller exhibitors, like SGC, will now be empowered to expand their current role to become entertainment venues, offering new services beyond traditional content, such as sports, music, theatre, opera, multi-user big screen gaming and cultural events. Not only that, they will have earlier access to a broader variety of films and be able to host film premieres simultaneously with the multiplexes. Graham Spurling, Managing Director of Spurling Group Cinemas says, "We have always been at the forefront of technology in our cinemas, as we are fully aware of the benefits that digital cinema brings to us as a smaller independent chain. The new Sony 4K projector is full of technological innovations like 4K resolution, outstanding contrast ratio and new lamp systems that deliver a truly superior viewing experience to our customers." "This partnership further emphasises our passion for the longevity and quality of the cinema industry globally. It will enable SGC to capitalise on the enormous opportunities that digital cinema offers to strengthen and sustain their business, as well as to revolutionise the movie-going experience," said David McIntosh, Director, Sony Digital Cinema. "The new SRX-R515, with its outstanding image quality, operational versatility and low cost of ownership, showcases Sony's longterm commitment to delivering the ultimate entertainment experience to the independent cinema market." Spurling Group Cinemas will also be the first cinema to benefit from the new exhibitor owned VPF scheme put in place by Sony Digital Cinema.

Qube Cinema Shows Uncompressed 4K IMB Qube Cinema will show visitors to IBC how its Quad 3G interface for digital cinema projectors facilitates digital intermediate and D-cinema mastering workflows. The Qube XPI server can stream uncompressed 4K data, as well as compressed DCP images, directly to a projector through a 4K Xi Integrated Media Block (IMB) featuring the Quad 3G interface. Post facilities can now use the same server projector setup for both HD4K uncompressed color grading and 2K-4K digital cinema playback for comprehensive review and quality control. The postproduction version of the Qube Xi IMB features a Quad 3G interface with four 3G-SDI cables that can link to color grading or finishing systems. These four BNC connectors simplify 4K setups for post houses, allowing users to easily switch between uncompressed 4K and 4K DCP playback. The Qube XP-I server has a data throughput of up to 1,000 Mbps, enabling 4K 3D dual projector playback from a single server running a single DCP. The Xi IMB supports HFR playback up to 500 Mbps. Multiple-projector setups for stereo 3D playback from a single XP-I server are possible due to internal synchronisation of the Xi IMBs. "Being able to stream uncompressed 4K from the server straight into a projector is a serious step forward for postproduction facilities," said Nigel Dennis, director of marketing and sales for Qube in Europe. "They can now review a raw master image, correct data directly and encode into a JPEG 2000 without the fuss of swapping input boards."

Alamo Drafthouse New Mission to Open in 2013 Alamo Drafthouse Cinema will open Alamo Drafthouse New Mission in San Francisco, California sometime during the fourth quarter of 2013 in the historic New Mission District. "With the possible exception of Austin, San Francisco is my favorite city in the world. My parents met there, I was born in Berkeley, and my wife was working in the city before I begged her to come help me start my first theatre venture in Bakersfield, California," said Alamo CEO and founder Tim League. "There is no accident that the first theatre outside of Austin that my wife and I pursued is in San Francisco." The Alamo Drafthouse New Mission venue, upon successfully completing the local entitlement and approval process, will feature five screens of new release movies, independent and repertory films as well as the Alamo's unique signature programming. Each of the auditoriums will be equipped with digital projection as well as excellent screen size to room ratio and quality sound. In addition, the layout of each screening room will eliminate the traditional front row, ensuring every seat in the house allows for a great viewing experience. The theatres at Alamo Drafthouse New Mission will also be equipped for 3D and 35mm projection. The programming of Alamo Drafthouse New Mission will be similar to the Alamo Ritz location in Austin with a mix of classic film programming, alternative content and live events, foreign films, independent films as well as some studio films. As in Austin, Alamo Drafthouse New Mission will entertain partnerships with new and upcoming film festivals.

AAM and Cinevise Make Futher Inroads Bringing digital cinema software to Ecuador's No. 1 cinema chain, Arts Alliance Media (AAM), worldwide leader in digital cinema, and Cinevise, the Miami and S達o-Paulo based digital cinema solutions supplier, have announced a software deal with SuperCines, Ecuador's leading circuit. The deal will see AAM's Theatre Management System (TMS), known as Screenwriter, installed by Cinevise in over 150 SuperCines screens across Ecuador. AAM and Cinevise have been working together since 2011 when they signed their first software licensing agreement that is bringing AAM's TMS into all of Cinemais' theaters in Brazil. The Supercines deal is Arts Alliance Media's first in Ecuador and significantly expands the company's presence in Latin America. Cinevise will also provide SuperCines sites with monitoring services from its Global Network Operations Centre (NOC). Martin Schwartz of SuperCines said of the deal "We have been working with a demo version of Screenwriter for a while now, and have been impressed with its ease of use and its comprehensive features. We're pleased to announce a wider rollout of the software into our screens across Ecuador with monitoring by Cinevise. We look forward to continuing to work with Cinevise and AAM to extend our relationship." Alex Younger of Cinevise added "We have been working with SuperCines for 20 years now, and we're delighted to supply them with AAM's best in class TMS software, as well as monitoring and supporting their digital sites. We look forward to continuing our discussions with them and working with other exhibitors throughout Latin America to bring the best software to them as they convert to digital." July-September 2012


Cinedigm Brings Digital Theatre Management System to Brazil Cinedigm Digital Cinema Corp., the global leader in digital cinema and theatrical technology solutions, announced today that its leading digital cinema Theatre Command Center TMS solution has been successfully installed at Cinesystem's theatre in Hortolandia, Brazil in the state of Sao Paulo. Cinedigm, with its local partner DGT, is now working directly with exhibitors in Latin America, starting in Brazil, to showcase Cinedigm's digital cinema technology in preparation for its VPF program roll out later this year. Hortolandia's 5-screen fully digital cinema is using Cinedigm's Theatre Command Center (TCC) to manage the scheduling, monitoring and playout of all digital content. TCC is the most automated and widely used TMS solution in the world, and supports the innovative boothless cinema concept that has been pioneered by Cinesystem, the fastest growing cinema exhibitor in Brazil. TCC will link to DGT's network operations center using Cinedigm's powerful circuit management solution, Enterprise, to provide complete circuit-wide management and monitoring of shows, content, KDM's and digital systems. The transition from 35mm film projection, which has been used for 110 years, to digital projection systems is a standardised world-wide motion picture industry effort. The total cost to deploy this new technology is shared by exhibitors and studios through the payment of virtual print fees (VPF) to implementation companies. Cinedigm together with DGT will be responsible for structuring and implementing the underlying VPF agreements with the studios, as well as administering the VPF program. "We are thankful for the opportunity and excited to work with such a forward-thinking exhibitor as Cinesystem and to demonstrate why


July-September 2012

the Cinedigm solutions are such a great fit for Brazil and the Latin American market," said Jim Miller, President of Cinedigm's Software Division. "Once installed, TCC and Enterprise will easily manage digital cinema operations without the daily hands on intervention by theatre staff required by other TMS solutions. As a result, our customers save time and money managing their digital theatres, with less errors and lower training costs." "This showcase in Hortolandia is the first of many planned deployments designed to demonstrate to exhibitors the technology and value that we are bringing to Brazil and Latin America," said Tieres Tavares, President of DGT. "I am very pleased to work with Cinedigm and DGT to explore the efficiencies that the Cinedigm TMS can bring to Cinesystem," said Marcos Barros, President of Cinesystem.

Quvis Announces Wraptor DCP Services Quvis Technologies has announced the availability of Wraptor Digital Cinema Package services. Quvis now offers indie filmmakers a fast, reliable and attractively priced alternative for creating, archiving and distributing studio quality DCPs. With all cinemas expected to convert to digital projectors by 2015, the Digital Cinema Package is replacing film print as the standard cinematic format globally. Up until now, filmmakers have paid anywhere from $5,000 to $20,000 to convert their films to DCP. With Quvis DCP services, the company is making it easy and affordable for filmmakers to not only convert films to DCP, but also archive and distribute them easily to film festivals. "Studios distribute in DCP for a reason, the quality is better," said

Quvis CEO Kenbe Goertzen. "Indie filmmakers are increasingly required to convert and distribute their projects to film festivals in DCP. It delivers a better exhibition and that is why studios don't distribute to cinemas in Blu-ray. With Quvis, we make it affordable for Indies to make a professional grade DCP. Now with our Wraptor DCP service offering, we're taking it even further by offering everything from DCP conversion, to archiving your film and managing the distribution." "Film festival programmers are responsible for viewing hundreds and, sometimes thousands of movie submissions a year and they're always looking for the simplest and most costeffective viewing experience as well the best quality picture," said Laurie Kirby, executive director of the International Film Festival Summit, a conference for festival organisers. "Fortunately, new technology makes it possible to stream submissions, eliminating the need for DVDs. More festivals are exhibiting in DCP format so filmmakers and festivals will definitely benefit from this type of DCP service and distribution package."

Imax Expands Partnership with VieShow Cinemas IMAX and VieShow Cinemas, the leading exhibitor in Taiwan, announced an agreement for three IMAX theatre systems. The deal brings VieShow's IMAX commitment to 10 and to 232 the total number of IMAX theatres open or contracted to open in Greater China, of which 97 are currently in operation. Under the terms of the new agreement, VieShow Cinemas will install three IMAX theatre systems in Taiwan, with the first to open in the city of Tainan in 2014 and the second and third systems slated to open in 2015 with the locations to be determined at a later date. The exhibitor currently has six IMAX

theatres in operation in cities throughout Taiwan and four in backlog. "Today's agreement is a direct result of IMAX's strong contribution to our box office results and the tremendous popularity of IMAX among our patrons, underscored most recently by our strong opening weekend for The Dark Knight Rises," said Jimmy Yuan, Chairman of VieShow Cinemas. "We're delighted to build on this success and are confident that IMAX's popularity will continue to grow among our guests." "The level of enthusiasm for IMAX in Greater China is evidenced through the per screen averages, which represent some of the highest in the world," said Jiande Chen, CEO of IMAX China. "We're pleased to expand our footprint with leading exhibitor VieShow that has embraced the IMAX brand and supported our efforts to further penetrate the market in Greater China." "We're pleased to expand our relationship with Taiwan's top exhibitor and bring more audiences the best in Hollywood films in the most immersive format available," said Don Savant, Senior Vice President and Managing Director, Asia Pacific.

Digital Domain Settles 3D Lawsuit with Prime Focus, Signs Reliance Digital Domain Media Group and Prime Focus World have signed an agreement whereby Digital Domain Media Group will license its 3D conversion technology to Prime Focus World. The agreement settles and terminates the patent infringement litigation action filed by DDMG against Prime Focus World in 2011. Under the agreement DDMG and Prime Focus World will collaborate on visual effects and 2Dto-3D conversion services work for

feature films. In related news, Reliance MediaWorks, an Indian film and entertainment services company and a member of the Reliance Group, has joined the Digital Domain Media Group's 3D technology licensing program. "Ultimately this was a lawsuit between two companies that enjoy working together, so we're happy to put it behind us and resume our prior relationship with Prime Focus one of performing high-quality VFX work collaboratively," said John Textor, CEO and chairman of DDMG. "We understand that Prime Focus has its own significant 3D technology and we are pleased to report, as this license suggests, that they respect ours as we respect theirs." "Prime Focus is dedicated to delivering the highest level of conversion to its clients. The technology that we've licensed from Digital Domain Media Group enhances our own robust proprietary processes and increases our efficiency for our customers. We look forward to continuing our work with DDMG on their most important VFX projects," said Namit Malhotra, CEO and chairman of Prime Focus World." Reliance MediaWorks, also Digital Domain's preferred visual effects production partner in London and Mumbai, joins Prime Focus World and Samsung Electronics who have also licensed Digital Domain's 3D technology for 2D-3D conversion services and consumer electronics respectively. The Digital Domain Stereo Group owns the six U.S. patents that represent the original commercially feasible computerised process for converting two-dimensional filmed imagery into three-dimensional stereoscopic imagery. The patents provide fundamental coverage of any modern 2D to 3D conversion process. The patents principally involve rotoscoping (i.e., computerised, semi-automatic and semi-automatic conversion with

roto), and relate to any conversion process that includes horizontal image displacement/transform. Beginning with its license to Samsung Electronics in late 2011, DDMG made its patent portfolio available to select companies in the broader industry through a studiofriendly licensing program. "We have made clear our view that, while down-line technologies are certainly important, the current 3D feature film businesses is principally dependent on image capture and image creation, either the proprietary technology of native 3D camera pioneers, such as the Cameron Pace Group, or the 3D stereoscopic conversion pioneers of In-Three/Digital Domain," said John Textor, chairman and CEO of Digital Domain Media Group. "We continue to be pleased with our new licensing efforts as important global companies, such as Samsung and Reliance, recognise the value of our invention. We look forward to an increasing financial participation in the growing 3D industry that we helped to create."

Broadmedia Deploys Signiant for Digital Cinema Package Delivery Signiant, the market leader in intelligent file movement software for the media and entertainment industry, announced that Broadmedia, Japan's leading content distributor, has deployed the company's software for a major new Digital Cinema Package (DCP) delivery service. Working with Signiant's Japanese reseller, Photron, Broadmedia has already connected 80 cinemas nationwide, with hundreds more to be added across major exhibition chains in the next few years. Offering extensive content aggregation services for broadcast, July-September 2012


theatrical releases, video on demand, pay TV, game and mobile delivery, Broadmedia is using Signiant Managers+Agents to capitalise on the cinemas' broadband Internet connectivity for faster and more efficient delivery of digital theatrical releases. "With an average finished file size of greater than 250 GB moving over a 50 Mbps broadband Internet connection to the theater, it could take approximately 12 hours to deliver a single digital cinema package," said Yasushi Mishima, Director of Photron. "If you are sending to two theaters, files can move overnight. However, if you send to many more theaters anarchically, there is congestion at the distributor end, and it could take months to distribute the DCPs. Using Signiant to manage accelerated file transfers to theaters, we can ensure more predictable and proportional delivery times." A core component of Signiant's compatible enterprise product suite, Managers+Agents is optimised for automated batch file transfers and workflow integration. Unlike other solutions, it features advanced resource management that provides sophisticated control of network bandwidth and server resources. This allows administrators to prioritise the delivery of assets between sites and control bandwidth usage to specific locations or servers based on content delivery windows to ensure that systems or networks are not overloaded. "This partnership is a significant step forward for Signiant in the region's growing DCP market, and provides the best possible file transfer solution for Broadmedia," said Michael Burnie, Managing Director of Signiant Asia-Pacific and Japan. "Broadmedia has found a proven software based solution that not only delivers acceleration, but also the ability to allocate bandwidth intelligently and manage, track and approve file transfers centrally."


July-September 2012

Kinoton DCS at Metropol Right on time for the 99th birthday of the imposing Metropol cinema in Chemnitz, Germany, Kinoton helped it enter the digital age. In late July, the time honored movie theatre was finally able to present a digital film. Designed by architect Wenzel BĂźrger, the Metropol was built in 1913 but is still in fine shape, integrating both Baroque and Art Nouveau elements in a monumental structure. Kinoton equipped the Metropol with a leading edge Kinoton DCS Digital Cinema Solution. The system includes a top-of-the-line DCP 30 SX II DCinema projector based on projection technology supplied by Barco. 1.2-inch 2K DLP Cinema Series II technology from Texas Instruments ensures highly precise color reproduction and brilliant contrast. The projector is already fitted with an Integrated Media Block (IMB) for displaying higher frame rates (HFR). This significantly improves picture quality, especially with 3D content and rapid motion. The Metropol also opted to install a Kinoton DCA Digital Cinema Automation system, which seamlessly links control of classic auditorium functions such as curtains, masking, and lighting with the new D-Cinema technology. The individual cinema technology components are connected to the

Kinoton CAN bus via flexible modules to maximize versatility in everyday operation. The Metropol in Chemnitz looks back on a varied past. Originally constructed by architect Wenzel Bßrger in 1913 to serve as a music hall, hotel, and restaurant, in the 1930s it was converted into a cinema. From 1936 until the end of the Second World War, it was called the "Filmpalast Metropol". In 1945 the building suffered severe damage during an air raid on central Chemnitz, which completely destroyed its roofs and towers. After 18 months of repairs and restoration work, the METROPOL reopened on April 22, 1947. "Die Fledermaus" (a filming of The Bat, an operetta by Johann Strauss II) was the first movie to dance on its silver screen. In the 1980s the auditorium and façade were completely redone. After Germany's reunification and the end of communist East Germany, Ufa (Universum Film AG) briefly ran the Metropol, followed by "Kino Kino Entertainment" of Hamburg, although the latter then withdrew in late 2005. But the cinema had only been closed for 12 days when Evilin Paulat of Chemnitz reopened the Metropol as a private operator. She proceeded to renovate the vestibule, the reception hall, and the auditorium and redesign the box office area. All of this has enabled the movie theatre to continue operating successfully down to the present day. As a result, today the history of this impressive, venerable old building can still be vividly experienced after 99 years.

USL Announces the LSS-100 Projection and Audio Analyzer USL, Inc. announced its latest innovation, the LSS-100 Projection and Audio USL Analyzer. The LSS100 allows theater owners to continuously monitor on-screen technical performance to ensure the highest presentation quality.

screen. In addition, the LSS-100 is a fully networked unit, making it possible for theater owners to monitor auditoriums continuously from a Network Operation Center (NOC) located anywhere in the world.

This small compact unit can be easily installed and is designed to continuously measure screen luminance, color accuracy and sound levels to maintain the best possible experience for the audience. The wall mounted LSS100 features a microphone that measures the sound pressure level (SPL) from loudspeakers as it simultaneously monitors the quality of light reflected from the theater

"We decided to build on the success of our PSA light and PCA color meters to create an automated way to ensure excellent picture quality," explained Jack Cashin, USL, Inc.'s founder, president and chief technical designer. "Taking it one step beyond our competitors, we added the ability to measure SPL at the same time." Cashin further stated, "The LSS-100 is fully networked, providing

instantaneous monitoring of luminance, chromaticity, and SPL data." "We are excited to demonstrate our latest innovation that allows exhibitors to understand how each auditorium is performing on a global level with projection and sound," Cashin added.

NEC Display Solutions Brings Digital Projection to Smaller Theaters

NEC Display Solutions of America, announced the newest model in its Digital Cinema Projector Series, the NC900C. The NC900C builds on NEC's expertise in the digital cinema industry, being the first projector to incorporate the new S2K chipset from Texas Instruments. Perfect for small theater screens, as well as cinemas in universities and public buildings, the projector can render a screen with a width of up to 29 feet in DCI specifications and 39 feet in non-DCI specifications without any color correction, depending on the contents, when using a 1.8x gain The NC900C delivers 3D HFR content and has a multitude of connections from the HDMI 1.4a(*) connector (based on the HDMI certificate application), dual HDSDI 3G interfaces for those using alternative content and USB connectivity for those ingesting content. With its two Gigabit Ethernet ports, content can be provided over the network and stored on an integrated Raid 5 server with capacity up to 1.5TB. As the first dual-lamp digital cinema projector on the market, the NC900C provides added reliability by showing no black-screen and easy lamp exchange and transportation. Its integrated lamp power supply and lack of exhaust ensure simplified installation. These features also allow for a lower total cost of ownership (TCO). "The NC900C is the perfect answer for those exhibitors that require a


July-September 2012

budget-friendly and size-appropriate digital cinema projector," said Jim Reisteter, General Manager for Digital Cinema Projectors at NEC Display Solutions. "By implementing Texas Instrument's S2K chipset, we can facilitate the transition to high-end digital cinema by creating a solution for smaller screens that have not yet been able to transition to digital technology." NEC will offer a variety of NC900C solutions to fit customer requirements including a built-in Integrated Media Server (IMS) option and a stand-alone solution that allows compatibility with a customer's preferred IMS. A fully integrated, true turnkey cinema solution complete with a Doremi IMS will also be available.

Ushio Debuts New Large-field Stepper Ushio Inc announced that the company has completed development of the large-field stepper lithography tool "UX7-3Di LFS 200" for manufacturing interposers used for 2.5D/3D packaging applications. The UX7-3Di large-field stepper lithography tool is mounted with a large-diameter projection lens to allow a significant increase in the

stepper field size, which has limited the flexibility for designing interposers used for 2.5D/3D packaging solutions. The UX7-3Di LFS 200 stepper lithography system announced today has achieved a 50 x 50 mm field size with a highprecision projection lens of 70 mm in diameter. Using the projection lens of 100 mm in diameter, to be available in the 3rd quarter of 2012, the field size will be able to be increased up to 70 x 70 mm. USHIO plans to market the UX7-3Di LFS 300 stepper lithography system mounted with this newly developed 100-mm projection lens in the first quarter of 2013. Using a combination of USHIO's proprietary technologies for largediameter projection lens and the field-proven UX series platform with its installed base of more than 1,100 units, the UX7-3Di stepper series will allow manufacturing of large-size interposers required for 2.5D packaging applications and future 3D packaging solutions as well as a dramatic increase of flexibility for designing such interposers. In addition, by enabling projection exposure of a further larger field, the UX7-3Di LFS 200/300 will significantly reduce CoO (Cost of Ownership) by 30% compared with the conventional stepper systems currently on the market for waferlevel packaging.


Cinetopia, Vancouver Mall

Atmos Powers “Brave” One of the 14 theatres nationwide screening Pixar’s ”Brave” with Dolby’s new Atmos immersive multi-channel surround format, Cinetopia’s latest Vancouver Mall 23 in Washington state has chosen Meyer Sound EXP cinema loudspeaker systems to provide the linearity and headroom to intensify the audience experience. This new screening room is amongst the four GXL theatres that owner Rudyard Coltman has equipped with EXP in this brand new Cinetopialocation. ”Meyer Sound EXP is a studio-grade loudspeaker system with far greater power and frequency range,” says Coltman. “EXP delivers a sense of realism that you won’t find in an ordinary sound system, and is the only loudspeaker product that can faithfully reproduce the audio content in our new extended surround format.” “Brave” was the first feature release with a soundtrack created for playback with the new multidirectional Atmos surround sound as well as with standard 5.1 and 7.1 formats. Atmos supports up to 128 channels of audio inputs, which are then rendered for up to 64 outputs for sound designers to place and dynamically move discrete “audio objects” around the audience. Atmos playback requires loudspeakers on the auditorium walls and overhead. Each loudspeaker is individually addressable to reproduce a localised, full-range audio object such as a helicopter, cannon shot, or charging rhino. All of this audio information can only be accurately delivered through a loudspeaker system that performs in a linear manner across all frequencies and sound levels. “EXP is a premium sound system that is not available from other exhibitors

in this metro market,” notes Coltman, who has installed Meyer Sound EXP at Cinetopia Progress Ridge 14, located across the Columbia River. “It wowed our audiences in Beaverton, so it was an easy decision to extend that track record to the GXL screens here in Vancouver.” In addition to the Atmos-compatible GXL Auditorium, Cinetopia Vancouver Mall 23 features three more GXL screens, each equipped with Meyer Sound EXP loudspeakers for its 7.1 surround systems. The Meyer Sound EXP system in Cinetopia’s Atmos-compatible GXL auditorium is based around Acheron screen channel loudspeakers and X800C subwoofers. In addition to the full complement of HMS-10 surround loudspeakers required for 7.1 surround, the system also employs front and overhead surrounds along with rear subwoofers. The system is optimised using a Galileo loudspeaker management system with Galileo 616 and 408 processors. Also featured in the numerous screening rooms at Cinetopia Vancouver Mall 23 are 4K digital projection, Dolby 3D technology, and stadium seating with premium wide seats. All EXP systems were installed by ACE (American Cinema Equipment) and Franklin Designs. With their extraordinarily linear performance, the EXP systems used at Cinetopia for the screening of “Brave” provide an exact translation of what was heard on the film’s mixing stage. The film was mixed at Lucasfilm’s fabled Skywalker Ranch, also using Meyer Sound EXP loudspeakers. In addition, Meyer Sound EXP loudspeakers were used for the overhead, surround and lowfrequency reproduction in the Atmos system at the Dolby Theatre

(formerly the Kodak Theatre) in Hollywood for the public unveiling of the Atmos format on June 11. July-September 2012



Projection Series-XXXIV

Schedule Maintenance One message of the last two units is that many of the mechanical and electrical items in a cinema require constant checking and maintenance. This job falls usually on projection staff because they are often the most technically competent people in the cinema. It is up to the chief projectionist to contact all the companies who have service contracts for any plant in the building and make himself fully aware through their guidance what is expected of him and his staff. Once all the service information is collected for a particular situation it is a good idea to collate it all into a full service programme for the whole building, which when worked through day by day ensures that there are no failures due to negligence. Hopefully by spreading


July-September 2012

the load he can ensure that no piece of equipment is left unserviced. Drawing up a full maintenance schedule is not an easy job, and it needs to be updated from time to time, to allow for new or replacement items of equipment. If you have access to a computer, and the necessary skills, you can use any of the more common scheduling applications, or you can use good old-fashioned pen and paper.

Items of equipment

How often each task should be done (Recommended frequencies)

Times available for maintenance

People available for the tasks

How long each task normally takes

Availability of spare parts

The best approach to the task is to think of inputs and outputs. The desired output is a document which may be used by anybody concerned to carry out maintenance on any day in the working year.


Maintenance tasks

Typical maintenance wallchart


Projection & Auditorium Maintenance Frequencies Projectors

Plant Maintenance Frequencies Battery Room

Sound Equipment

Air conditioning:










dividing networks


acid level



sprockers / rollers






switchgear, motors

film path / guides





filters, grilles


oil levels / changes


[srd, sdds, dts]

secondary rectifier



lenses / optics


[cds & tapes]


switchgear / fuses


deaf aid




Lamp Houses xenons [changes & log]







epas / ecop


foyer PA etc




switchgear / fuses








Stage Area







limit switches


tracks / bobbins




rectifiers switchgear / fuses

m ar

Long Play Equipment platters / towers


motors / brushes



m d



m distilled water H&S service

ar q

Boiler house: boilers/gas/oil


heating & domestic


Switch Room / Intakes

pumps [circulation]




fuses / spares


pumps [other]


timeclocks / settings






Heating & Ventilation



Plenum fans:

water tanks


motors / brushes



















ladders & steps











Extra fans:



limit switches


motors / brushes


tracks & runners








d = daily



w = weekly



m = monthly



a = annually


Projection Room portholes


Screen Examination



damage, marks/dust



benches / floors switchgear / fuses cleaning




speeds / timing cleaning

d m

s = service


ar = as required


iu = when in use


Perhaps the first move is to base the schedule on a blank calendar format, such as you will find on an annual planning chart, or in a computer scheduling application. Go through the chart, identifying days and times available for maintenance, based on the normal pattern of film showing and any other known commitments. You may also then be able to allocate people to days, through normally this has to be done week by week, as part of normal stall scheduling. Then make a list of all the maintenance tasks to be undertaken, in whatever way you find easiest, noting the recommended frequency alongside.

You may find it useful then to sort the list by recommended frequency, according to whether the recommendation is daily, weekly, monthly, as required, service, quarterly or annual. Finally, you have the hard slog of marrying up the list items with the calendar time slots, crossing each task off the list as you go. It is best to start with the least frequent tasks, such as the annual ones, then work through to the most frequent. If you find there are not enough days, even taking into account how long each task should take, then you will have to priorities tasks, cutting down on the least important. If this happens,

your manager should be informed, as the likelihood of emergency breakdowns is bound to be increased. If there is some slack in the system, leave it alone, so that if tasks get complicated, or spares do not turn up on time, you may be able to adjust the schedule to suit. Once you have completed the schedule, you will be in a position to draw up a spare parts ordering plan to fit alongside. Depending on how you do the schedule, it can be distributed on paper, marked up on a wall chart, or made available from the computer.

July-September 2012



5 - 8 November 2012 Westin Diplomat Resort & Spa, Florida ShowEast, this year will be held on November 5-8, 2012 at the Westin Diplomat Resort & Spa in Hollywood, Florida. This year's ShowEast is going to be better than ever with lots of new programming, new special events, more film screenings and product presentations, a more comprehensive Trade Show and much more. ShowEast is the only major convention and trade show for the cinema exhibition and distribution community on the East Coast. Cinema Exhibition professionals come to ShowEast


July-September 2012

for exciting film screenings of major studio and independent feature films slated for holiday release as well as product reel presentations, exciting special events with Hollywood's hottest stars, educational seminars and to find the latest products, services and technologies at the trade show. ShowEast is the place to be, if you want to do business with the multibillion dollar cinema exhibition and distribution communities. Each year, more than 1,300 cinema exhibition and distribution professionals with enormous purchasing power come to the ShowEast trade show to buy

equipment and services to better run their businesses. Major, Regional and Independent circuits throughout the US and internationally attend ShowEast to make their purchasing decisions. Close to 71% of those who attend ShowEast recommend, specify and are responsible for buying goods and services for their theatres. They are always on the lookout for new and different ways to enhance the theatre-going experience. Based on the 2011 ShowEast survey, the majority of ShowEast trade show exhibitors that


responded said ShowEast delivered the best ROI and value for the money compared to other industry events. That's why ShowEast exhibiting companies have a return rate of 85% and why so many new companies

Arts Alliance Media ........................ 1214 Ballantyne Strong ............................. 703 C Cretors & Co .................................. 911 Camatic Seating ............................. 1120 Callahan Digital ................................ 627 Christie Digital ................................. 915 Cinedigm Digital ............................. 1015 Cinema Equipment & Supplies ........ 1211 Cinema Scene Marketing ............... 1005 Cru-dataport ..................................... 626 D-box Technologies ......................... 1109 Dolby ............................................... 1103 Doremi Cinema ................................. 903 Embedded Processor ......................... 819 Enpar Audio .................................... 1223 Eomac ............................................... 807 Etouchmenu .................................... 1119 Eurokeyton S.a. ................................ 521 Focux Technology .............................. 418 Franklin Designs ............................... 814 Gdc Technology Of America ............. 621 Gold Medal Products ....................... 1201 Golden Link ..................................... 1126 Greystone Public Seating ................. 727 Gxm ................................................... 315 Harkness Screens .............................. 818 High Performance Stereo ................. 908 Hytex Industries ............................... 609 Inorca Seating .................................. 319 Integ Process Group .......................... 918 Irwin Seating Company .................... 815 Jack Roe Usa ..................................... 816 Jbl Professional .............................. 1003 Kernel Seasons ................................. 909 Klipsch Group, Inc. ............................ 726 Lightspeed Design .......................... 1118

choose ShowEast as part of their marketing each year. ShowEast also delivers an average of 15% new buyers that you may not meet at any other event. The ShowEast trade show is the ideal environment for introducing new products and services when buyers are gearing up for the holiday movie season. ShowEast attendees come to the convention for the informative educational seminars, networking, special events, product presentations and screenings... and they also visit the trade show to find the products and services they know are invaluable to their business.

Top Reasons to Attend ShowEast this year •

See major studio and independent feature films slated for Holiday release to help you make informed programming decisions

Get the latest information on issues affecting the industry such as: Digital Cinema; 3D; Alternative Content; Concessions and much more, to stay current with industry trends

Special programming for the Latin American market

Network at sponsored special events

Magna-tech Electronic ...................... 620 Martek Contracts ............................. 611 Masterimage 3D ............................... 415 Mobiliario Sa De Cv .......................... 715 Moving Image Technologies ............. 515 NCR .................................................. 1115 Nec Display Solutions ................. Suite 1 Nestle Usa ......................................... 706 Omniterm Data ................................ 708 Oreck Commercial Sales ................ 1026 Osram Sylvania ................................ 702 Paradigm Design ............................... 619 Philips Specialty Lighting ................ 803 Proctor Companies ............................ 906 Prostar Industries ........................... 1023 Qsc Audio Products ........................... 603 Qube Cinema ..................................... 920 Ready Theatre Systems .................... 414 Retriever Software .......................... 719 Ricos Products ................................... 811 Schneider Optics ............................. 1008 Seating Concepts LlC ........................ 509 Severtson Corp. ................................ 518 Sonic Equipment Co. ......................... 419 Stadium Savers Ltd. ......................... 618 The Coca-Cola Company .................... 902 TheatreWorld ........................ Pub-Bin Tk Architects .................................... 821 Universal Cinema Services ............... 822 Ushio America .................................. 519 Usl Inc. .............................................. 615 Vista Entertainment Solutions ........ 910 Volfoni 3D ....................................... 1007 West World Media ......................... 1008 Xpand ................................................ 927

Find the products, services and technologies you need at the trade show to make your theatre a must-attend destination

July-September 2012



Bollywood to Hollywood, Made Bigger and Better After the successful edition of Cinema India Expo in 2011, 2012 saw a bigger and better event on 23 & 24 July, 2012 at the Renaissance Convention Centre Hotel, Powai, Mumbai. The 12th edition and the 2nd successive stand-alone conference and exhibition witnessed more informative conference sessions, state of the art technology demos and quality attendees. The focus of the show was on digital cinema exhibition, film production and 3D Technology. This Hollywood Bollywood conference of its kind in the world was a great success with the conferences addressing key issues and insights from cinema industry stalwarts and early screenings of Hollywood and Bollywood movies being previewed by enthusiastic audiences. Filmmaker and President of the Film and Television Producers Guild Ramesh Sippy presented the industry keynote and spoke about the evolving technology in Indian films. He gave an overview of

advancements in Indian film technology and spoke about the further opportunities in making a better film viewing experience. John Fithian, President and CEO of National Association of Theatre Owners, USA presented conference keynote and highlighted the three biggest challenges to cinema operators as •

Making the Most of Digital Cinema and New Technologies

Reducing the Effects of Move Theft ("Piracy")

Preserving an Exclusive Theatrical Release Window.

John, during the two day event met with the members of Cinema Owners and Exhibitors Association executive committee members along with President RV Vidhani and Multiplex Association led by Prakash Chaphalkar to discuss the future business opportunities between Indian exhibition industry and NATO. The star attraction of the event was the moderator Kabir Bedi.


July-September 2012

Kabir's flamboyant personality brought a grandeur to the show as he moderated all the conference sessions with much professionalism and in depth technical knowledge about the cinema exhibition industry. The show recorded a total of 600 delegates which included Theatre Owners, Cinematographers, Film Buyers, Distributors, Manufacturers, Technical Experts, Directors, Photographers, Cinema Content Creators, Studio Executives, Production Executives, and Theatre Operation Executives. 30 companies adorned the exhibit floor with their latest offerings and products across 3D Cinema & Production Technologies, Digital Cinema Equipment, Booth / Projection Equipment, Lighting / Signage / Displays, Distribution Technology, Sound / Speakers / Amplifiers, Walls / Panels / Screens, and Digital Cameras.

TheatreWorld’s Raghav (left) and Clancy (right) with Kabir Bedi

discussed during the 2 days were focused on Higher Frame Rate, Countdown to 100% digitization in India, Hollywood's growth in India, Importance of sound in digital cinema world, 3D adaptability to HFR and Digital cinema's biggest nightmare - Light levels on screen.

Goswamy of Viacom 18, Ashish Saksena of Big Cinemas, Sushil John of QSC Audio, Mark Brown of Christie, David McKinney of Harman, Chris Ward of DepthQ, Ami Dror of Xpand, Sundeep Reddy of Light Illusion, Bernard Mendiburu of Volfoni, Andrew Robinson of Harkness Screens, Mike Esch of Christie, Chandan Bhattacharjee of Osram and Cameron Mitchell of Vox Cinemas.

HFR or 4K The cinema beneficial session that covered the great debate on HFR or 4K commenced with the demo put together by LightStorm Entertainment and narrated by James Cameron himself discussed the benefits of Higher Frame Rate in cinema specifically in 3D. The panel there after discussed the revised industry standards that could either enhance to 4K or adapt to HFR content to enhance the cinema viewing experience.

The highly informative conference programs discussed several issues relating to the technological advancement in the exhibition industry. The topics that were

The tightly-programmed conference and seminars disseminated valuable knowledge to the delegates. The panels across wide subjects comprised of some eminent leaders of the industry including Peter Cane of Box Office Magazine, Ad Weststrate of UNIC (Europe), Tony Adamson of Texas Instruments, Don Shaw of Christie, Tom Bert of Barco, DOP Rafey Mahmud, Ranjit Thakur of Scrabble Entertainment, Senthil Kumar of Real Image, Kapil Agarwal of UFO Moviez, Varun Gupta of KPMG, Neeraj

Alcons Audio





Harkness Screens

Exciting Conference Sessions

Digital Cinema in India Today, the cinema exhibitors and producers are engaged in digital cinema transition, the most dynamic period of change in the

July-September 2012


cinema exhibition industry. The panel on Digital Cinema in India Countdown to 100% Digital discussed the challenges and opportunities for 100% digital transition in India and the methods to be adapted by the cinema exhibitors and content holders to ease the digital transition.

Hollywood's growth in India The panel of the top industry leaders spoke on the role, growth and influence of Hollywood in India. The session explores the potential that Hollywood content has in India and the probable strategy that content providers can adopt to maximize the same.

Importance of Audio in Digital Cinema World Cinema India Expo 2012 focused on audio for cinema. Digital audio for films is gaining ground in India, as well as globally. A panel discussion on Importance of Sound in digital cinema world was followed by a 'Story of Sound' presented by Dolby that discussed


the evolution of sound from different sound formats.

3D Adaptability to HFR The latest buzzword, 3D, is fast gaining a foothold in the Indian marketplace, from the story to production to distribution and monetization. The dynamic panel of experienced 3D technical experts in India and around the world discussed the latest trends and challenges in creating 3D content and technology and adaptability to HFR. Digital Cinema's Biggest Nightmare Light Levels on Screen. The concluding conference session on Light levels on Screen spoke about the remedy for this nightmare in digital cinema and the de facto standard of screen brightness for 2D and 3D presentation.

Demo Suites The Demo Suites set up by market players like Christie, Canon, Xpand, Volfoni, DepthQ, Panasonic and Real Image showcased the latest offerings in projection and 3D technology. Christie, the market leader in digital projection techniques exclusively

showcased its projection technology along with its audio innovation SKA - 3D. The demo of HFR by Lightstorm Entertainment and narrated by James Cameron himself attracted a great traction of visitors. While Xpand, Volfoni, DepthQ showcased their latest innovation in 3D technology to enhance the movie-viewing experience, Qube demonstrated their DCI complaint technologies. Panasonic displayed their state of the art projection technology and the new range of camera systems. Canon joined hands with Cinema India Expo to unveil the new Cinema EOS C300. After wowing Hollywood through its newly launched Cinema Camera, Canon captured the imagination of Indian entertainment industry. Another interesting demo was by 3ality Technica. 3ality Technica along with it's camera partners RED demoed a live workflow at Cinema India Expo 2012. The state of the art TS-5 3D rigs paired with RED EPICs demonstrate the use of




Pro VA

Professional e Solutions


July-September 2012


AUTUMN 2012 17-21 SEPTEMBER 3ality Technica's technology on a live 3D shoot. This was the similar technology that was used to shoot 'The Amazing Spiderman'.

audience was enthralled with the screening of Harud by Aamir Bashir on second day.


Trade Show

Networking over Dinner and Cocktail Parties

The show floor was dominated by global and national digital cinema equipment players like Barco Electronic System, Doremi Cinema, Harkness Screens, Harman, Professional Esolutions, UFO Moviez, Texas Instruments, Callystro, Pro Visual, QSC Audio, Alcons, Focux Technology, United Media Works, Spectro Screens, Osram, Magna Tech, Philips Lighting, Advanced Photonics, 3Ality Technica and Galalite.

The lunch, dinner and cocktail parties on both the days of the show provided a plethora of networking opportunities to the delegates, exhibitors, speakers and every other attendee. The five-star ambience of the venue further served as a catalyst to the networking opportunities. Scrabble Entertainment, India's first 2K DCI Compliant Cinema deployment entity, was the presenting partner of Cinema India Expo 2012.

Box Office International was the official international media partner. Among the other media participants were, Screen World, Theatre World,, Cinema Technology, HDTV Magazine and Film India. Bright was the outdoor media partner.

If it's networking with peers and professionals, attending highly educative conferences and seminars, listening to internationally reputed technical experts, viewing screenings of upcoming releases, or understanding and upgrading to the latest state-of-the-art technologies, then Cinema India Expo is the place to be.





SUMMER 2013 24-27 JUNE

Movie Screenings On the lines of the previous editions, Cinema India Expo 2012 too had its own dosage of movie entertainment and showcases of forthcoming releases from Hollywood majors woven around the technical programming. Day one saw the pre-release screening of Ice Age 4 by Hollywood's major studio, 20th Century Fox. The



SUMMER 2013 JULY Scrabble Lounge




UFO Digital Cinema

XPAND 3D Demo Room


July-September 2012



Sound, Lights, Camera and Action! The 6th edition of CinemaBroadcast-Theatre-Pro Sound Light Expo organised by Buysell Interactions Private Limited at Chennai was inaugurated at 10 am on 27th July by Mr. Murugavel Janakiraman, Founder & CEO, This is the only trade show for Cinema, Broadcast, Professional Sound Light, Media and Entertainment under one roof and took place for three days (27-29th July) at Chennai Trade Centre. Latest products & technology from all over the Globe such as 3D/2D cinema equipment used in digital cinema/digital entertainment, Audio Video Solutions, Home/Office/Hotel Automation, Character Generators, Subtitling systems, Studio/Portable Teleprompters, Digital projection equipment, ProAudio Equipment, PA Systems, Portable Audio systems, Microphones, Processors, Mixers, Led Panel lights, Led On-Camera Lights, DSLR Rigs, Grips, Lights, Musical Instruments, Digital Cameras were on display to the sheer joy and excitement of the business visitors.


July-September 2012

Exhibitors included Sony, Panasonic, Fujifilm, Aerons India, DB Sound, Pro Musicals, Pope Professional, Montarbo, AGIV, R&S Electronics, Dolby, Hansa Cine, Wacom, CDAC, Cineom Broadcast, Expandore, GBoomba, Ilfords, Innovative Lasers, Radaan TV, Royal Broadcasting, Setron, Katban, Associated Cable Cord, Nvidia, Vinardax, Visual Media System, NK Decibels, Allied Enterprises to name a few.

Broad Spectrum of visitors like key personnel from TV Channels, Studios, Production Houses, Content providers, Film Makers, Cinematographers, Sound Recordists, Directors, Hotel/Mall/ Multiplex/Theatre Management and Viscom students attended the three day mega event. The visitors were impressed by the wide array of latest equipment, technology and the vast knowledge base they could muster by visiting the Cinema-Broadcast-Theatre-Pro Sound Light Expo . By the end of the third day, it was clear that the show was a success in terms of its avowed aim of providing an access to the Global technology & services in the Cinema & Entertainment Industry.

Moving A Step Further !!!! Barco has been recently selected by Indian cinema chains Inox Leisure and Fame India to deploy its latest digital cinema projectors through GDC Tech. Earlier this year, Real Image Media Technologies, India's leading provider of film, video and audio technology, confirmed an order for 300 DCI-compliant Barco projectors while its subsidiary Qube Cinema equipped 39 screens of Kuwait National Cinema Company (KNCC) with Barco solutions. These deals have catapulted Barco to the top of the country's digital cinema industry, with an install base of 500 digital projectors by end 2012 and about 700 by the end of 2013. At the recently concluded Cinema India Expo in Mumbai, TheatreWorld (TW) Team discussed the Cinema Exhibition industry and Barco's achievement in deploying digital projectors nationally and internationally with Tom Bert (TB)- Product Marketing Manager, Barco and Abel Garamhegyi (AB) Managing Director, Barco India.

Abel Garamhegyi - Managing Director, Barco India and Tom Bert - Product Marketing Manager, Barco.

it, played around with it and it was stable.

People are well versed and well informed about 4k, they know the value of it, they make it a very well TB – In 2010, 4k was a big topic of thought decision about it. discussion and the Customers, who want customers had a lot of to go for it, go for it questions about 4k "India wise and worldwide, this year has been as it is not a hype projectors. We provided anymore. It's a a turning point for us with the highest number them with the knowledge premium thing. they needed and informed of installs already done and many more in the AG – 4k was a them, we encouraged pipe line. We are present worldwide in the premium product and them about 4k projectors. every premium markets because of the quality we provide and People accepted 4k and it product has a certain took off well. For us now the trust of the people who have been working limitation. There are 4k is 5 to 10% of the total with us and using our product over the years," certain cinemas who install base. In 2010 we invested in 4k seen a slight acceleration says Tom Bert, Product Marketing Manager. TW – How is the market responding to 4K projectors?

but it didn't take of that well, the way 3Dand 2k took off. It didn't do that well, what we expected out of it. People gained knowledge about

July-September 2012


because they wanted the best of best. Every Theatre owner would not keep on investing on every technological advancement/ change that we came up with. 4k gave them the best of best. And in India, I have never seen on a billboard that a movie is advertised that it will be played on a 4k projector. The movie goers generally can't make out the difference but there are certain cinema owners who want the movie goers to experience something that they can never experience at home and that is what 4k gave them and they invested in the same. We have Exhibitors like Sathyam Cinemas who only go in for 4k and doesn't buy anything else as they believe it is the best of best and there are others too who have the same opinion. A lot of system integrators and exhibitors buy 4k for large screens. TW – How is Barco looking at High Frame rate (HFR)? TB – From December 2011, every Barco projector is made in High Frame Rate, so we don't consider it as special feature or a premium thing, for us it is just a technological advancement that we follow. High Frame Rate is the thing now and there is nothing special about going High Frame Rate. High Frame Rate is like a process. The transition to higher frame rates impacts the entire industry workflow, from production,

post-production and packaging, to distribution and exhibition. TW – How has it helped Barco working with THX and Datasat? TB – Yes, it is to bring Auro 3D sound technology in cinemas. We have collaborated with THX to optimise performance of the Auro 3D system, we use the expertise of THX for certification. Datasat has partnered with us for manufacturing of the audio processor. Every one works on what they are good at and it's a complete package. Together, they apply vast experience and proficiency in digital cinema sound to Auro 3D. TW – If you could tell us about laser based projectors? TB – Barco displayed their first laser projector for guests at the 2nd Annual Moody Gardens Digital Cinema Symposium in Galveston, Texas. The laser projection system received rave reviews and was noted to show the best images every seen from a large venue system. The

device was able to display a 4K (4096 x 2160) resolution onto a 70 foot screen. The company was also proud that the laser projection system was able to provide a brightness level that was significantly higher than Barco's current brightest projector, theDP2K-32B. The 32B is capable of displaying 33000 ANSI lumens, a 2000:1 contrast ratio, and 2K HD (2048 x 1080) resolution. It was later demoed at CinemaCon. We have now beaten our own World record from 43000 lumens to 55000 lumens and now no technicalities are being questioned. The only concern now is getting regularities and authority from the environmental bodies, since lasers cannot be used in a public environment commercially. Nothing is going to stop laser entering into cinema and we believe that should happen within the next 18 to 24 months. It is DCI complaint and thus we are committing to craft it in such a way that it can be fitted on existing projectors also, where exhibitors can just take out their lamps and replace it with the laser. TW – If you could highlight on Auro 3D and its market ? AG – Auro 11.1, developed by Auro Technologies and powered by Barco, is the next-generation 3D sound format for the cinema industry. It turns conventional cinema audio into a fully immersive 3D sound experience, with sounds coming from all around and above the listener. Auro 11.1 improves the audio experience by making intelligent use of the headroom in today's audio standards. This means that the current formats and channels can still be used for content generation and distribution. Auro 11.1 can easily be installed in new-built or existing theaters, in most cases utilising components from your current audio system. As far as India is concerned, we want


July-September 2012

to demo it where the audience can experience it. We will surely test it first and later it will step in India, but we don't accept it this year. We have our partners but yet the markets are not open. TW – If you could please tell us about Inox Theatres signing up with Barco for 300 screens ? TB – We are very proud and honored to have this achievement. What made the deal for Barco, is it's reasonability and a well running projector, and quality is the key. Long discussions were held and thus we are happy with the deal that got confirmed. The first sets of projectors are already delivered and we are working together for the next installment of delivery. TW – What challenges do you for see in the Indian Market? AG – There are primarily two challenges, the first being, we have to prove the capability of Barco projectors and system integrators to the Indian Market. It also becomes necessary to inform that the quality of projection does not remain same after it has been used for 100 days. Basically giving an understanding to the potential buyers of what all we have to offer. The second challenge that we face is to reach the remote areas, which is a difficult task. The theatre Owners now, in the remote areas want to go in for the best ones - they want a reliable one, an easy set up and at an affordable price and plus a very good after service. We are working with Real Image in that area since they have a background in this field and are good enough for us to reach. We have system integrators who calibrate the whole thing and the set up is done with the package that we have to offer now. TB – We have started and designed a whole package along with IMB, (projectors with IMB) which is easy and convenient for the buyers. It's reliable and affordable which is the perfect match. It is a package that

we have in our factory, which is directly shipped on site, installed and calibrated and you can start using it. Indian Markets appreciates this and it is a convenient method. For example the package includes, Barco and Doremi's complete projection and integrated media server package to the digital cinema industry. This package has been installed, tested and certified in the factory, to offer true turnkey cinema. In this ready-to-use and fully DCI-certified package, Doremi's Integrated Media Block (IMB) has been incorporated into Barco's projectors. The DP2K-32Bx package includes a compact Barco digital cinema projector, a 7kW lamp, a

cinema-grade lens, a Doremi IMB and showVault media server including Screen Management Software (SMS) and storage. TW – What are your plans for the Indian Market? AG – We keep our plans steady. We are constantly working on new initiatives and how we can improve in all fields, and offer the best. There is always some India specific issue that comes up. We have a very good after service team to work and provide the best service to our customers. We have already done a great job in the Indian market and we are going to reach the mark of more than thousand installations by the end of this year.

July-September 2012


Sound !!!!

An Important Ingredient to Digital Cinema Danny Pickett (DP) - Key Accounts Manager, Cinema of QSC Audio talks to TheatreWorld (TW) and gives an insight on importance of sound in Digital Cinema. Pickett provides product and sales support, account management and education for QSC's widely acclaimed cinema product line, thus extending an even higher level of commitment from the undisputed leader in the cinema market. His experience has seen the evolution in cinema sound.

TW – How important is sound for Digital Cinema experience? DP – At QSC, we believe sound is very important to the total cinema experience. However, it is often a case of good sound getting a few positive comments but bad sound resulting in patrons just not coming back. It is important to remember that DCinema actually improves the audio experience that can be delivered to the cinema when compared to 35mm film. Every cinema now gets a soundtrack that is identical to what was recorded on the dubbing stage. If you take the time to do it right, cinema sound can truly reproduce what the director intended. It starts with the room design and wall construction. Get this right and then a sound system can be designed to meet the needs of D-Cinema soundtracks. We've upgraded processors to handle 16 or more channels and we've increased the capability of all systems, screen channels, surround speakers and subwoofers, to handle the dynamic range and frequency response available on the D-Cinema soundtrack which has no digital compression or encoding. This gives


July-September 2012

the theatre owner a chance to recreate an experience identical to what was recorded in the dubbing stage. TW – Tell us one big change that has happened in cinema sound recently? DP – The newest development is multi-channel systems that move beyond the usual 5.1 or 7.1 systems and are often refereed to as "3D" sound. These generally use more speakers, particularly surround speakers, and are capable of panning audio "objects" around the auditorium and they can include a "height" dimension to the overall experience. TW – Tell us about the launch of the new DCS surround sound loudspeakers for cinema by QSC? DP – The new DCS surround speakers are a line of four models that cover the smallest to largest cinemas. The

largest speaker in the range, the SR1030, was designed to for high sound levels and extended bass. All of the new models feature improved cosmetics to look as good as they sound. In addition, high quality MDF construction, powerful woofers and large ports result in exceptional low bass performance. The SR-8200, SR-1020 and SR-1030 use a new horn design to achieve impressive sound quality and assure smooth and even coverage. All four models are expected to be available for shipment in October, 2012. TW – How important is the space design with sound design in the cinema and how do you overcome these challenges? DP – The system has to be balanced. You can't cut corners in one area and expect to have good performance of the entire chain. For example, when installing D-Cinema into a cinema that has insufficient wall construction, we often find that bleed thru to adjacent rooms can be a problem. There are really no costeffective ways to address this in

existing theatres. Sometimes we have to limit the low frequency response of the system or not run the subs as loud as they should be. While this is not ideal, it is often better than overpowering the room next door. QSC takes room configuration and desired performance level in to account whenever we specify a system. Designing in really big amps with insufficient speakers won't yield any real performance benefit. The system has to be designed to have no weak links in the room acoustics and audio equipment. TW – How QSC is geared up for several new sound formats, like Dolby Digital 7.1, Dolby Atmos, Barco Auro 11.1, etc. DP – QSC's DCP series of Cinema Processors have been designed to easily handle 7.1DS and Auro 11.1 formats. The SC-423C-F Screen Channel loudspeaker can be safely suspended above the screen for the Left, Center and Right "height" channels. Our new surround speaker line has the high output capability, wide coverage and extended bass needed for Dolby Atmos. We also have the four channel DCA 1644 power amplifier to power each surround

speaker individually at an affordable cost and with reduced rack space requirements. TW – How beneficial is the 3D technology for the cinema speaker market? DP – It approximately doubles the amount of loudspeakers required. Depending on the system, we go from 3 to 5 or 6 screen channels. The big change is in power amps for the surround speakers with Dolby Atmos systems. We usually power 4 surround speakers per amp channel but Atmos has one speaker per channel and about twice as many speakers so it is possible to require eight times the amp channels of a 5.1 or 7.1DS system. TW – How would you describe the technological change that has evolved for cinema sound over the years? DP – The biggest change is in the

delivery of the audio content. The limitations of 35mm film set limited performance requirements for the rest of the audio system. D-Cinema soundtracks can deliver an exact replica of what is heard in the studio. This drives the upgrades in the playback systems that we have seen over the past few years. TW – What was the thought behind the new DXP Digital Expansion Processor? DP – The DXP has two primary functions. First, it serves as an output expander to allow for the connection of more screen, subwoofer and surround channels that are often required when we go beyond 7.1DS systems. The QSC DCP 300 Cinema Processor is limited to 5 screen channels unless a DXP is added. The second function is to simplify the routing of audio in a cinema and allow more flexibility in the locations of power amplifiers. Since all audio and control is routed to the DXP over Ethernet, The amps for screen channels and subwoofers could be placed behind screen to save on wiring and reduce rack space requirements in "boothless" cinema designs. TW – Are more up gradation happening for cinema speakers or more new buyers, how do you specify? DP – We are seeing both new construction and upgrades driving our business. QSC is providing many of the premium experience sound systems to major circuits. We are also seeing upgrades to cinemas that aren't properly equipped for the minimum 5.1 requirement for D-Cinema conversions.

July-September 2012


As far as system specifications, the system has to be balanced. You can't cut corners in one area and expect to have good performance of the entire system. QSC takes room configuration and desired performance level in to account whenever we specify a system. Designing in really big amps with insufficient speakers won't yield any real performance benefit. The system has to be designed to have no weak links. TW – Tell us about the New QSC Q-Sys DSP Technology for cinemas. DP – Q-Sys is a very powerful DSP system with network audio routing and control. The new Q-Sys Integrated cores, the 250i and 500i, have made Q-Sys affordable for premium cinema and post production applications. With a capacity of 64 inputs by 64 outputs (250i) or 128 inputs by 128 outputs (500i) Q-Sys can handle even the largest systems with ease. The Q-Sys Cores connect to our I/O frames via standard gigabit Ethernet to allow

maximum flexibility in system design. The signal processing and routing is user configurable via a powerful user interface. System control is achieved via QSC touch screens or via iOS devices. TW – How is QSC iOS App for Remote Cinema Control beneficial? DP – Our free DCPConnect Android and iOS applications control and monitor cinema sound systems equipped with QSC's DCP cinema processors. QSC goes beyond just control of the processor by also monitoring amplifier and loudspeaker status. Along with volume and audio preset control, the application turns DCA amps on and off and monitors the entire system for amplifier clipping or overheating and open or shorted loudspeaker loads. The Android or iOS device connects to the DCP's via Ethernet and standard wi-fi routers. Password protection ensures control is limited to authorised devices. The system is

ideally suited to "booth-less" theatres since theatre personnel do not need to physically access the equipment for daily operation and for troubleshooting in case of problems. QSC's advanced DataPort connection between the DCP and DCA amplifiers allows the DCP to monitor amplifier and loudspeaker loads and report their condition via DCPConnect. TW – How is the competition among the multiple players in the market, any strategy used in marketing the new DCS surround sound loudspeaker? DP – QSC offers a total cinema solution, from processors to amps to speakers. The installation is easy and a QSC system is truly greater than the sum if the individual parts. The new surround loudspeakers are just the latest in a long line of QSC loudspeaker products that work together with our amps and processors to create great systems. TW – What are the strategies planned for Global and Asia market? DP – QSC is focused on providing the best overall system solutions. Systems must be easy to install, reliable and provide the best possible performance. We will use the latest in DSP, loudspeaker, amplifier and network technology to offer the greatest overall value. TW – What is the future innovation for cinema sound? DP – There are a number of areas left to explore in terms of matching amps, DSP and loudspeakers for the best possible performance. QSC will continue to push the limits of overall system performance to insure that the D-Cinema soundtrack is reproduced as accurately as possible.


July-September 2012


A New Look Multiplex

Refurbishing Works Wonders Housed in Inorbit Mall - one of Asia’s largest malls, Fame Malad is a multiplex spread across 55,000 sq. ft. and is the largest multiplex in the western suburbs. The all-new Fame Cinema at Malad, Mumbai was renovated with a seating capacity of 1500 plus and the all new and renovated multiplex with 7 screens re-opened with a whole new get-up and adorned a super flamboyant look. The whole new look has been changed to fit in the culture and requirements of the guests who visit this property. The multiplex has July-September 2012


entertainworld digitized screens and has the capacity to screen 3D as well as films on analogue format. The Multiplex prides itself on the ergonomically designed seating system, Specially designed Lighting, Plasma screen video walls, Cold cathodes and colour changing LED‘s, state-of-the-art temperature control system and agglomerated marble flooring.

“We have brought in exuberance and scintillating architecture to our 7 screen multiplex at Malad, Inorbit Mall. Making the movie viewing experience a glamorous affair. The 25 feet LED chandelier is the highlight of the architecture.” - Rajeev Patni, Director Operation, FAME


July-September 2012


The facility of 100% computerised operations and internet bookings has added to the advantage of the movie goers. Fame Malad too has become synonymous with Fame’s punch line, “Fame Makes my day�, Movie premieres, opportunities to meet the biggest Bollywood stars, exclusive ticketed previews, innovative & exciting contests and numerous food festivals are just some of the elements that keep the buzz going at Fame Malad, giving patrons a true flavour of cinema and entertainment as we know it!

July-September 2012




A glimpse of movies coming to Asia this autumn or later‌ Resident Evil: Retribution Production Screen Gems

Production Warner Bros.

Director Paul W.S. Anderson

Director Robert Lorenz

Starring Milla Jovovich, Michelle Rodriguez

Starring Clint Eastwood, Amy Adams

Genre Action, Adventure

Genre Drama

Dredd 3D

Hotel Transylvania Production Lionsgate

Production Sony Pictures

Director Pete Travis

Director Genndy

Starring Karl Urban, Olivia Thirlby

Starring Adam Sandler, Selena Gomez

Genre Adventure, Sci-Fi

Genre Animation, Family

House at the End of the Street

End of Watch


July-September 2012

Trouble with the Curve

Production Open Road Films

Production Relativity Media

Director David Ayer

Director Mark Tonderai

Starring ake Gyllenhaal, Michael Pena,

Starring Jennifer Lawrence, Elisabeth Shue

Genre Crime, Drama

Genre Horror, Thriller



The Oranges

Looper Production TriStar Pictures

Production ATO Pictures

Director Rian Johnson

Director Julian Farino

Starring Bruce Willis, Joseph Gordon

Starring Leighton Meester, Hugh Laurie

Genre Action, Thriller

Genre Comedy, Drama

Won’t Back Down

Pitch Perfect

Production 20th Century Fox

Production Universal Pictures

Director Daniel Barnz

Director Jason Moore

Starring Maggie Gyllenhaal, Viola Davis

Starring Anna Kendrick, Brittany Snow

Genre Drama

Genre Comedy


Sinister Production The Weinstein

Production Summit Ent.

Director Jim Field Smith

Director Scott Derrickson

Starring Jennifer Garner, Ty Burrell

Starring Ethan Hawke, Vincent D’Onofrio

Genre Comedy

Genre Thriller


Taken 2 Production Walt Disney

Production 20th Century Fox

Director Tim Burton

Director Olivier Megaton

Starring Winona Ryder, Martin Short

Starring Liam Neeson, Maggie Grace

Genre Animation, Comedy

Genre Action, Thriller

July-September 2012




Killing Them Softly Production Warner Bros.

Production The Weinstein

Director Ben Affleck

Director Andrew Dominik

Starring Ben Affleck, Alan Arkin

Starring Brad Pitt, James Gandolfini

Genre Drama, Thriller

Genre Comedy, Crime

Atlas Shrugged Part 2

Production Paramount

Director John Putch

Director Henry Joost

Starring Samantha Mathis, Jason Beghe

Starring Katie Featherston, Kathryn Newton

Genre Drama, Mystery

Genre Supernatural Thriller

The Big Wedding

Production Columbia Pictures

Production Lionsgate

Director Frank Coraci

Director Justin Zackham

Starring Kevin James, Salma Hayek

Starring Amanda Seyfried, Robert De Niro

Genre Comedy

Genre Comedy, Romance

Chasing Mavericks

Alex Cross

July-September 2012

Paranormal Activity 4

Production Atlas Distribution

Here Comes the Boom



Production Summit Ent.

Production 20th Century Fox

Director Rob Cohen

Director Curtis Hanson

Starring Tyler Perry, Matthew Fox

Starring Gerard Butler, Elisabeth Shue

Genre Action, Thriller

Genre Drama, Sports



Student Of The Year

Son Of Sardaar Production Ajay Devgn Ffilms

Production Red Chillies Ent.

Director Ashwani Dhir

Director Karan Johar

Starring Ajay Devgn, Sonakshi Sinha

Starring Siddharth Malhotra, Varun Dhawan

Genre Comedy, Action

Genre Drama


Barfi! Production Utv Motion

Production Eros International

Director Anurag Basu

Director Prakash Jha

Starring Ranbir Kapoor, Priyanka Chopra

Starring Abhay Deol, Arjun Rampal,

Genre Comedy

Genre Social


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July-September 2012


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