MINDSHARE THEATREWORLD EDITORIAL
Picture demo Projector manufacturers are going aggressive on demonstrating current technologies available to cinema operators and thus cajole them to upgrade. Apart from the 4k demonstrations at industry tradeshows that has become de riguer the 4K evangelists are taking to the streets literally â€Ś on countrywide roadshows. Across India, including small centres, some projector brands have organised demonstrations at a local theatre inviting all the theatre owners of that area to witness the difference. Given the earnest efforts, looks like 4K will become mainstream pretty soon. Another kind of demonstration, seeking groundswell of support for early adoption, is laser projection. Every major tradeshow highlights laser as one the major events and hence such demonstrations continue unabated though commercial rollout is still a few years away. Given that brightness of the image during 3D projection is a major issue and xenon has reached its technological limit, guess laser will eventually become inevitable. As with any change the maturity of technology, the mindset to embrace change and most importantly the business logic remain the stumbling blocks. But the latest bragging rights on the marquee could be 4K 3D LASER.
Releases in multiple formats Studios in Asia are bolder today to risk the spends on releasing their movies in multiple formats simultaneously. Following the Hollywood path, a proven success already, it is a welcome trend for this part of the world. The strategy allows the studios to mop up a better initial. Every Friday, releases being many and competition for the patron being stiff, it is the initial collection that separates box office hits from the also rans. Take the case of Bollywood's most anticipated release this holiday season - Dhoom3. It will be released in both regular and Imax screens. The audio track will play both Dolby Digital and Dolby Atmos. It's a win-win for all. The patron now has audio-visual options and pays accordingly, hitherto unheard of. Overhead sound channels are a reality, here to stay, with both Dolby Atmos and Barco Auro claiming mainstream adoption by producers in the studios and exhibitors in the theatres.
has already been mentioned in these columns with its adoption of current technologies as its major feature, there are some other releases that are highly anticipated. Kochadaiyaan is India's first animated superhero feature-length movie. It is styled on the ever popular Rajnikant and is expected to notch up high initials. Another experiment being keenly watched is the re-release of Sholay in 3D. One of India's most successful movies that spawned a whole industry by itself, if 3D gives it a new lease of life, then expect many more of yesteryear hits to come back in a 3D avatar. It is not just the big banners but sleeper hits like Lunchbox that could keep the boxoffice afloat. Lunchbox was a small-budget independent movie that won critical acclaim across the world and did very well commercially too especially in the urban multiplex market. Meanwhile Chennai Express has been the first to breach the Rs. 200 crore (US$ 32 million) mark and that will surely inspire producers to shoot for this new benchmark.
India boxoffice The India boxoffice has been muted lately though the Diwali season is always about fireworks. Not in 2013 with blockbusters proving to be duds and biting the dust. The industry now awaits the winter holiday season with a slate of exciting releases lined up. While Dhoom 3
The 15th Anniversary of TheatreWorld is in sync with our 15 years at CineAsia. From Hong Kong to Bangkok to Beijing to Macau and back to Hong Kong we have seen it all. CineAsia is the only pan-Asian convention for the theatre community and an annual trip to this event gets you right in the middle of the business. See you there!
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Issue # 62 November-December 2013
Amsterdam's PathĂŠ Tuschinski
Ready Sound System! TW-32
Setting New Standards for
Delivering Superior Movie-Viewing TW-33
Promenade Cinemas Philippines
World-Class Experience TW-34
Gaumont PathĂŠ Multiplex with
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Raghavendra T - Marketing +91 99801 36233
First Integrated Player in
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Moving Up in the Market TW-43
The future of movie distribution...
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Clancy D'souza - Marketing Sandeep Mittal - Editorial Yashodhara S - Production & Circulation Naga Bhanu M - Online
Memoirs of a
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SPECIAL FEATURE TW-39 Father of Modern Sound - Ray Dolby
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TheatreWorld is a bi-monthly publication, on the motion picture exhibition industry, for private circulation. It reaches out to subscribers, mainly theatre owners and trade professionals in India, also subscribers in select Asian cities. Additional copies are being promoted at major international industry events. TheatreWorld seeks the healthy promotion of the theatre industry through dissemination of useful information. Some of the information is compiled from industry sources, trade journals, company brochures for the benefit of readers, especially, theatre owners. TheatreWorld acknowledges with thanks the authors and publishers of these printed materials. Views expressed in the articles are those of the authors and not necessarily of TheatreWorld. TheatreWorld is a trademark under registration. The contents of TheatreWorld are under copyright registration. All rights reserved. Reproduction by any means in whole or part without written permission is prohibited. Unsolicited printed material is welcome but no responsibility is undertaken for the same and will not be returned. TheatreWorld does not take responsibility
Christie IMB Completes Dolby Atmos Testing, Licensing Christie announced that the Christie IMB, an Integrated Media Block solution that seamlessly converts and delivers feature-film and alternative content within a secure environment, now supports Dolby Atmos, a new audio solution that revolutionizes the experience of sound in entertainment. Dolby Atmos unleashes the potential of sound in storytelling by giving filmmakers the creative freedom to easily place or move sounds anywhere in the movie theatre to create a life-like cinema sound experience. The announcement follows beta tests at several large cinema customers of Christie that confirmed the Christie IMB - Dolby Atmos synergy, including support for all of the latter's functionality, including playback. "Combining our powerful IMB with Dolby Atmos, and adding our new Christie Vive Audio cinema sound system, enables exhibitors to create a movie experience that is second to none," said Craig Sholder, vice president, Entertainment solutions, Christie. "Christie continues to work closely with Dolby and other cinema partners to ensure reliable and flawless support for Dolby Atmos." Christie boasts the largest installed base of DLP Cinema projectors globally, many of them with Christie's own IMB, so the power of Dolby Atmos will now be available to many more cinema installations worldwide. The Christie IMB firmware update enables the change for all of Christie's 2K and 4K, DCI-compliant Solaria Series 2 projectors having a Christie IMB. "By integrating Dolby Atmos with third party solutions like Christie's IMB, we are making it easier than ever for exhibitors to embrace the future of cinema sound," said Doug
Darrow, Senior Vice President, Cinema, Dolby Laboratories. "Dolby is the only company that has successfully deployed object-based audio in hundreds of cinemas worldwide, using sound to make movie audiences feel as if they are in the movie, not merely watching it." Built into Christie projectors or easily inserted into previously purchased units, the Christie IMB utilizes industry standard, non-proprietary storage solutions, giving exhibitors the smoothest possible transition to HFR (High Frame Rate) and 3D projection standards. The Christie IMB provides an integrated solution
from a single, trusted equipment supplier. All Solaria Series 2 projectors are designed to integrate seamlessly with the Christie IMB and the Christie Previsto High Frame Rate (HFR) technology. Featuring complete cinema content support, as well as MPEG2 and H.264 support for pre-show advertising and alternative content, the design of Christie's IMB is grounded in a solid understanding of the projector's software, thermals, vibrations and internal power supply, ensuring the most reliable projection system on the market.
QSC Audio Promotes Barry Ferrell to Senior Vice President and Chief Strategy Officer QSC Audio Products, LLC., announced the promotion of Barry Ferrell to the position of Senior Vice President and Chief Strategy Officer.
Barry Ferrell began his career at the company in 1990 as an Applications Engineer and was the first technical hire at the company in the sales and marketing department. In 2009, Barry assumed the leadership role of the Cinema Group at QSC, and was promoted to Vice President of Cinema in October 2012. Under Barry's leadership, QSC has become a leader in the global cinema market. Over his 23-year career at QSC, Barry has served as the product manager for every cinema product developed at QSC, including DCA amplifiers, DCM crossover/monitors, DCS loudspeakers, and the DCP line of
Digital Cinema Processors. In addition, Barry has had significant input in the development of other major products in the Installation markets. In his new role of Chief Strategy Officer, Barry's responsibilities will include helping to set the overall strategic direction of the company. In addition, he will be responsible for the development and execution of product strategies across all of the markets served by QSC. "Barry's success in the cinema group has proven that he's mastered the skills of anticipating a market's needs, developing the strategies to address them, and most importantly, marshaling the internal resources to execute the necessary tactics in an efficient and timely manner," says Joe Pham, QSC Chief Executive Officer. "We're looking forward to being able to apply his perspective and leadership skills across the entire product development organization." Although he will remain involved with the cinema group at a strategic and product planning level, day to day operations of QSC Cinema will be managed by Danny Pickett and Mark Mayfield. As Cinema Sales Manager, Danny Pickett will be responsible for sales and customer support, while Cinema Marketing Manager Mark Mayfield will manage all marketing related functions and activities. "Clearly, strategy must be consistent across any organization," says Ferrell. "Product strategy must be supported by complementary sales and distribution strategies. At the same time, sourcing and logistics continue to be vital to QSC's success and profitability in a global market. As I look forward to the challenges of my new role, I have the utmost confidence in Mark and Danny to lead the cinema team going forward."
Barco Supports 40th Film Fest Gent - Belgium Visualization expert Barco and long-term sponsor of Film Fest Gent (Belgium) is proud to support the 40th edition of this prestigious festival, from 8 to 19 October. As the preferred visualization partner to Film Fest Gent, Barco supplied projectors, a LED display and an interactive voting solution for the Best Belgian Student Short Film Competition. This year's festival also featured collaboration with the legendary Cinema De Keizer in Lichtervelde, thus illustrating Barco's vision for the 'Cinema of the Future' for smaller theaters and art house cinemas. For Film Fest Gent 2013, Barco's rental partner XL Video installed several projectors, to allow visualization during events and screenings at various festival venues. To welcome the guests of the Kinepolis multiplex, traditionally the heart of the film festival, rental partner Photonics set up a big LiveDots C8 LED display that streams live video content of the red carpet activities. One Kinepolis theater further featured technology from dZine, a Barco company, facilitating a live interactive voting session for the Best Belgian Student Short Film Competition.
Cinema De Keizer In addition, Film Fest Gent chose to cooperate with the authentic, one-theatre Cinema De Keizer. Established in 1924, Cinema De Keizer is the lifework of cinephile Agnes Debaillie and a reference beacon in Belgian cinema. It reopened its doors to the public in December 2012, after a complete makeover during which a Barco compact DP2K-10S digital cinema projector was installed. Cinema De Keizer enjoyed an extremely successful first 'digital' year, which culminated in being chosen as a satellite venue for Film Fest Gent.
Cinema De Keizer has the honor of showing 'Behind the Candelabra', the festival's closing film, on 18 October - the day when the movie will enjoy its pre-premiere in Ghent too.
Sharing a passion for movies Cinema De Keizer is delighted with the avant-premiere. Sofie Eeckeman, who operates Cinema De Keizer: "Last year's refurbishments have catapulted us into the digital age and we're constantly upgrading our technology to bring our theatre into the future. Last week, we installed three new digital signage screens and we're planning to offer interactive content in the future. We really believe that the combination of our old era charm and advanced technology enhances the cinema experience. The partnership with Barco and Film Fest Gent helps us highlight this added value. It's great to get appreciated by big names in the world of cinema, like Film Fest Gent and Barco."
Cinema of the future This year's Film Fest Gent is, more than ever, a showcase for Barco's vision of the 'Cinema of the Future'. Great movies and image quality will remain key, yet the audience of the future will expect more. Tim Sinnaeve, Market Director Digital Cinema: "Together with our partners in the exhibition industry, we're constantly working on new applications, like interactive concepts for cinemas. This includes enabling moviegoers to use smartphones to participate in the cinema experience, for example during real-time voting sessions. We're excited to provide a sneak peek of some of these applications during the 40th anniversary of Film Fest Gent, both at Kinepolis and Cinema De Keizer."
Christie Australia Continues to Help Support Local Cinema Industry Christie continues to support the Australian International Movie Convention (AIMC) with its range of digital cinema solutions. This marks the fourth consecutive year that AIMC has used Christie Solaria Series projectors for all the movie screenings that took place from October 14 to 17, 2013 in the Jupiters Theatre. With a history of more than 80 years in the cinema business, Christie has been actively involved in commercial and technological breakthroughs to further the growth of the global cinema industry. In Australia, it has recently worked with Reading International, Inc. to establish a long-term VPF deployment agreement with the Australian and New Zealand subsidiaries of Reading to provide for the digital conversion of all of Reading Cinemas screens in those two countries. In July 2013, a Christie Duo was also installed in Hoyts' Blacktown Cinema 5 to light up Australia's biggest traditional screen. Through its local partners such as Hoyts and Edge Digital Technology in Australia, Christie has supported the AIMC in the last few years with the latest technologies to provide the best possible digital cinema experience for the attendees. "As the dominant brand in the digital cinema projection market, Christie has always dedicated itself to providing the most current digital cinema technologies worldwide, including Australia. Through our local partners in Australia and New Zealand, we have been able to introduce our innovations including the Christie Duo and other visual solutions to the cinema industry in this region. Now, with an Australian-based office, we're certain that we can work closely with our existing partners to provide even more timely service and support to better serve the needs of the local theatres," says Lin Yu, vice president, Christie Asia Pacific.
During AIMC, all movie screenings including the Australian premiere of "Captain Phillips" were powered by a Christie CP4220 projector in the Jupiters Theatre. As the world's first superior 4K DLP Cinema Projector and the latest addition to the Christie Solaria Series, the projector together with the Christie IMB is a very reliable, cost-effective 4K DLP Cinema solution available today. "The Australian and New Zealand cinema markets are collectively one of the world's highest box offices for international releases. The Australian box office grossed about USD1.06 billion last year and it has been increasing over the last four years. This growth may be partly accounted for by the large scale deployment of digital cinema projectors in the country," comments Michael Bosworth, general manager, Christie Australia. "AIMC is one of the leading cinema events in Australia and we're glad that we've been given this opportunity to present the latest digital cinema technologies to help exhibitors maximize the returns on their investments."
Arts Alliance Media Expands in Colombia with Royal Films Deal Digital cinema company Arts Alliance Media is continuing its digital cinema expansion in Latin America with a VPF deal with prominent Colombian exhibitor Royal Films. The deal will see AAM,
in conjunction with Latin American VPF partner Quanta-DGT, converting 136 of Royal Films' screens to digital, and equipping each screen with TMS (Theatre Management System) software, known as Screenwriter. Working with local integrator partner Bardan, AAM will begin installing equipment from early next year. AAM's Screenwriter software, already installed on around 20,000 screens worldwide, will bring automated content and schedule management through an easy-to-use interface, making cinema operations straightforward and error-free. All Royal Films screens will also be equipped with AAM's Locksmith technology, which manages KDM delivery to exhibitors. Habib Osman, CEO of Royal Films, said "We're delighted to have Arts Alliance Media as our digital cinema partner; we have seen how their expertise is helping the digital conversion throughout Latin America, and are looking forward to having their software to simplify our operations and unlock the benefits of digital for our cinemas." Guillaume Thomine-Desmazures, Senior Sales Manager at Arts Alliance Media, said "Being able to announce this deal for over 100 digital screens is a further step forward for us, and we are proud to have a forward-thinking exhibitor such as Royal Films on board and are looking forward to continuing to work with them to bring digital to more screens in Colombia." Arts Alliance Media's Commercial Director Eric Stevens added "Since we announced the conclusion of our Latin American VPF deals with major US distributors in 2012, we've been having many conversations with exhibitors and industry players throughout the region and the rollout is making real progress. We're thrilled to be able to add Royal Films to our roster of partners in the region."
Marcus Theatres Reinforces Commitment to Providing the Ultimate Moviegoing Experience Barco is supporting Marcus Theatres as it takes the next step in evolving its digital cinema platform by installing Auro 11.1 by Barco. The industry-leading immersive cinema audio solution will combine with a JBL loudspeaker system to create a premium, immersive cinema experience in Marcus Theatres' new giant-screen auditoriums. The ultimate moviegoing experience, Every aspect of the new UltraScreen auditorium is engineered for the ultimate in picture, sound and comfort to deliver a premium cinema experience. "Marcus Theatres was the first circuit to introduce the concept of a branded premium large format screen and continually strives to make the experience even better for our guests. Partnering with the industry's leading digital cinema companies is critical to our success," said Rolando Rodriquez, president and CEO of Marcus Theatres. "With Barco and JBL, we are excited that we can deliver a one-of-a-kind cinema experience where our guests will be truly immersed in a movie like never before."
UltraScreen premium auditoriums featuring Barco's 4K digital projection. The perfect blend of immersive sound technologies Auro 11.1 by Barco is designed in accordance with a sound reproduction layout consisting of three layers (traditional Surround Sound with Height and Overhead layers), which enables studio sound mixers to move objects around in space to create the most life-like acoustical experience. Auro 11.1 is fully compatible with existing audio equipment and current workflows. The JBL CBT 70J-1 Line Array Column Surrounds with Constant Beam Width Technology and Asymmetrical Coverage produces a higher concentration of sound with tighter pattern control for very consistent SPL levels throughout the auditorium. The concentration of superior sound level and pattern control makes the CBT70J-1 Line Array an ideal solution for Auro 11.1 surround installs.
"We are pleased to work with Marcus Theatres and Barco as the Auro 11.1 sound format promotes our technical prowess in cinema audio. Marcus UltraScreen is the perfect setting to showcase our CBT series that has gained popularity for cinemas looking for high impact surround solutions," comments Chuck Goodsell, Director of Cinema for JBL Professional. Entertaining a new generation The emerging media savvy generation demands a high level of sophistication when it comes to their entertainment dollar. "With Auro 11.1, we're helping studios and exhibitors bring movies to life with a variety of cutting-edge technologies, including Auro 11.1, as well as other value-added promotional opportunities on the horizon. These next-generation cinema solutions will combine to give the moviegoing public a richer, more immersive cinema experience on a grand scale," comments Patrick Lee, Vice President Digital Cinema for Barco North America.
The new UltraScreen auditorium, located at the Gurnee Mills Cinema near Chicago, Illinois, features: •
72' x 31' screen
Over 400 plush seats with articulating backs
Auro 11.1 by Barco immersive cinema sound system
Barco DP4K-32B dual-stack digital projection
JBL CBT 70J-1 Line Array Column Surrounds with Constant Beam Width Technology and Asymmetrical Coverage
Marcus Theatres is evaluating plans to expand the Barco Auro 11.1 cinema Sound system to additional
Cineplanet and Bardan to Deploy Doremi IMS1000 and IMBs Across 191 Theatres in Peru and Chile Doremi announced that its premier Integrated Media Server (IMS1000), Integrated Media Block (IMB) and Live Event Player (LE100) have been selected by Cineplanet Peru and Chile to deliver maximum experience to their customers as they continue to expand across South America. Over the past decade, as theatres have modernized with premium amenities, cinemas in South America have seen exponential growth. Cineplex S.A., which owns both Cineplanet and Movieland cinemas in Peru and Chile, has been on the forefront of cinema experience enhancement. To date, 28 of their screens have been upgraded with Doremi technology with an additional 163 screens being completed by October 2014. Two hundred (200) additional screens will be added during the next two years. "After considering and testing other brands of servers, CinePlanet chose to stay with Doremi due to its commitment to reliability and superior performance. Going forward, we feel confident in the post-sale support from Bardan Cinema and Doremi." Commented Fernando Soriano, CEO, Cineplex S.A. The Doremi Integrated Media Server, in deployment by long standing industry leader Bardan Cinema, is a revolutionary server solution delivering extraordinary digital cinema experiences with greater efficiency, flexibility and lower cost of ownership. These units feature a unique single-board solution with digital storage, server capabilities and a secured DCI image media block in a compact form that enables it to fit inside DLP projectors. "Bardan Cinema is dedicated to ensuring that its clients receive the highest quality products and service available on the market. Doremi is the best choice that not only gives our
clients the assurance of maximum up time without problems, but also allows Bardan to meet our commitment to the technical success of the exhibitors who choose to work with us." Added Daniel A Benitez jr., CTO, Bardan Cinema. "Doremi is deeply dedicated to delivering advanced digital cinema products and cost effective, high quality and flexible solutions embedded with the most-desired, forward-looking features." said Michael Archer, VP Digital Cinema, "The equipment selection that Cineplanet is making now will assure their success as the business of digital cinema continues to evolve."
Dolby Announces First Live Music Performance Mixed in Dolby Atmos Dolby Laboratories announced that Metallica: Through the Never, a film based on the ground-breaking rock band, is the first live music performance mixed in Dolby Atmos. Metallica: Through the Never, created by award winning film maker Nimrod Antal, is a music driven feature film that combines a bold narrative and spectacular live-performance footage
of one of the most popular and influential rock bands in history; producing a bracing, raw and visceral cinematic experience. Featuring dazzling pyrotechnics, the most elaborate stage ever built and imagery drawn from the band's trailblazing iconography, combined with the life-like audio of Dolby Atmos, every beat, snare and vocal is heard in perfect clarity. Andreas Spechtler, Regional Vice President, EMEA, Dolby Laboratories, said, "Hearing one of the world's biggest rock bands in Dolby Atmos allows the fans to feel like they are actually in the stadium experiencing the real deal. It adds an entirely new dimension to cinema sound and showcases the full capabilities of Dolby Atmos in an innovative way with maximum impact." Ralph Dietrich, CEO of Ascot Elite Entertainment Group, who is at the forefront of independent film distribution and the distributor of Metallica: Through the Never in Germany, said: "We are incredibly proud that Ascot Elite is releasing the very first concert to ever be mixed in Dolby Atmos. This marks an important milestone for both Ascot Elite and Dolby. We are always innovating and looking for ways to take the next step in film entertainment and Dolby Atmos provides the perfect opportunity." Scheduled for release in October 2013, Metallica: Through the Never tells the story of Trip, a young roadie working Metallica's tour who is sent on an urgent mission during the band's live sets. The seemingly simple assignment turns into a surreal adventure when Trip's car is hit by an out of control driver. Trip, dazed and bruised, climbs out of his van only to find himself pitched into the middle of tense stand-off between angry protesters and charging riot police. In the ensuing mayhem, a vicious masked horseman sets his murderous eye on Trip. He only has his wits to protect him as he attempts to deliver the band's precious cargo and avoid becoming the horseman's next victim.
RealD and Karo Film Sign Deal to Install 10 "Luxe: A RealD Experience" Auditoriums Global 3D and visual technology licensor RealD Inc. (NYSE: RLD) and leading Russian theatrical exhibitor Karo Cinemas announced an agreement to install 10 "LUXE: A RealD Experience" auditoriums in Karo cinemas in key Russian markets. Recently introduced by RealD as a new Premium Large Format (PLF) initiative, initial "LUXE: A RealD Experience" auditoriums will be installed at Karo locations in Moscow and St Petersburg, and are expected to open this winter. An additional eight "LUXE: A RealD Experience" auditoriums are expected to be installed at new Karo locations across Russia and are expected to begin to open at the end of 2Q 2014. All 10 "LUXE: A RealD Experience" auditoriums opened at Karo locations will feature RealD 3D projection and a RealD Precision White Screen. "'LUXE: A RealD Experience' auditoriums hold the promise of a new, unified Premium Large Format brand moviegoers will find synonymous with the best available cinema experience," said Michael V. Lewis, CEO of RealD. "We look forward to working with Karo to bring the 'LUXE: A RealD Experience' brand to life so moviegoers can experience the assured quality 2D
and 3D visuals, audio and seating that will combine to create the ultimate out of home entertainment experience." "As a leading circuit in the rapidly growing Russian market, we strive to offer the very best possible movie-going setting for our filmgoers," said Paul Heth, CEO of Karo Cinemas "'LUXE: A RealD Experience' is the perfect initiative to define our 2D and 3D premium offering. Alongside RealD, we will continue to strive to provide our audiences a unique, fully immersive, highly technically advanced visual and sound experience." "LUXE: A RealD Experience" is the Premium Large Format (PLF) initiative introduced by RealD at CineEurope 2013 with the aim of unifying the exhibition community under a single brand with a goal of becoming synonymous with the ultimate out of home entertainment experience. Minimum standards will assure all "LUXE: A RealD Experience" auditoriums feature massive screens, ultra bright 2D and 3D, enveloping audio and luxury seating for a premium movie-going experience. "LUXE: A RealD Experience" auditoriums will provide full flexibility with content, allowing exhibitors to show any movie at any time for optimized profitability. All "LUXE: A RealD Experience" auditoriums will meet minimum technology specifications to assure a premium cinema experience, such as: usage of RealD 3D, the industry's brightest 3D projection technology; wall-to-wall/floor-to-ceiling screens of at least 16 meters in width; 3D sound; auditorium rakes to optimize patron's views and more. Additional exclusive new technologies to be announced are expected to be incorporated into "LUXE: A RealD Experience" auditoriums.
Disney and Christie Sign Technology Supply, Support and Services Agreement The Walt Disney Studios has entered into an agreement with Christie to provide the latest digital cinema technologies and a variety of professional services for The Walt Disney Studios' production, post-production, screening rooms and premieres. In addition, Christie's Managed Services will provide Disney's accomplished engineering team with round-the-clock support for Disney's digital cinema facilities, supported by Christie's Network Operations Center (NOC) and Christie's on-site preventative maintenance services. The two companies will share projection technology ideas and innovations to provide audiences with unparalleled movie-going experiences. Disney will have early access to emerging Christie technologies and provide input into product development, including laser projection, 4K projection, and Christie's Integrated Media Block. "Disney continues to push the limits of technology and innovation, and we at Christie are honored that we have this long-term opportunity to bring our considerable technology and service resources to bear to support Disney's movie business," said Jack Kline, president and COO, Christie Digital Systems USA Inc. "Our agreement with Christie assures us of leading-edge projection technology and services for our Motion Pictures and our Studio Lot," said Jeff Miller, President, Studio Operations, The Walt Disney Studios. "We're also looking forward to working with Christie to refine and improve projection technologies."
New York's Goldcrest Post Builds a "Wow" Room with Meyer Sound Cinema System Located in New York's West Village, film post production facility Goldcrest Post has recently launched Mix Theatre Q, its newest mixing room that marks a key component of the company's growth plans. With the goal to attract new clients to Goldcrest Post, Mix Theatre Q has installed a Dolby-certified Meyer Sound cinema monitoring system.
loudspeakers, and a Galileo loudspeaker management system with two Galileo 408 processors. The system was provided by Steven Strassberg Associates of New York, and installed by Avi Laniado, with assistance from Goldcrest Post staff engineer Bob Troeller. Acoustical design was handled by David Kahn in the New York office of Acoustic Dimensions.
Goldcrest Post decided it was time to expand when prominent New York audio post facility, Sound One, shuttered its business. "At the time, we had a screening room that was underutilized," recalls staff re-recording mixer Andy Kris. "I proposed that we create what I call a 'wow' room. Other rooms of similar size were popping up, and I was looking for ways to give us the edge. And the Meyer Sound monitors were something that would definitely set us apart."
Completing the room's premium equipment package are Euphonix S5 Fusion and Avid ICON D-Control ES mixing consoles, MADI-connected Pro Tools HDX and Native systems, an NEC 2K DCI-certified digital cinema projector, and a Vevo BS65K acoustical woven screen. "With Meyer Sound monitoring, I now have the utmost confidence when mixing," says Kris. "There's no more mystery about how it will sound, because I know I'm hearing everything."
With its new audio capabilities, Mix Theatre Q has received uniformly positive feedback from the professional cinema community. To date, prominent mixers who have used the Meyer Sound system in the new mixing room include Dominick Tavella, Martin Czembor, and Eric Hirsch. "We've had a lot of interest from outside mixers," notes Jim Gardner, studio manager of Goldcrest Post. "When we tell them that we have Meyer monitors in here, they respond that they know them and can trust them."
consistent, if you pan a sound element across the LCR speakers and into the surrounds, the character of the sound does not change. The speakers are unbelievably accurate, and create a very uniform sound field.
Noteworthy projects that were mixed using the new Meyer Sound system in Mix Theatre Q include the final season of HBO's "Treme," CBS's "Blue Bloods," and NBC's "The Michael J. Fox Show."
"You also feel their sheer power," continues Kris. "All the low frequencies, which are often problematic in mixing rooms, are uniform across the bass spectrum."
"On the first mixing sessions," says Kris, I immediately noticed the improved imaging. Because the speakers are so precise and so
The Meyer Sound monitoring complement includes three Acheron Studio screen channel loudspeakers, two X-800C studio subwoofers, 10 HMS-5 cinema surround
Scrabble Ventures LLC Announces Another Successful Digital Conversion Scrabble Ventures continues to roll out digital projection systems under its simple, lease-to-own digital conversion program. Totem Lake Cinema in Kirkland, WA, and Roxy Cinema in Renton, WA, has come on board with the latest conversion of their 3 and 5-screen complexes. In partnership with Christie Digital Systems, USA Inc, Scrabble Ventures has successfully installed the Christie Solaria One solution at both sites, the brightest projectors designed for smaller screens. "Scrabble Ventures is able to provide the best solution for digital
conversion whether it is a multiplex or single screen movie house, we want to make it as affordable and easy as possible for exhibitors," Says Lisa Delgado, Operations Manager for Scrabble Ventures.
About Roxy Cinema The Totem Lake Cinema in Kirkland, Roxy Cinema in Renton is run by Jhankar Production and is open to host various movies, film festival and entertainment. The Valley Cinema in Beaverton Oregon & Cornelius 9 Cinemas in Cornelius, Oregon is used to show movies in Oregon. They specialize in showing Bollywood films from India. The theatre also shows movies from the classics, foreign films and host film festivals. The goal is to indulge patrons' passion for Films and theatre and bring communities together through Arts & Entertainment. They infuse the local scene with films and theatre from around the world and aim to support the community by providing venues to show all types of films from many different countries & languages.
Doremi Appoints Personal Video Services as its Brazilian Service Center Dealers and Exhibitors across Brazil will be seeing a faster and more efficient level of technical support due to a deal reached between Personal Video Services and Doremi, the world's leader in digital cinema technology. Doremi will establish a service center in S達o Paulo, Brazil to handle the replacement of warranty and non-warranty RMA parts. "Brazil is a growing region where exhibitors and VPF integrators have placed heavy trust in Doremi" said Michael Archer, VP Digital Cinema, Doremi Labs. "In response, Doremi is committing to ensuring the territory is quickly able to receive parts and
support, where necessary; as a way to assure that screens stay lit to reduce any impact on the screens that are enrolled in the VPF programs." Doremi's choice of Personal Video Service was largely based on Personal's unmatched reputation as a support group, in Brazil; and Personal's involvement with servicing other top tier digital cinema manufacturers and brands. The comprehensive product line offered by Doremi and its reputation for high performance and reliability are leading to substantial growth for the company in Latin America; which also continues to dominate global market share. Up to date, Doremi has seen worldwide shipments exceed 50,000 units.
QSC Audio Demonstrates Processing Power for Immersive Sound During exhibit hours at ShowEast 2013, QSC Audio Products, LLC, demonstrated a proof of concept of an end-to-end solution for the playback of immersive sound program material in their booth #709 on the trade show floor. The demonstration highlighted the capability of the QSC Q-Sys audio signal processing and routing platform to render MDA (multi-dimensional audio) files in real-time. MDA is an open platform, object-based audio format developed by DTS, Inc. that allows every element of a soundtrack to be mapped in 3D space, storing all of the spatial and behavioral information as metadata. For the demos, test program content
files were created using a ProTools MDA plug-in at The Dub Stage, a prominent Hollywood, CA post-production facility. The audio files were combined into a DCP (digital cinema package), which were played back through a Doremi server, then synched and rendered through the QSC Q-Sys Core processor. Q-Sys is a complete platform for digital audio signal processing, control and management. The primary elements of a Q-Sys system are the Core, Q-Sys Designer software, the Q-LAN network, and peripherals. The Q-Sys Core is the brain of the system, performing all audio routing, processing, and control functions. Q-Sys Designer software provides the interface for system design, configuration, and control. Q-LAN is the IP-friendly network that connects the system into an integrated whole. A variety of hardware peripherals (such as I/O Frames, I/O cards, and touch screen controllers) provide fully customizable and completely-scalable functionality. In addition to serving as the rendering engine, the Q-Sys Core also provides all necessary audio signal processing (such as equalization) and signal routing to the appropriate power amplifiers and loudspeakers. "Q-Sys is an extremely powerful processing platform that can be the central processor for any type of immersive audio format," says Barry Ferrell, Senior Vice President & Chief Strategy Officer for QSC. "Because of its scalable nature and the variety of hardware options, a Q-Sys system can handle as many channels or 'objects' as is required by the format. The result is a single processing platform that can support multiple audio formats with separate storable pre-sets for signal processing functions like equalization, level and routing."
Cobb Theatres to Expand Deployment of Immersive Audio with Auro 11.1 By Barco Barco is supporting Cobb Theatres in its quest to roll-out immersive audio in its premium auditoriums following deployments of Auro 11.1 by Barco in its Lakeland, Florida and Leesburg, Virginia sites. Having received overwhelmingly positive audience reaction to movie showings featuring Auro 11.1 immersive audio, Cobb is planning to expand the deployment of Barco's industry-leading cinema sound solutions on a wider scale.
Smart financial sense "We have crunched the numbers and Barco's Auro 11.1 is the most affordable solution to bring immersive audio to our patrons," comments Jeremy Welman, COO of Cobb Theatres. "For this reason we are incorporating Auro into our aggressive expansion plans over the next few years, starting with the installation of Auro 11.1 in some of our existing auditoriums. Barco has been a trusted digital projection partner for many years, and we are excited to expand our relationship by procuring their cutting-edge cinema sound technology."
installation-friendly. "Operationally, Auro 11.1 is the most flexible and easy-to-deploy system available on the market, which allows us to bring this kind of cinematic impact to our audiences in both an efficient and cost-effective way," comments Freddie Dobbs, VP of Construction and Technology for Cobb Theatres.
Elevating the moviegoing experience
Shaping the future of cinema technology
Cobb Theatres has fully embraced the concept of a "destination theatre," offering specialty cocktails and gourmet restaurant-quality fare, with an emphasis on plush comfort and elite-class guest service. The exhibitor's selection of Auro 11.1 is a natural extension of Cobb's desire to offer its guests the ultimate in cinema entertainment for a discerning audience.
Auro 11.1 by Barco is designed in accordance with a sound reproduction layout consisting of three layers (traditional Surround Sound with Height and Overhead layers), which enables studio sound mixers to move objects around in space to create the most life-like acoustical experience. Auro 11.1 is fully compatible with existing audio equipment and current workflows.
Flexible and easy to deploy In addition to the excellent quality that the Barco solution delivers in terms of high-fidelity immersive sound, the Auro 11.1 system is also
"We are thrilled to grow our already significant relationship with Cobb Theatres as they continue their investment in technologies designed to achieve cinema excellence," comments Patrick Lee, Vice President
Digital Cinema for Barco North America. "It is always a pleasure to partner with exhibitors that understand the value that our solutions provide for an increasingly sophisticated moviegoing audience."
Arts Alliance Media and Videvox Trial Electronic Content Delivery to Cinemas in Sweden with AAM Software Digital cinema company Arts Alliance Media (AAM), alongside Scandinavian partner Videvox, is rolling out an electronic content delivery trial to cinemas across Sweden. The trial of the Videvox MOV software, powered by AAM's Courier content distribution platform, will initially roll out to 10 sites. The trial will eventually expand to 70 sites in total.
Videvox MOV, powered by Courier, will be used during the trial to transfer trailer content to cinemas but ultimately extend to full feature content transfer. Courier is part of Arts Alliance Media's integrated software solution and will be offered to distributors as part of the company's pan-European content delivery service. As AAM's partner in Sweden and Norway, Videvox will be selling Courier throughout the region, branded as Videvox MOV. Courier is a content distribution system which allows individual sites to download content over a broadband connection. Courier leverages the cloud to deliver content from multiple sources directly to a Courier installer, or directly to a TMS such as AAM's Screenwriter, allowing content to be delivered and accessed via a simple application. Videvox, with its local knowhow, will tailor the solution to suit the Swedish and Norwegian markets. Exhibitor benefits include less human intervention and resource requirements, automatic content ingestion at site and full visibility. Exhibitor head offices and individual sites get immediate reporting on content delivery, ingest and any failures. Distributors get the benefit of peace of mind: instant and comprehensive reporting on content success and failures to avoid any issues and know all releases are ready to play.
to both distributors and exhibitors." Oscar Hovland, CEO of Videvox Norway, added "Being able to bring Videvox MOV to the Swedish market is very exciting for us, and we are proud to work with AAM to be a pioneer in the field of electronic content distribution. We're looking forward to hearing feedback from our exhibitor partners on how Videvox MOV can make their lives easier."
Egyptian Cinemas Digitizing with Kinoton Recently quite a number of high-end Kinoton digital cinema solutions began operating in Egyptian multiplex theatres. No fewer than 12 Kinoton DCS systems have been installed in the largest cinemas of Cairo and Alexandria. They include the City Stars Cinema with 16 auditoriums, which is the number one in Cairo, and the six-auditorium Cineplex Green Plaza in Alexandria. Cairo-based Stars Cinema Co., which owns the City Stars Cinema, also had its Golden Stars theatre equipped with the Kinoton Digital Cinema Solutions (DCS). Kinoton's distributor in Egypt, Waves Inc., installed two type DCP 30 MX II as well as three type DCP SX II digital cinema
projectors in Cairo. The latter is an ideal, cost-effective projection solution for implementing digital cinema on smaller screens. So as not to lose the capability of showing local analog film productions as well, all existing Kinoton film projectors were also left in place. The Green Plaza in Alexandria installed three DCP 30 LX II projectors for very large screens and another three DCP MX II projectors. It also reserved an extra DCP 30 LX II for open-air events and other special uses. The projectors are based on projection technology supplied by Barco. The 1.2-inch 2K DLP Cinema Series II technology from Texas Instruments guarantees highly precise color reproduction with brilliant contrast. The projectors also boast persuasive image quality, unique user-friendliness, and cost-effective operation. According to the operators of the Stars Cinema in Cairo, it is the city's largest cinema complex. All 16 of its auditoriums feature larger-thanaverage screens and state-of-the-art technology. The seats have also been selected to give moviegoers the best possible cinematic experience. The Cineplex Green Plaza in Alexandria is part of the bustling Green Plaza Mall. It has six auditoriums and capacity for about 1,500 persons. It mainly shows the latest Arabic and English-language films.
Victoria Galloway, VP Content & Distributor Services at AAM, said "AAM has always been a forward thinking company when it comes to content servicing, so we're delighted to be able to use our Courier software to power Videvox MOV and introduce another service to our offering. We are excited about Courier and Videvox MOV and the potential to integrate it with our other software to make the entire process seamless. We see electronic delivery as a vital future part of content delivery to cinemas and with this trial we hope to see exactly the advantages it can provide
CineAsia 2013 to Honor Intercontinental Group Holdings Limited's Terry Lai and RigoJesu with Lifetime Achievement Award in Distribution Intercontinental Group Holding Limited's Honorary Group Chairman, Terry Lai, and RigoJesu, Advisor, will be honored with the CineAsia Lifetime Achievement Award in distribution at this year's convention in Hong Kong. This Award will be presented as part of the Awards Ceremony on Thursday, December 12th at the Hong Kong Convention & Exhibition Centre. "It is with great pleasure that we are able to honor Terry Lai and RigoJesu with the CineAsia 2013 Lifetime Achievement Award in Distribution," stated Robert H. Sunshine, Co-Managing Director of the annual convention. "Both Terry and Rigo have a long and acclaimed history that makes them a 'tour de force' in distribution, production, content creation, video, gaming, and live performances."
About Terry Lai Terry Lai established Intercontinental Film Distributors (HK) Limited(IFDL) in 1969 to produce and export Chinese films around the world. From that singular desire, a strong company with a diversified business organization grew and expanded to include film and video distribution, cinema operations and full service advertising. This success led to the establishment of Intercontinental Group Holdings Limited in 1996. Today, Intercontinental Group is an organization with over 400 employees with a turnover in the HK$600 million range. Its businesses include film and video distribution, cinema operations, advertising and promotion services, video games distribution, e-commerce, and character products merchandising.
About RigoJesu In Hong Kong, Rigo began his career in entertainment at Capital Artists
distribution and e-commerce, character products merchandising, advertising and promotion, and cinema operations.
Limited, a subsidiary of TVB International, where he was promoted to the position of Acting General Manager in 1973. During this period, he grew the company's presentation of major international live performances in Hong Kong as well as establishing a music publishing and recording division for local artists. In 1980, Rigo left Capital Artists Limited to form his own company, Jesu International Entertainment Limited. His business focused on organizing and promoting international shows, presenting in concert famous artists including Eric Clapton, Elton John, Stevie Wonder, and David Bowie, among others. Apart from running his own business, he also assisted Intercontinental Film Distributors (H.K.) Limited (IFDL), focusing mainly on the sourcing of foreign films and introducing them into Hong Kong. In 1985, Rigo ceased the operation of his live entertainment business in order to become wholly devoted to the growth and development of IFDL and its parent company, Intercontinental Group Holdings Limited (the "Group"), as its Managing Director. His focus was to develop the Group into a diversified entertainment organization, with businesses covering film and video distribution, computer games
CineAsia 2013 will take place from December 10-12, 2013 at the Hong Kong Convention and Exhibition Centre in Hong Kong. It will feature screenings of upcoming Hollywood films, sponsored events, timely and informative seminars, and the CineAsia Trade Show. CineAsia is produced by Prometheus Global Media., owner of leading entertainment publications and events including Billboard and the Billboard Latin Music Awards, The Hollywood Reporter, Backstage, Adweek, the CLIO Awards as well as ShowEast and CineEurope.
Doremi Appoints Personal Video Services as its Brazilian Service Center Dealers and Exhibitors across Brazil will be seeing a faster and more efficient level of technical support due to a deal reached between Personal Video Services and Doremi, the world's leader in digital cinema technology. Doremi will establish a service center in S達o Paulo, Brazil to handle the replacement of warranty and non-warranty RMA parts. "Brazil is a growing region where exhibitors and VPF integrators have placed heavy trust in Doremi" said Michael Archer, VP Digital Cinema, Doremi Labs. "In response, Doremi is committing to ensuring the territory is quickly able to receive parts and support, where necessary; as a way to assure that screens stay lit to reduce any impact on the screens that are enrolled in the VPF programs."
Doremi's choice of Personal Video Service was largely based on Personal's unmatched reputation as a support group, in Brazil; and Personal's involvement with servicing other top tier digital cinema manufacturers and brands. The comprehensive product line offered by Doremi and its reputation for high performance and reliability are leading to substantial growth for the company in Latin America; which also continues to dominate global market share. Up to date, Doremi has seen worldwide shipments exceed 50,000 units.
Cinestar Multicines in Peru Expands Digital Cinema Footprint with GDC Technology and CE+S GDC Technology Limited announced that it is deploying its flagship product - the SX-3000 Standalone IMB with Portable Storage to Cinestar Multicines, part of the Kapur Media Group and the second largest domestic exhibitor in Peru, in partnership with CE+S, a professional digital cinema service provider in America. As the system integrator, CE+S will provide Cinestar Multicines with GDC Technology's SX-3000 Standalone IMB and digital cinema projectors, as well as a full range of support services. CE+S will spearhead the conversion of Cinestar Multicines's 73
screens in 16 theatres from installation to maintenance via its Cinevise Network Operations Centre ("NOC"), which will provide 24/7 proactive remote monitoring of the whole circuit. "We are pleased to partner with GDC Technology and CE+S to elevate movie presentation quality and theatre operations to the highest possible level, to meet the growing demand for high quality motion picture entertainment in Peru," commented Varun Kumar Kapur, Operations Manager of Kapur Media Group. "We chose the SX-3000 Standalone IMB because of its innovative architecture which eliminates the need for an external file server and also for its expandable and reliable storage solution." "We feel honored that Cinestar Multicines has chosen CE+S to roll out and service its cinema equipment. This will mark a milestone in our business relationship of 20 years between CE+S and Cinestar Multicines." said Alex Younger, Vice President of CE+S. "We value our partnership with Cinestar Multicines and are thrilled to be working together with it on its digital cinema rollout in conjunction with CE+S," commented Dr. ManNang Chong, founder and CEO of GDC Technology. "We are delighted that our SX-3000 Standalone IMB was selected by Cinestar Multicines which improves presentation quality and theatre management efficiency. We are determined to help keep Cinestar Multicines on the leading edge of cinema technology in the years to come."
MasterImage 3D Lights Up ShowEast with their New High Brightness 3D System
MasterImage 3D, Inc., announced a new alternative for large-format cinemas seeking brighter 3D presentation with the introduction of its MI-HORIZON3D digital cinema system. The newest addition to its 3D product portfolio, the MI-HORIZON3D is a singleprojection system that delivers extremely bright 3D images and the sharp 3D experiences moviegoers have come to expect from MasterImage 3D. Like all MasterImage 3D systems it comes with a flexible ownership business model that continues to prove to meet the needs of cinema owners around the world. "Up until now, high-brightness 3D has also had a dark side: Long contracts and licensing fees," said Younghoon Lee, Chairman and CEO of MasterImage 3D. "MI-HORIZON3D is the perfect solution timed for a blockbuster 2014 of 3D films. Now exhibitors can own a highbrightness solution from a worldclass company and maximize their upside participation in 3D returns." The MI-HORIZON3D will begin shipping in all regions Q1 2014. The MI-HORIZON3D will complement MasterImage 3D's existing product portfolio to serve any theatre's needs.
CineAsia 2013 to Honor TOHO Cinemas With "Exhibitor of the Year" Award
"We have a long-standing promise with our exhibition customers to represent only the best technology, solutions and companies," says President, China Film Equipment Co., Ltd.
TOHO Cinemas and its President, Head of Sales, Internal Control and Corporate Planning, Kazuhiko Seta, will be honored with the CineAsia Exhibitor of the Year Award at this year's convention in Hong Kong. This Award will be presented as part of the Awards Ceremony on Thursday, December 12th at the Grand Hyatt Hong Kong. "It is a great honor to be able to single out the achievements of TOHO Cinemas and Kazuhiko Seta at this year's CineAsia", noted Robert H. Sunshine, Co-Managing Director of the annual convention. "Despite many demographic obstacles, TOHO Cinemas has emerged as Japan's leading cinema by employing the latest technologies and putting the customer first." Despite a wide variety of obstacles in Japan such as a decreasing birth rate, an increasingly aging population, an overall shrinking population, and the increasing popularity of video-on-demand services, in 2012 Mr. Seta lead TOHO Cinemas to achieve the highest market share in the last five years. This was achieved by aggressively adopting new technologies such as digital projection, 3D, and ticket vending machines and by streamlining its cinema operations ahead of their competitors. As a result, TOHO Cinemas recorded the highest profits since its foundation in 1997 in the fiscal year 2012 (FYE Feb. 2013). Mr. Seta played an integral part in TOHO Cinemas being the first theatre circuit to equip its cinemas with digital and 3D as well as the latest equipment and technologies such as ticket vending machines and digital content, including alternative content, all to provide services beyond customers' expectations. It is Mr. Seta's goal to not only contribute to the company's success, but also the prosperity of the Japanese film industry.
automation and High-Frame-Rate compatibility.
TOHO Cinemas currently has 62 sites with 567 screens, including five sites with 56 screens managed jointly with other exhibitors and will have 63 sites with 577 screens by the end of this year.
MasterImage 3D and China Film Equipment Co., Ltd Sign Agreement as 3D Cinema Systems for China's Premium Market Global 3D display technology leader MasterImage 3D, Inc and China Film Equipment Co., Ltd. (CFEC) announced an agreement to market and distribute premium 3D cinema systems to over 30 provinces throughout China. China Film Equipment Co., Ltd. will service customers with MasterImage 3D's high-quality cinema systems. MasterImage 3D cinema products include their flagship for standardsized theatres and the newly announced MI-HORIZON3D featuring industry-leading image brightness for larger-format exhibition. All models offer a license-free ownership business model, full system
"Moviegoers in China have a great appreciation and very high standard for compelling 3D cinematic experiences," says Younghoon Lee, Chairman and CEO at MasterImage 3D. "We are honored by our partnership with China Film Equipment Corporation and are confident that our 3D cinema products will delight cinema patrons in China."
Harkness Screens Unveils Versions of the Digital Screen Modeller and Digital Screen Archiver for the Android Platform Harkness Screens the manufacturer of projection surfaces for cinema and thought-leaders in on-screen brightness has released versions of its critically acclaimed Digital Screen Modeller and Digital Screen Archiver apps on to the Android Platform. "Since we launched the apps at CinemaCon we've been totally blown away by the response from the industry. In a little under six months the apps have generated over 1,100 downloads from the Apple App Store and when you consider the size of the industry we're in, at least from a technical perspective, you realise what a remarkable achievement that is," says Richard Mitchell, Worldwide Marketing Manager at Harkness Screens. The Digital Screen Modeller is a 3D
simulation tool that allows architects, engineers and exhibitors to visualise and optimise digital cinema scenarios in a virtual environment to help make more informed decisions about screen, projector and lamp choices before they're even installed or as part of planned refurbishment projects. The Digital Screen Archiver is a secure cloud-based tool that aids projectionists, managers, engineers and exhibitors to maintain their digital cinema auditoria. The tool enables key cinema data to be captured in a standardised format during maintenance visits and use extensive back-end reporting tools to schedule maintenance and monitor screen performance against industry standards. "We've been working hard over the past six months to add in new functionality and content that's been requested by our customers and user base. However during that time there's been one recurring request from the industry as a whole; for the apps to be made available on the Android platform and following several months work and testing we're now able to provide a crossplatform solution," Mitchell adds. "These apps have and continue to rapidly change the way exhibitors think about light on screen and screen management as a whole. We know that in the short time these apps have been available they've already started resolving real-world issues. Now that we have the apps available on via the Android Market we fully expect our user base to grow dramatically as we provide an alternative to the iOS platform," Mitchell concludes. With Harkness having now completed the launch of both the Digital Screen Modeller and Digital Screen Archiver on both the iOS and Android platforms the company has turned its attention towards the creation of further tools and utilities aimed at providing practical solutions for screen lifecycle management.
Royal Films Selects Barco and Bardan to Complete Digital Cinema Deployments Throughout Colombia Barco is working closely with digital cinema integrator Bardan Cinema to deploy 133 DLP Cinema projectors, converting 62 existing screens and installing 17 new auditoriums by Q1 2014, in addition to 54 projectors already deployed to date. For many years, Barco and Bardan have joined forces to help exhibitors in Latin America take advantage of a growing moviegoing population in Colombia, offering the latest digital cinema technologies and complete installation, customer service and technical support. Royal Films is selecting from Barco's wide range of digital cinema projectors to ensure the perfect match for every screen, from the compact, fully integrated DP2K-10S to the award-winning DP2K-32B model for the exhibitor's largest, premium screens. "With Bardan's endorsement of the support and technology offered by
Barco we are confident they are the best choice for our success in digitalization," stated Habib Osman, CEO of Royal Films.
Backed by dedicated service and support Barco will work with Bardan to deliver the full continuum of customer support, from site planning to projector selection, sales and installation, to comprehensive technical assistance. "It has been our great pleasure to serve Royal Films throughout their decades of growth. Given the commitment to quality and service that we have seen from Barco over the years, we know they will prove to be the most reliable solution for our valued customer," comments Vilma Benitez, CEO of Bardan Cinema.
Committed to Latin America digital cinema To serve its customers in Latin America, Barco provides 24/7/365 onsite technical support through local service teams, with parts conveniently available from eight parts depots in Latin America. In addition, Barco's installation and advanced service certification training is available in Sao Paulo, Brazil; Mexico City, Mexico; and Sacramento, California. "We appreciate Royal Films for their forward-thinking strategy, which will ensure that this new generation of moviegoers enjoys the highest level of cinema entertainment," comments Ney Corsino, Vice President for Barco Latin America. "Barco and Bardan have partnered on many successful deployments in Latin America, and are committed to serving the needs of Royal Films for the long term."
Harman International Acquires Duran Audio Harman, the leading global audio and infotainment company (NYSE: HAR), announced the acquisition of privately-held Duran Audio BV. The acquisition provides Harman with access to innovative electro-acoustic and software-based directivity control technologies including the successful AXYS Intellivox line of "steerable" columns. The AXYS products and core technologies will become an integrated part of the Harman Professional audio product line. "Today's acquisition of Duran Audio BV bolsters Harman's stated commitment to advance our technology leadership through both R&D and acquisitions," said Dinesh C. Paliwal, Harman's Chairman, President, and Chief Executive Officer. "Over the years, Duran Audio has established a distinct and loyal customer base built on innovative technology. By leveraging Duran's unique product lines with Harman's global footprint and product synergies, our business is optimally positioned to serve new customers around the world with expanded audio solutions."
and product areas across all geographic and vertical markets. Founded in Zaltbommel, The Netherlands by Gerrit Duran in 1981, Duran Audio has earned a strong reputation for its AXYS range of professional audio products including loudspeakers, amplifiers, signal processors and network devices. Duran Audio pioneered modern loudspeaker "beam steering" and "beam shaping" which are essential to addressing demanding acoustic environments. The company has also established a leading position in audio solutions for European EN-54 safety applications and software technologies for audio design.
Sony Signs Agreement with Cine Center to Digitalize its Cine Center Chain in Bolivia
Echoing this viewpoint, Gerrit Duran, founder of Duran Audio noted, "Our focus has always been on innovation. Over the years we have developed a range of solutions for some of the most difficult problems facing sound system designers, architects and acoustic engineers. Today's acquisition by Harman presents many wonderful opportunities to push the R&D boundaries even further and to deliver some truly unique technologies to a wider customer base."
The Professional Division of Sony Latin America, Inc. announced that it signed an agreement with Cine Center, leading exhibitor in Bolivia, to fully digitalize its cinema theatres. The agreement reflects both companies' commitment to offer their audience a superior way to experience movies.
The addition of Duran Audio to Harman's portfolio of commercial audio and lighting technology companies underscores Harman's strategy to complement continued growth through targeted acquisitions in adjacent technology
Sony will provide Digital Cinema solutions including central Server, Theatre Management System and NOC service as one package solution. With these latest solutions, Cine Center will be able to enjoy the vast benefit of digitalized theatre operation.
"Cine Center, under the leadership of Mr. Jordi Chaparro, has always been at the forefront of providing latest technology to Bolivian patrons to have the best possible moviegoing experience," said Seiichi Yamamoto, President of Sony Professional Latin America "I am so excited that the movie-goers in Bolivia will experience the full proof 4K exhibition for many years to come. Furthermore, I am confident that Sony's total solution including VPF program, Theatre Management System and NOC monitoring services will enhance the operational capability of Cine Center." Considered the leader in 4K technology, Sony's Digital Cinema 4K projection system has the highest digital cinema projection quality available. Sony's advanced SXRD microdisplay chip uses reflective liquid crystal technology to create over 8 million pixels, enabling it to deliver amazing resolution and picture quality for a more compelling and entertaining experience. The new R515 is the cutting edge 4K projectors for middle size screen with incomparable contrast ratio of 8000:1(average). Sony is strongly promoting 4K technology, four times higher resolution than 2K projection system, as the standard of Cinema Industry not just by promoting projector but also supporting film production with cutting edge 4K cameras. In addition, Sony will also manage VPF (Virtual Print Fee) program for Cine Center which will hugely support the transition of the movie theatre to digital exhibition and operation in terms of financing. "As a leading cinema in Bolivia, it is our focus to provide our customer with the best quality in digital cinema. 4K, definitely, is the way to go and Sony, especially R515, is the obvious pick for our future proof equipment, " commented Jordi Chaparro, President of Cine Center, Sony also delivers flexible offer in terms of VPF which will help our business plan for rapid digitalization. We are looking forward to further business opportunities with Sony group.
Twentieth Century Fox to Release Diverse Slate of Dolby Atmos Titles Dolby Laboratories, Inc. announced that Twentieth Century Fox will be releasing several Dolby Atmos titles in a broad range of genres, including action, animation, and comedy with The Secret Life of Walter Mitty, Rio 2, X-Men: Days of Future Past, and Dawn of the Planet of the Apes. Dolby Atmos has rapidly become the preferred sound format of awardwinning filmmakers, major studios, and exhibitors the world over. Dolby Atmos unleashes the potential of sound in storytelling by giving filmmakers the ability to precisely place or move sounds anywhere in the movie theatre to create the most engaging cinematic experience ever. "Dolby Atmos is the most powerful sound technology we have ever used," said Ted Gagliano, President of Post Production, Twentieth Century Fox. "Whether you are watching an action thriller or a comedy, Dolby Atmos will make you feel as if you, too, are in the movie, not merely watching it. Twentieth Century Fox is proud to have been among the first to support it." Fox has released a broad range of Dolby Atmos titles, including the Academy Award winning Life of Pi, A Good Day to Die Hard, and The Heat. Ben Stiller directs and stars in The Secret Life of Walter Mitty, James Thurber's classic story of a daydreamer who escapes his anonymous life by disappearing into a world of fantasies filled with heroism, romance, and action. When his job, along with that of his coworker (Kristen Wiig) is threatened, Walter takes action in the real world, embarking on a global journey that turns into an adventure more extraordinary than anything he could ever have imagined. The Dolby Atmos version will be mixed by Academy Award nominated rerecording sound mixer Skip Lievsay (dialogue and music).
Craig Henighan will be collaborating on the mix (FX) and will conduct the sound design. Henighan and Paul Urmson will be co-supervising sound editors. The Dolby Atmos mix will be conducted at the Zanuck on the Twentieth Century Fox lot and Warner Bros. Stage 6. The film is scheduled to release on December 25, 2013, in the United States. In Rio 2, from Twentieth Century Fox Animation and Blue Sky Studios, and directed by Academy Award nominated Carlos Saldanha, it's a jungle out there for Blu, Jewel, and their three kids, after they're hurtled from that magical city to the wilds of the Amazon. The Dolby Atmos version will be mixed by Academy Award winner rerecording sound mixer Randy Thom (FX), who will lead sound design. Thom will be accompanied by Academy Award winning rerecording sound mixer Lora Hirschberg (dialogue and music) at Skywalker Sound's Mix A Stage. Academy Award nominated Gwen Whittle will be the supervising sound editor. The film is scheduled to release on April 11, 2014, in the United States. In X-Men: Days of Future Past, the ultimate X-Men ensemble fights a war for the survival of the species across two time periods. The beloved characters from the original X-Men
film trilogy join forces with their younger selves from the past, X-Men: First Class, in order to change a major historical event and fight in an epic battle that could save our future. The Dolby Atmos version of X-Men: Days of Future Past will be mixed by Academy Award winning rerecording sound mixer Doug Hemphill (FX) and Academy Award nominated rerecording sound mixer Ron Bartlett (dialogue and music) at the John Ford Stage on the Twentieth Century Fox lot. Academy Award nominated Craig Berkey and John Larsen will be co-supervising sound editors. Berkey and Chuck Michael will conduct the sound design. The film is scheduled to release on May 23, 2014, in the United States. In the sci-fi action thriller Dawn of the Planet of the Apes, directed by Matt Reeves, man and ape are brought to the brink of a war that will determine who will emerge as Earth's dominant species. The Dolby Atmos version will be mixed by Academy Award winner rerecording sound mixer Andy Nelson (dialogue and music) and rerecording sound mixer Will Files (FX) on the Twentieth Century Fox lot at the newly equipped Howard Hawks Stage. John Larsen, Douglas Murray, and Files will collaborate on supervising sound editing and sound design. The film is scheduled to release on July 18, 2014, in the United States. "Dolby Atmos creates a virtual reality of sound by precisely placing and moving sounds within the theatre to make audiences feel as if they, too, are in the middle of the onscreen action," said Doug Darrow, Senior Vice President, Cinema, Dolby Laboratories. "Twentieth Century Fox, with its amazing range of Dolby Atmos titles over the past year, really shows how Dolby Atmos can take cinematic storytelling to a new level through sound." November-December 2013
South-Africa’s Nu Metro Cinemas Goes Fully Digital with Barco Digital Cinema market leader Barco and its integration partner RCC Trading are currently working hard to get all Nu Metro theatres fully digital by December 2013. The South African exhibitor, the second largest in the country, has ordered no fewer than 111 new Barco digital cinema projectors, to be installed across 16 sites. On top of that, selected Nu Metro theatres in Johannesburg, Cape Town and Durban will be equipped with Barco’s Auro immersive sound system – a premiere for Africa. Nu Metro Cinemas converted its very first fully digital cineplex in Johannesburg in 2009. Since then, the cinema chain had gradually gone digital. With the need for a full digital transition, came the decision to restrict the number of cinema projector suppliers. Barco was selected, on account of the quality and low total cost of ownership of its projectors, as well as its local presence in South Africa, which Nu Metro considered a guarantee for excellent support services. “We have been using Barco projectors for many years, at several Nu Metro sites, and their quality and reliability is beyond compare. Many of our colleagues in the cinema business agree with that, which further heightens our confidence in Barco,” said Luke Roberts, Nu Metro’s General Manager. “On top of that, our many meetings with the Barco team confirmed that Barco would be the right choice. The people there really know their projectors inside out.”
Sony Digital Cinema Solutions Advances xMassif Content Exchange Sony Digital Cinema Solutions is announcing the next phase of its xMassif Digital Cinema Content Exchange Platform, including new content providers. Sony started the xMassif pilot program in early 2013 to collect valuable user feedback and promote strategic alliances to enable a complete solution prior to the platform's commercial launch. Emerging Pictures will deliver diverse content for the xMassif platform, including specialty films and live and pre-recorded worldclass operas and ballets. The New York City-based event cinema and specialty film distributor plans to use the platform to provide booking request services to exhibitors for specialty film offerings, both individual titles and curated strands of genre-specific films. Sony and Emerging Pictures are also working together to deploy artMover receiver/servers in more than 200 digital cinema locations. "xMassif is an open platform designed to enable more programming options for content owners and exhibitors equipped with digital cinema projection systems," said Tac Sugiyama, Director, Digital Cinema Solutions at Sony Electronics. "The combination of xMassif and artMover technology provides a complete solution for event cinema content, including live events and even 4K live events in the near future." Emerging Pictures will work with international producers and rightsholders to build industry awareness of the xMassif platform's unique capabilities. "With digital cinema systems now widely in use, the time is right for a technology like xMassif to help our industry update its business
practices for buying and selling films and event cinema programming," said Barry Rebo, Managing Partner, Emerging Pictures. "This platform supports our focus on developing sustainable relationships between the exhibition and distribution communities, and combining the xMassif marketplace with the artMover delivery platform is exactly what we were looking to do." Emerging Pictures and North American satellite services provider Microspace are also expanding Emerging's live delivery capabilities timed for the start of the Bolshoi Ballet's 2013/2014 season. As a future capability, programs preordered on the xMassif content exchange platform will feature the option to automatically trigger satellite delivery of live events as well as new or library title recordings delivered via broadband or hard drives at the venue's preference. Files can be sent in either DCI-compliant DCP or MPEG HD formats. The hybrid satellite/ terrestrial delivery system originally developed for Emerging by Microspace in 2009 was recently renamed artMover. The artMover platform, widely adopted by leading specialty venues and quality multiplex operators for their alternate content needs, has recently expanded to further accommodate specialty film applications in the DCI-compliant DCP format. It also retains complete compatibility with Microspace's existing network for store-forward DCP file delivery and live alternate content presentations. The artMover system is available to other content distributors looking for a highquality, cost-effective way to present both live and DCP store-forward fare for event cinema use.
QSC Announces New Software Updates for QSC Cinema Processors QSC Audio Products has released updates to three PC-based software applications for its DCP Series cinema processors. All three updates provide an array of new features and enhanced simplicity of operation.
DCP Manager 3.01.18 DCP Manager is used to communicate with DCP Series cinema processors, and allow you to configure and monitor the operation of a cinema sound system. The graphical device interface enables quick configuration of signal flow and parameter presets for all amplifiers and loudspeakers. All configuration data is stored in the DCP device, and can also be saved to a removable SD memory card in the DCP for backup and to quickly reproduce settings on other DCP units. The DCP Series is a line of integrated Digital Cinema Processors that bring together all the essential functions of cinema audio: crossovers, booth monitor, routing, EQ, and status monitoring. DCP processors tame the complexity of cinema audio systems, replacing an assortment of separately sourced parts with a single 3 rack space box that handles everything.
NEW - DCPNet 1.0.20 DCPNet is a new software applications that enables network access to any DCP Series cinema processor. DCPNet makes it possible to monitor and adjust most DCP processor settings for any theatre or even an entire multiplex from within the theatre itself, an office location, or anywhere else with network access. Along with volume, mute and audio preset control, DCPNet allows the user to turn QSC DCA Cinema Amplifiers on and off and monitor amplifier operating conditions like
controller, gives theatre operators an unprecedented level of control over their QSC Cinema Sound systems.
temperature and impedance loading. Control presets allow the use of relays in the DCP Digital Cinema Processor and DXP Digital Expansion Processor to control external devices like masking and curtain motors and dimmers. The new DCPNet application, along with DCPConnect, the mobile application that turns an iOS or Android mobile device into a complete cinema sound remote
Venue Manager 3.20.237 Venue Manager provides a fast, easy interface for the design and configuration of QSC cinema sound systems. Venue Manager software controls QSControl.net and BASIS systems with highly configurable controls and monitoring options. QSCreator is a feature within Venue Manager that allows you to design custom graphical interfaces that can control any aspect of a sound system.
Volfoni - Leader in 3D Innovation at ShowEast 2013 Known for implementing the best 3D experiences possible, French company Volfoni presented their line of high-end 3D cinema products at this year's ShowEast conference, October 21st-24th in Hollywood, Florida. The conference gathered together the largest amount of cinema exhibitors from the eastern U.S., as well as a huge number of international companies. It was Volfoni's second year officially exhibiting at ShowEast, a testament to their growing international presence and commitment to innovation, detail, and high quality 3D. Volfoni showcased their passive 3D theatre system, SmartCrystal Cinema, which is designed and manufactured in Europe. The system is available in both vertical and horizontal models, highly adaptable to different booth configurations. Derived from Volfoni's proprietary "surfaceswitching" technology, SmartCrystal Cinema allows for the most beautiful 3D imagery on the market, in terms
of both brightness and color quality. It works with projector lamps up to 7kW, and silver screens up to 60 feet wide. It has the highest light efficiency in its class - meaning a significantly reduced cost of ownership for exhibitors. "We believe 3D can tell a story in a way that the 2D format cannot. Audiences are willing to pay a premium because they expect an immersive experience unlike any other. We agree with these expectations-which is why we strive to create the best 3D technology, and therefore, the best 3D experience possible," says Thierry Henkinet, CEO and co-founder of Volfoni. The previous six products launched by Volfoni (SmartCrystal Cinema Horizontal, Vertical, Dual Automatic, Dual Manual, as well as EDGE RF active 3D glasses and EDGE VR active 3D glasses) are proof of Volfoni's ability to meet the various needs of the 3D industry, be it active or passive 3D technology. November-December 2013
USL, Inc. Introduces the New CMS-2200 Cinema Media Server with High Frame Rate USL, Inc. announced the launch of the CMS-2200 Cinema Media Server with High Frame Rate (HFR). The advanced HFR media server supports JPEG-2000 decoding of 4K and HFR 2K images with state-of-the-art solid-state storage. USL, a leader in digital cinema technology products for the motion picture industry showcased the innovative, economical CMS-2200 at ShowSouth, in Atlanta, Georgia and BIRTV in Beijing, China. The CMS-2200 has many features that include: JPEG2000 and MPEG2 decoding, AES-128 decryption/ HMAC-SHA1, ingest through USB 3.0 or eSATA, two HD-SDI inputs and two HDMI inputs, sync input and output for dual projector large screen presentations, two Ethernet ports for live content streaming, auxiliary Ethernet control port, built-in 6 port automation, and 16 channels of AES-EBU digital audio. USL also offers an optional automation system with 12 outputs and 2 inputs for the CMS-2200. Managing the CMS-2200 is easily accomplished via the touchscreen Screen Management System (SMS). The SMS is cross platform capable for Android, IOS and Windows on both tablets and laptops. The CMS-2200 is a compact, projector-mounted unit that is DCI compliant and comes with a clear, concise operation manual for smooth, efficient installations. Founder, President and Chief Technical Designer, Jack Cashin, and his engineering team at USL, Inc. recognized the need for a fullfeatured "standalone" cinema media server that culminated in the creation of the visionary and inventive CMS-2200. "Our cinema media server gives digital cinema operators the capability of storing and presenting 2K, 2D & 3D movies in HFR, up to 60 frames per second," stated Jack
Cashin. 4K 2D movies can be shown at rates up to 30 fps. "We are also proud to say that the CMS-2200 is both FIPS and DCI compliant," added Cashin. The Solid State Drives instead of standard mechanical hard drives will provide years of trouble free, maintenance free operation. With the CMS-2200, USL, Inc. continues to bolster its already extensive collection of digital cinema product offerings with advanced digital audio processors, monitors, crossovers, and accessibility solutions, audio and visual test equipment. USL has delivered more than 30 years of pioneering technical advancements for the motion picture industry.
New Reference Monitor System from QSC QSC Audio Products introduces a new complete loudspeaker system for critical listening applications. The Reference Monitor System includes screen channel and subwoofer loudspeakers, signal processing, and power amplifiers, resulting in a fully-optimized system for the best possible listening experience when high quality sound is paramount.
The Reference Monitor System loudspeaker components are the new RSC-112 three-way loudspeaker and the new RSB-212 subwoofer. The RSC-112 is the screen channel component of the Reference Monitor System. It features a 12" (305 mm) woofer with 4" (102 mm) voice coil for exceptional low frequency bandwidth reproduction. The LF driver crosses over into a high power capacity, neodymium mid frequency compression driver with 3.5" (90 mm) voice coil and coaxially-mounted 1.75" (44 mm) voice coil high frequency driver. The RSC-112 features Directivity Matched Transition, a QSC design approach that matches the radiation pattern of the LF and MF/HF components at the crossover frequency, which results in smooth, even coverage throughout the listening area. Each RSC-112 is stacked vertically on top of a RSB-212 subwoofer, which features two specially-designed longthrow 12" (305 mm) woofers with 3" voice coils for exceptional extended bandwidth reproduction. Each woofer is loaded in its own tuned chamber. Both loudspeaker sections receive customized signal processing from a matched QSC Q-Sys processor core. The Q-Sys core provides a set of proprietary DSP tunings implemented in FIR filters that provide the most accurate acoustical magnitude, frequency, and phase domain performance possible. Finally, legendary QSC DCA power amplifiers deliver the precise level of amplification to get the most out of each loudspeaker component, producing the cleanest sound with nearly undetectable levels of distortion. The new QSC Reference Monitor System is ideal for critical listening applications in post-production facilities, cinema dub stages and mixing rooms, premier screening rooms, and small cinemas up to 35 feet in length.
Harman's JBL Professional Introduces 9320 Large-Format Cinema Surround Loudspeaker Harman's JBL Professional announced the introduction of its 9320 Cinema Surround loudspeaker, a large-format loudspeaker designed for high power handling, extended bass response and wide dynamic range in professional cinema applications. The 2-way JBL 9320 features a 12-inch MB12-8 low-frequency driver and 2408H-1 high-frequency compression driver. The large JBL Progressive Transition rotatable waveguide ensures superior 120 x 60 degree coverage and smooth frequency response with the loudspeaker mounted horizontally or vertically. "The JBL 9320 is ideal for cinemas, auditoriums, and venues where higher volume and a larger coverage area is needed from the surround loudspeakers, especially in a multichannel system," said Chuck Goodsell, Senior Manager, Cinema, JBL Professional. "The 9320 delivers clear, powerful and articulate sound, to create an immersive movie theater listening experience. " The high-excursion, heavy-duty MB12-8 low-frequency driver provides high power-handling capability and bass extension. The proven, industrystandard 2408H-1 high-frequency compression driver delivers exceptional clarity and resolution and is mated with JBL's Progressive Transition Waveguide, which provides constant beam width and directivity across a 120-degree horizontal / 60-degree vertical coverage pattern, along with smoother frequency response and a more seamless blend with the woofer. The waveguide is rotatable, enabling the 9320 to be used a vertical or horizontal mounting position. The JBL 9320 enclosure is fitted with M10 threaded mounting points on the top and on the sides to facilitate U-bracket mounting. In addition, four
theatres in universities and public buildings. As part of NEC's Digital Cinema Projector Series, the NC1100L projector using a laser-light source delivers 2K DCI-compliant cinema quality, which translates to an image brightness of 14-ft-L (using a 1.8 gain screen) on screens up to 36ft./11m in DCI color. It is the world's first Digital Cinema-compliant projector with laser light source built-in. The NC1100L Digital Cinema projector was demonstrated at ShowEast on October 21-24 at the Westin Diplomat & Spa in Hollywood, Fla.
M10 mounting points are located at the rear, arranged in a standard pattern to accept a variety of multi-mount brackets. The speaker terminals are located on top of the cabinet for easy access. The 9320's enclosure is constructed of multi-ply birch coated with JBL's rugged DuraFlex finish and is heavily braced to maximize low-frequency performance. A steel grille protects the drivers and gives the 9320 an understated, professional appearance.
NEC Display Solutions Launches Digital Cinema Projector with Laser Light Source NEC Display Solutions of America, a leading provider of commercial LCD display and projector solutions, announced the NC1100L Digital Cinema projector, a laser-light source projector targeted to exhibitors with small screens or projection booths as well art houses, mobile cinemas,
"Driving innovation in Digital Cinema is part of what NEC Display does on a daily basis, and as part of our mandate, we're offering a projector that meets the needs of more exhibitors," said Jim Reisteter, General Manager of Digital Cinema at NEC Display Solutions. "Our new NC1100L projector is the light source of the future. The unit's reliability, maintenance-free operation and approximately 20,000 hours (*) of lifetime result in an overall lower total cost of ownership." The NC1100L projector features 2K (2048 x 1080) resolutions, 3D capabilities and 3-chip DMD reflection method. It is easy to operate with user-friendly accessibility. The NEC Integrated Media Server (IMS) offers a trouble-free, one-stop solution for exhibitors and other organizations, while the projector's High Frame Rate (HFR) capability offers excellent picture quality. Its all-in-one Integrated Media Server (IMS) and 2 TB RAID5 Storage Server offer versatile connectivity and savings with fewer peripheral devices needed.
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Amsterdam's Pathé Tuschinski
Ready Sound System! The Netherlands' premiere cinema theatre installs new Digital Cinema ready sound system. With its imposing Art Deco exterior, the Pathé Tuschinski in Amsterdam is The Netherlands' most prestigious cinema. Inside it has been restored to its original 1920s glory, while at the same time being extended and modernised to satisfy the expectations of 21st century filmgoers. The latest phase has included the installation of a bespoke Alcons Audio system, featuring the unique CRA72cst and the first installation of the company's new Sentinel 4-channel digital amplified loudspeaker controllers. Regularly used for 'red carpet' premieres, the Pathé Tuschinski's 740-capacity main auditorium gives audiences the opportunity to watch films in luxury. Private boxes and 'love seats' are a feature, while wine and food can be ordered for at-seat delivery. As well as films, the room also hosts special events, concerts and weddings.
"Due to the high profile of being the Netherlands most prestigious auditorium, the complexity and challenges created by the its unique acoustics and the many available options, Pathé chose to have an outside organisation advise them of what the best option would be," says Matthew Jones, general manager of Dcinex, the Liege-based pan-European cinema solutions company. "We advised using Alcons, based on our positive experience with both the company and its systems. In due course, having looked at all of the available options, Pathé also ended up recommending Alcons as the best solution themselves." Difficulties presented by the installation included needing a main system and subs with a maximum depth of only 30cm/12", but which could deliver the highest quality audio over 45Hz-20kHz for the mid/ highs, with the subs down to 25Hz. Another was the considerable height of the auditorium, which features two balconies, in combination with the difficult acoustics; Being a listed building, no acoustical optimisations could be made, yet excellent coverage control.
To meet these challenges, three units of CRA72cst were flown behind the screen. The CRA72cst is a dedicated version of Alcons' Cinemarray pro-ribbon line-source system with a depth of just 285mm./11" It features nine RBN401, proprietary four inch pro-ribbon transducers for high frequency reproduction down to 1kHz., plus nine 6.5" and six 12" reflex-loaded loudspeakers for mid and low frequencies. It is powered and controlled by three Alcons Sentinel3 amplified loudspeaker controllers.
• INSTALLS • The screen system was completely developed within line-source acoustic parameters, meaning maximum acoustic output, coherency and projection control was achieved.
only one that could deliver the high flexibility required in the available space, while at the same time providing an unparalleled audio experience," says Matthew. "It is capable of delivering the required SPL to even the highest seat in the top balcony, providing a great audio experience no matter where your seat is. It also has the flexibility for the section of the CRA72cst that's aimed at the top balcony to be switched-off, when that balcony is not in use."
The main system is complemented by six CB181sl 1x 18" slim subs, stacked two wide by three high, with one Sentinel10 4-channel amplified loudspeaker controller with integrated processing. Surround sound comes from 26 CRS8 reference pro-ribbon loudspeakers, powered by three more Sentinel3s. The new CRS8 features a reflex-vented eight inch loudspeaker with Alcons' multiple-patented RBN401 four inch pro-ribbon driver. Using exactly the same component for mid-high frequencies from 1kHz. upwards as the screen loudspeakers meant that a perfect blend could be achieved between the main and surround systems. Meanwhile, the proprietary-designed Sentinel3 delivers 4 x 750W of powerful, high-end audiophile quality output.
The Sentinel ALC's feature four-in/ four-out AES3 192kHz digital inputs, enabling a completely digital B-chain, for the highest possible audio reproduction quality. "Custom-made to the auditorium's needs, the Alcons system was the
"We are very happy with the new sound system," adds Tuschinski's Theatre Manager David Hanemaayer. "It sounds great and is a big improvement over the previous system. So much so that our visitors and suppliers have also noticed that we have a new system". "The entire system sounds stunning," concludes Matthew. "It is the perfect match for a cinema as important, visually impressive and rich in history as the Pathé Tuschinski."
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Setting New Standards for
Delivering Superior Movie-Viewing complementing it with the crisp images and spectacular video offered by Christie DLP digital cinema projectors - giving their audience the ultimate movie-viewing experience."
It's "all Christie, all the time" as Southern Theatres selects Christie, the dominant brand in the digital cinema market, to power every auditorium in its new, state-of-theart 14-screen theatre complex at the Esplanade Mall in Kenner, Louisiana. The Grand 14 Esplanade, scheduled to open December, will be the first to feature the "complete Christie experience," fitted exclusively with Christie Solaria Series digital cinema projection technology and the Christie Vive Audio systems. Christie's Managed Services team is providing complete support, from designing the technology floor plan, to installing and integrating all of the products, as well as providing 24/7 remote monitoring, maintenance and support through Christie's own Network Operations Center. "We're excited to bring the latest developments in digital cinema projection and audio technology to our guests with the opening of the Grand 14 Esplanade in Kenner," said Ron Krueger II, President and Chief Operating Officer, Southern Theatres. "We're the first theatre to power every auditorium with Christie Vive Audio, a revolutionary leap in cinema loudspeaker design that provides the benefit of improved sound coverage for every guest in every seat in the house." The Grand 14 Esplanade will offer Southern Theatres' branded Grand Premium Experience (GPX) auditorium, equipped with the Christie Duo dual-projection system using Christie CP4230 4K DLP Cinema projectors, ensuring that the RealD 3D images on the huge three story screen are the crispest and brightest possible. The GPX auditorium will also feature Christie Vive Audio configured for 46
channels using Dolby Atmos, a new audio solution that revolutionizes the experience of sound in entertainment. The groundbreaking new Christie Vive Audio system features speakers with an innovative single enclosure line array design combined with ribbon driver technology and high-powered Class D amplification, the first to be used in a cinema environment. The combination of two Christie Solaria projectors and the Christie Duo integration kit is significantly less expensive than other branded 'big screen' industry solutions. With lower upfront costs, and no ongoing revenue sharing, Christie Duo is the global solution for creating an affordable, premium large screen movie experience. "Interest has been exceptionally strong since our launch of Christie Vive Audio in July, with the postproduction and exhibition communities recognizing a unique opportunity to gain a competitive edge by unleashing the full potential of the new generation of digital cinema surround sound technology," said Patrick Artiaga, director of Business Development, Audio Solutions for Christie. "We're proud that Southern Theatres has made the Grand 14 Esplanade the world's first all-inclusive Christie Vive Audio complex, flawlessly
Specifically created and built for the digital cinema environment, Christie Vive Audio's unique parabolic line array design envelopes audiences with dynamic, richly detailed and enhanced audio where speech, special effects, music, and alternative content sound incredibly natural and lifelike. Added Mr. Krueger II, "The GPX auditorium will really allow our guests to fully immerse themselves into a 3D movie with the unparalleled brightness of Christie 4K resolution digital projection and the combined power of the Christie Vive Audio and Dolby Atmos systems, viewers will experience every sight and sound as if they are actually 'in the picture.'" "Christie's Managed Services team has been involved exclusively since the beginning of the project, providing unparalleled professional consultation, integration, installation, and design services for all of the auditoriums," said Sean James, vice president of Managed Services at Christie. "We supplied the complete, 'one-stop-shopping' solution, developing specifications for audio, projection, screens, power, system/network infrastructure, special audio support, and theatre-wide automation solutions." Added James: "Our job is not over when the installation is complete. Managed Services will continue to provide the entire theatre with 24/7 remote monitoring through Christie's Network Operations Center, once the site is live."
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Promenade Cinemas Philippines
World-Class Experience The most revolutionary cinema sound experience yet is coming to the Philippines and will be experienced at the new cinemas opening soon at the Greenhills Promenade in San Juan City. The new Promenade Cinemas 6, 7, and 8 will be equipped with Dolby Atmos, the latest audio solution that revolutionizes the experience of sound in entertainment and transports moviegoers right into the middle of each scene. The Dolby Atmos system at the Greenhills Promenade also features a world-class Harman audio system, including JBL ScreenArray loudspeakers and JBL 8350 Cinema Surround loudspeakers, powered by Crown DriveCore Install (DCi) amplifiers. The Dolby Atmos system creates life-like sound where each of the JBL surround loudspeakers is independently amplified with Crown, creating discrete channels of surround sound in the cinema. Greenhills Cinemas was given the right to debut Dolby Atmos in the Philippines by Dolby through its Southeast Asian distributor, the Goldenduck Group, Thailand's
primary cinema equipment and services company. "The JBL loudspeakers are located throughout the theatre, not just in front and at the sides," explains Paolo Mendoza, VP of the Music Museum Group, Inc. and general manager of Greenhills Cinemas. "With Dolby Atmos, you are able to move sounds anywhere in the theatre. The result is an exciting, powerful environment never experienced before in cinema viewing." Director Peter Jackson (The Hobbit: An Unexpected Journey, The Lord of the Rings trilogy) has called Dolby Atmos "the completely immersive sound experience that filmmakers like myself have long dreamed about." "It's more 3D than 3D images," said Mark Andrews, director of Disney Pixar's Brave, where the sounds of arrows whizzing by, horses galloping, and bears stomping place the viewer right in the middle of the action. Introduced in April 2012, Dolby Atmos has been embraced by all the major Hollywood studios, award-winning directors and sound engineers, and leading exhibitors
worldwide. More than 70 films around the world have been released or are scheduled to be released with Dolby Atmos sound. Dolby Atmos has also received technical achievement awards from both the Hollywood Post Alliance and the Cinema Audio Society. Local moviegoers will experience Dolby Atmos for the first time at Promenade Cinemas with the showing of Pacific Rim, the sciencefiction monster film directed by Guillermo del Toro. "The Dolby Atmos system is quickly gaining momentum around the world and exhibitors are also recognizing JBL loudspeakers and Crown amplification as the optimal components for use in Atmos systems," said Chuck Goodsell, Senior Manager, Cinema, JBL Professional. "The system at Promenade Cinemas exemplifies the possibilities when world-class loudspeakers and amplifiers are paired with the most cutting-edge cinema audio format in the world!" "At Dolby, we are passionate about providing filmmakers and storytellers with innovative technologies and tools that create the most engaging cinematic experiences. With Dolby Atmos, filmmakers can place or move sounds anywhere in the movie theatre, creating a sound field so natural and realistic that moviegoers feel as if they are in the center of the action like never before," said Doug Darrow, Senior Vice President, Cinema, Dolby Laboratories.
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Gaumont Pathé Multiplex with
4K Digital Projectors Sony Digital Cinema has been chosen by Les Cinémas Gaumont Pathé, one of Europe's leading cinemas chains, to equip all 11 screens in its new Pathé Le Mans multiplex exclusively with Sony 4K technology. Scheduled to open in early 2014, the cinema will use Sony Digital Cinema's 4K digital projection system to provide its customers with an exceptional visual experience and image quality when viewing the cinema's film screenings. Les Cinémas Gaumont Pathé has chosen to use the whole Sony Digital Cinema
product range - including the SRX-R320, the world's best-selling 4K projector, and the SRX-R515 projector that features new light source technology with six high pressure mercury lamps and a significantly improved on-screen contrast ratio of more than 8000:1. The cinema chain will also become the first exhibitor in France to install a large screen dual projector system using a set of two Sony SRX-R320s. Sony's 4K technology offerings provide a visible resolution that is four times greater than 'normal' digital cinema, increasing the level of detail and definition of the image. As a result, picture quality is clearer with images such as skin texture and contrast appearing more realistic. Pierre-Franck Neveu, Sales Manager at Sony Digital Cinema in France, said: "We are delighted to be equipping the new Le Mans multiplex cinema with our unique 4K technology. The contract, signed with a major player in the French cinema industry, shows that 4K technology has become the expected standard for film projection in cinemas. More than ever before, moviegoers are demanding the very
best cinema experience and the 4K solutions developed by Sony Digital Cinema consistently over deliver on this promise." A spokesperson for Gaumont Pathé commented: "The decision to install 4K technology is an important step in the history of digital film screening, bringing an amazing visual richness to films. Our aim has always been to innovate and to offer our customers exceptional image quality, which is why we have selected Sony Digital Cinema as our 4K supplier." R2D1, accredited Sony Digital Cinema solutions specialist, has been appointed by Les Cinémas Gaumont Pathé to install the equipment.
â€˘ TECHNOLOGY â€˘
First Integrated Player in
Digital Content Logistics YMAGIS, specialist in digital technologies for the cinema industry, and SMARTJOG, a TDF subsidiary specialized in satellite and ADSL delivery of cinema content, have announced the signature of a binding agreement for the purpose of creating a joint venture which will provide an integrated offer for the physical and digital delivery of digital content to the cinema industry. Jean Mizrahi, YMAGIS CEO, remarked: "We are very glad to announce this strategic operation for YMAGIS. The new company we are creating with SMARTJOG will be capable of providing film distributors and advertising agencies in Europe an integrated solution that will guarantee them the reliable delivery of their movies for releases across Europe."
Creating europe's first integrated player On the eve of the 68th Congress of the National Federation of French Exhibitors, this agreement creates the first European player in digital content logistics for the cinema industry. Indeed, the agreement stipulates that YMAGIS and SMARTJOG will bring to the new entity all of their activities related to duplication and delivery of digital content dedicated to cinema exhibition. Upon completion of this operation, which should occur before December 31, 2013, YMAGIS and SMARTJOG will become shareholders for 60% and 40% respectively, of the new entity. The new venture will benefit from YMAGIS's expertise in the duplication and delivery of digital copies (or "DCP") on behalf of distributors, managed by the Group through its laboratories in Paris, Barcelona and Berlin (from the 4th quarter of 2013). In 2012, YMAGIS duplicated and
delivered more than 25,000 movie DCPs (almost 16,500 in the first 2013 half-year alone) and more than 92,000 trailer and advertising DCPs. The new entity will also rely on the communication network implemented by YMAGIS, which now links together the 402 theatres serviced by the Group across Europe. For its part, SMARTJOG provides activities and skills in transporting digital copies by satellite and terrestrial networks that it has developed on a European scale (France, Spain, Portugal, Germany, Austria, Switzerland, Benelux). To date, SMARTJOG has already deployed a network of 1,600 theatres in Europe, representing around 6,000 screens, connected via satellite or terrestrial networks. In this way, SMARTJOG ensured the delivery of 26,000 movie DCPs and 1,40,000 trailer and advertising DCPs in 2012 across Europe. SMARTJOG also brings developments related to downloadon-demand, online archiving and advanced online reporting tools. Together, YMAGIS and SMARTJOG are creating the European leader in this field, which will offer the cinema industry a global logistics service for the delivery of movies, trailers, commercials, alternative content, as well as static or dynamic posters. Its services will cover KDM(1) preparation, and delivery of DCPs and KDMs to cinema screens and laboratories internationally, via satellite, ADSL/ fiber or physical media. The close relationships developed by YMAGIS with distributors and exhibitors since its creation and the key position held by SMARTJOG in Europe for digital transmission provide a robust foundation for this new entity's business development. In particular, this agreement allows the new company to strengthen the services provided to its two shareholders' existing customers but
also to win new customers across Europe. This integrated offer is also a point of entry for commercialization of additional services.
An integrated offer: a need shared by the whole industry Today, distributors are looking for a movie logistics service that takes full advantage of the various models existing in Europe: satellite, terrestrial links (optical fiber or ADSL) and physical devices (hard disk). The full solution offered by YMAGIS and SMARTJOG answers this need for an integrated service at a European level. By managing all distribution channels, the new entity will be able to propose tailor-made solutions to the various players in the market, based on their distribution pattern. From its inception, the company will manage a communication network linking together more than 1,800 theatres in Europe, representing almost 8,000 screens.
A vehicle for business acceleration In order to offer a solution to every theatre in France, the new company will provide a reception server, free of charge, to all theatres engaged in continuous activity, thus enabling them to receive digital content (movies, trailers, commercials) via electronic delivery. The goal is to quickly reach maximal coverage in France. In parallel, the new entity will extend its service reach by deploying its network in all Western European countries, and then, at a later stage, in a large part of Eastern Europe, with the aim of completing its network as soon as possible. (1) KDM: Key Delivery Message. The distributor sends an electronic message to the exhibitor, containing the key enabling the digital copy (or DCP) to be played.
• TECHNOLOGY •
Moving Up in the Market According to a third party market research company, over 23,000 cinema screens were digitized in Asia Pacific up through the end of 2012, reflecting a growth rate of 53.6% over 2011. There has been strong growth in a number of territories in Asia Pacific with the Philippines, India and Malaysia more than doubling their d- screen totals in 2012. As of the end of October 2013, over 30,000 units of GDC digital cinema servers were shipped worldwide, and over 10,600 screens are being managed by GDC's theater management system (TMS) globally, out of which 2,700 screens are located in China. According to a third party market research company, as of Q2 2013, over 12,000 units of GDC servers have been installed in the region, with 8,500 units in China, 1,100 units in Japan and 1,100 in South Korea.
GDC's expansion in
GDC's market leadership is strengthened by its long-term collaborative relationships with top cinema chain customers in the region.
Latin America •
GDC selected cinema chain customers China
All top 10 cinema chains
# 1 and # 3 cinema chains
# 2 cinema chain
South Korea # 1 and # 2 cinema chains Thailand
# 1 cinema chain
# 1 cinema chain
All top 5 cinema chains
All top 3 cinema chains
(Ranking of cinema chain customers is based on the number of screens at the end of 2012)
practical and efficient VPF program for the Latin American market.
According to a third party market research company, the Latin American exhibition sector is waking up to the urgent need to engage with the digital conversion. Among the Latin American countries, Mexico dominated growth with 2,633 D-screens, followed by Brazil and Argentina with 824 and 200 D-screens respectively. Office: To keep pace with an increasingly young and growing moviegoing public in the region, GDC has established a business presence in Latin America including in Argentina, Brazil, Mexico and Peru so as to provide tailored sales and service support in the region. Service support: GDC has also established a dealer network that will work with resident dealers and service providers to stock spare parts and server units locally, in order to increase the accessibility of spare parts and server stock to facilitate enhanced rapid service response time. A 24/7/365 service support hotline is also available in both Spanish and English to respond to local customer requests, with a Portuguese hotline to be available soon. Virtual Print Fee (VPF) : GDC's subsidiary, GDC Digital Cinema Network Limited ("GDC DCN") has successfully implemented VPF programs in the North American and Asian markets, and this vital program is also currently available to Latin American exhibitors. With six years of worldwide VPF experience managing over 4,600 screens across 600 VPF agreements with content distributors and exhibitors, GDC DCN provides a
Training: GDC has organized multiple informative technical training classes, which to date has trained 34 resellers and 42 exhibitors in various Latin American countries such as Mexico, Colombia, Peru, Chile and Brazil. In addition, GDC provides regular training to exhibitors, resellers and partners, in both Mexico and Brazil for its complete product line, including digital cinema servers and TMS. Cinemex is a Mexico-based customer who highly appreciates GDC's comprehensive training provided in the region.
New customers: Determined to provide unique service and training support to the Latin America market, GDC was recently selected by a number of local leading cinema chains for their digital deployments: - Brazil: Leading cinema chains including Espaço Itaú de Cinema, Cinespaço, Circuito Cinearte have selected GDC's products for their digital cinema deployments, covering a total of 250 screens in over 50 theatres across Brazil. - Peru & Columbia: Cinestar Multicines, the second largest domestic exhibitor in Peru, and Cinemas Procinal, the fourth largest exhibitor in Columbia have also partnered with GDC for digital cinema conversion of their entire cinema chains.
GDC's Total Solution at CineAsia a) SX-3000 Standalone IMB® Released in the market early this year, the SX-3000 Standalone IMB®
• TECHNOLOGY • is an industry first IMB with prominent features including one that eliminates the need for an external file server, which can significantly reduce energy consumption, as well as operation and maintenance costs for exhibitors. Equipped with alternative content support options such as HDMI (for 2D and 3D content), 3D-SGI ports and live streaming which allows flexibility to display a wide variety of advertising and alternative content without additional hardware, it greatly simplifies theatre operations and can reduce investment costs. It also supports Dolby Atmos playback that can enable a sound experience beyond 5.1, 7.1, or 11.1 channels, High Frame Rate (HFR) playback in both 2D and 3D ( complies with the DCI recommended practice of playing of 500Mb/s compression bit rates), as well as 4K resolution. b) Storage solution that works seamlessly with the SX-3000 Standalone IMB® i) Expandable Portable Storage and Enterprise Storage
Portable Storage and Enterprise Storage are scalable, cost effective and reliable content storage solutions that work well with the SX-3000 Standalone IMB®. They both adopt RAID 5 technology which allows them to remain operational in the event of a single drive failure (capable of new RAID creation in 2 minutes) and that costs less than NAS and LMS solutions. ii) Back-up storage solution using Content Library Adapter In addition to GDC's other expandable storage solutions, GDC's newly developed Content Library Adapter offers a highly reliable and complete content backup solution to help exhibitors minimize hard disk failure and maintain optimal operations, which will be officially showcased at CineAsia. The Content Library Adapter solution caters to both TMS and non-TMS theatres. c) Quality and Centralized Multiplex Management GDC helps exhibitors manage playback quality and simplify
cinema operations with its Theatre Management System (TMS), Quality Management System (QMS) and Network Operation Center (NOC).
Theatre Management System (TMS-1000) •
A comprehensive solution offers users a centralized point of control for an entire cineplex.
Easy to operate and reliable.
Major modules of the software help manage user security, content, show playlist and scheduling, error and screen control, allow exhibitors to automate and streamline the entire theatre operation at their fingertips.
Supports major digital cinema server brands (GDC, Dolby, Doremi, Sony) and projector brands (Barco, NEC, Christie, Sony).
Quality Management System (QMS-1000) •
A highly effective solution, to manage projection quality
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through automatic detection and data analysis of screen luminance, chromaticity and sound pressure level. •
Analytics reports are generated upon automatic data collection and analysis, which completes within just a couple of minutes.
Automatic correction of projection quality to ensure the projection is up to standard.
Monitoring and analysis of projection quality trends provides data support for quality management.
It can run independently, be installed with TMS or deliver data through Network Operation Center for easy management of an entire Cineplex.
Network Operation Center (NOC) •
GDC's NOCs are located in China, India, Japan and the United States.
Supports standardized management of theatres through centralized network control.
Major NOC platforms and tools include a 24 hours call center support, System Management Control (SMC) and Customer Relationship Management (CRM)
Governs cinema operation by defect alert setting, remote maintenance, projection monitoring and content distribution. Simplifies cineplex management procedures, can reduce labor cost, operation down time and projection quality while increasing customer satisfaction.
and reliable motorized 2D/3D lens shift. •
The system supports High Frame Rate content in 48 & 60 fps per eye and works with all DLP Cinema projectors.
The multiple coatings of the Espedeo 3D Polarizer brings unrivalled benefits to cinema theatres. Among the 5 coatings, the ultraviolent coating helps maintain light efficiency for a longer period of time and the metallic coating facilitates heat evacuation and minimizes crosstalk. Light efficiency can also be boosted up to 17% with the anti-reflection coating.
Its fan-less design not only eliminates the risk of mechanical failure, but also makes operation maintenance easier.
Espedeo 3D Polarized System •
Espedeo 3D Polarized System uses an unique polarizer to deliver stunning color fidelity and a fully immersive cinematic experience as if in lifelike 3D cinema. The Espedeo 3D Polarizer is connected to the Espedeo 3D Controller which enables robust
â€˘ S P E C I A L F E AT U R E â€˘
Father of Modern Sound - Ray Dolby 18 January 1933 - 12 September 2013 Billionaire American engineer and inventor Ray Dolby died at the age 80. The wide-scale adaption of his technology changed the way almost everyone listens to music and movies. Dolby held more than 50 American patents, most recently one for his Dolby Atmos system. TheatreWorld salutes and pays tribute to the sound legend with this special feature. Dr. Ray Milton Dolby, was an engineer and inventor of the noise reduction system Dolby NR. He was also a co-inventor of video tape recording while at Ampex. He is the founder of Dolby Laboratories. He was also a billionaire and a member of the Forbes 400. Dr. Dolby was born in Portland, Oregon and he was raised in San Francisco and attended Sequoia High School (class of 1951) in Redwood City, California. He held part-time and summer jobs at Ampex in Redwood City, working with their first audio tape recorder in 1949. While at San Jose State College and later at Stanford University (interrupted by two years of Army
"I was never a gold-digger, or an Oscar-digger, or anything like that. I just had an instinct about the right sort of things that should be done in my business. So all these things just fell into place." - Ray Dolby
service), he worked on early prototypes of video tape recorder technologies for Alexander M. Poniatoff and Charlie Ginsburg. As a non degree-holding "consultant", Dolby played a key role in the effort that led Ampex to unveil their prototype Quadruplex videotape recorder in April 1956 which soon entered production.
Nations in India, until 1965, when he returned to England, where he founded Dolby Laboratories in London with a staff of four. In that same year, 1965, he officially invented the Dolby Sound System, a form of electronic filter, although his first U.S. patent was not filed until 1969, four years later. The filter was first used by Decca Records in the UK.
In 1957, Dr. Dolby received his B.S. in electrical engineering from Stanford. He subsequently won a Marshall Scholarship for a Ph.D. (1961) in physics from the University of Cambridge, where he was a Research Fellow at Pembroke College. After Cambridge, Dr. Dolby acted as a technical advisor to the United
Dr. Dolby founded Dolby Laboratories in 1965 and created an environment where scientists and engineers continue to advance the science of sight and sound to make entertainment and communications more engaging. Dr. Dolby's pioneering work in noise reduction and surround sound led to the November-December 2013
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"Ray was generous, patient, intellectually honest and fair-minded. Forever curious, unafraid and oh so persistent, whether we were driving overland from India, flying his planes across the Atlantic or driving the big bus around the National Parks, he not only gave us an exciting life, but was a fantastic role model for our sons." - Dagmar Dolby, Dr. Dolby's Wife
"We lost a friend, mentor and true visionary. Ray Dolby founded the company based on a commitment to creating value through innovation and an impassioned belief that if you invested in people and gave them the tools for success they would create great things. Ray's ideals will continue to be a source of inspiration and motivation for us all." - Kevin Yeaman, President and CEO, Dolby Laboratories
"My father was a thoughtful, patient and loving man, determined to always do the right thing in business, philanthropy, and as a husband and father. Our family is very proud of his achievements and leadership. He will be sorely missed, but his legacy of innovation will live on." - David Dolby Dr. Dolby's son and Member of Dolby Laboratories' Board of Directors TW-40
development of many state-of-the-art technologies, for which he holds more than 50 U.S. patents. Dr. Dolby was known for his insatiable curiosity and attributed his success to a quest for education fostered by supportive parents. Early in Dr. Dolby's career, while attending high school on the San Francisco Peninsula and then Stanford University, he worked at Ampex Corporation and was the chief designer of all electronic aspects of the first practical videotape recording system. Today, Dolby Laboratories' technologies are an essential part of the creative process for recording artists and filmmakers, who continue to use Dolby tools to bring their visions to life. In the 48 years since Dr. Dolby founded Dolby Laboratories, the company has transformed the entertainment experience from the cinema to the living room to mobile entertainment. Tens of thousands of films and billions of products and devices with Dolby technologies have made their way to theatres, homes and consumers' hands around the world. The industry has awarded Dolby Laboratories with 10 Academy Awards and 13 Emmy Awards for its groundbreaking achievements throughout the years. Dr. Ray Dolby died on 12 September 2013 at his home in San Francisco, at the age of 80. Dr. Dolby had been living with Alzheimer's Disease in recent years, and was diagnosed in July of this year with acute leukemia. Among Dr. Dolby's awards and honors are: •
The National Medal of Technology from President Clinton (1997)
The Order of Officer of the British Empire (O.B.E.) by Queen Elizabeth II (1987)
Honorary Doctorate - of Science (Cambridge University 1997)
Honorary Doctorate (University of York 1999)
• S P E C I A L F E AT U R E •
Dr. Dolby was awarded the following industry awards: •
Oscar statuette from the Academy of Motion Picture Arts and Sciences (1989)
Oscar Class II (plaque) from A.M.P.A.S. (1979)
Several Emmys from the National Academy of Television Arts and Sciences, including for the invention of the Ampex® video tape recorder and his work for Dolby Laboratories. (1989, 2005)
Grammy from the National Academy of Recording Arts and Sciences (1995)
Berlin Film Festival Berlinale Kamera Award (2012)
San Francisco Film Society George Gund III Award (2013)
Dr. Dolby also received medals from the following professional institutions: •
Audio Engineering Society (AES) Silver (1971) and Gold (1992) Medals
Institute of Electrical and Electronic Engineers (IEEE) Edison Medal (2010)
As a former Marshall Scholar, Dr. Dolby was also awarded the George C. Marshall Award in 2003. He was inducted into the National Inventors Hall of Fame in the U.S. and the Royal Academy of Engineers in the UK in 2004. In 2012, the iconic Hollywood landmark known to the world as the home of the Academy Awards was renamed the Dolby® Theatre and the site of the post-Oscars gala was renamed the Ray Dolby Ballroom in honor of Dr. Dolby.
"Though he was an engineer at heart, my father's achievements in technology grew out of a love of music and the arts. He brought his appreciation of the artistic process to all of his work in film and audio recording." - Tom Dolby Dr. Dolby's Son, Filmmaker, and Novelist
"The public doesn't really know about Ray Dolby. He's out there somewhere. But they're aware of the fact that a cassette labeled Dolby sounds good. That Dolby Surround sounds good. There's a switch-look, I can switch it in and out, isn't that great? You know. And-and they're kind of aware of the fact that Dolby on a theater marquee sounds good. But all those things are possible, because of Ray Dolby's inventions which are at the heart of the whole process." - Ioan Allen Dolby Senior Vice President of Cinema
"Ray's pioneering work in sound played a pivotal role in allowing Star Wars to be the truly immersive experience I had always dreamed it would be. Not only was he an inventor with a passion for the art of sound, but that passion was combined with an incredible technical understanding of the science behind it all." - George Lucas Hollywood Director & Producer November-December 2013
• S P E C I A L F E AT U R E •
Together Dr. Dolby and his wife, Dagmar, were active in philanthropy and supported numerous causes and organizations. In recent years, two centers of science, research and patient care opened with their
support, the Ray and Dagmar Dolby Regeneration Medicine Building at the University of San Francisco's Stem Cell Center and the Brain Health Center at California Pacific Medical Center.
Audio Innovation History of Dolby Laboratories 1965: Dolby introduces A-type® noise reduction for the professional market. 1968: Dolby introduces Dolby B-type® noise reduction for consumer products. 1970: Advent, Fisher, and Harman Kardon begin offering cassette tape recorders with Dolby B-type noise reduction. 1971: Dolby and Signetics create a simplified Dolby B-type integrated circuit, widening the range of products in which the technology could be used. 1975: Dolby introduces Dolby Stereo®, a highly practical 35 mm stereo optical release print format. 1977: Dolby receives acclaim with the release of Star Wars and Close Encounters of the Third Kind, both in Dolby Stereo. 1981: First product with Dolby C-type noise reduction reaches market. 1982: Dolby introduces Dolby Surround, which encodes the two tracks of any stereo source with four-channel surround sound. 1984: Dolby releases Dolby AC-1, its first digital coding system. 1986: Dolby SR (spectral recording) improves analog recorder performance to equal, and in some respects surpass, costly digital recorders. 1987: Dolby Pro Logic® surround elevates the home cinema experience with four-channel surround sound. 1989: Dolby introduces Dolby AC-2, allowing separate facilities to do full professional-quality audio monitoring and dubbing remotely via ISDN lines. 1991: New multichannel audio coding system, Dolby AC-3, announced. Now known as Dolby Digital, its first application is as a sound format for films. 1995: First consumer products with Dolby Digital playback compatibility announced. 1998: First video game with interactive Dolby Digital 5.1 audio launched. Dolby Headphone technology announced. 1999: Codecs featuring new Dolby E for DTV multichannel audio production and distribution debut. 2000: Dolby Pro Logic II technology announced. 2002: Dolby Virtual Speaker technology introduced for consumers lacking the space for a dedicated 5.1-channel playback system. 2005: Dolby TrueHD lossless coding for high-definition video discs debuts. 2007: Dolby 3D Digital Cinema demonstrated to film industry. 2009: Dolby Axon brings 3D voice communication to online games. 2010: First public demonstration of 5.1-channel surround sound on a mobile phone using Dolby Mobile technology. Dolby Surround 7.1 is unveiled for digital cinemas. Dolby PRM-4200 Professional Reference Monitor for postproduction facilities is announced. 2011: Dolby enables 7.1 surround sound for streaming media. 2012: Dolby Atmos™ , a new audio platform that changes the experience of sound in entertainment, debuts to the cinema industry. The Dolby Theatre?, the iconic Hollywood landmark known to the world as the home of the Academy Awards®, is unveiled as the world's stage for entertainment sound. References: Dolby Laboratories (Mr. Sean Durkin) and San Francisco Chronicle
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The future of movie distribution...
Satellite, Fibre, IP or Hard-drive? Jim Slater spoke with George Eyles of Technicolor, who provided some hard facts to overcome some of Jim’s previously oversimplistic views on digital distribution. Why is it taking so long? As one who came to cinema from a broadcast engineering background I was always amazed that the ‘cans and vans’ distribution scenario lasted for so long, and I am even more astounded that ten years into the rollout of digital cinema we still have a situation where most movies are transported to cinemas on hard drives via those same old vans. For those not familiar with the distribution business it is perhaps worth pointing out that cinemas do not decide how they receive content from the studio - this is decided by the studio. Cinemas do not typically pay for replication or to receive the hard drives or electronic delivery - the studios pay for this. Typically the cinema does pay to return the hard drive to the hub i.e. a
small freight charge. Hence, the cinemas are unlikely to be keen to invest much for delivery, since they don’t currently pay for it. As a footnote, ‘who pays for what’ in Europe George Eyles can vary on a cinema by cinema basis and studio by studio basis but in most cases the studio pays to get the content to the cinema and the cinema simply pays the return. So the truth, according to those who really know about distribution, is that the film business long ago established a low cost and reliable system that has proved itself, and so far no other solution can match it for cost.
I wrote one of the earliest satellite broadcasting books, back in 1985, and have since been guilty of constantly asking cinema distributors ‘why don’t you do as the broadcasters do and use satellites to beam your movies into cinemas?’ Everything seemed so obvious to me - one movie to be distributed over a whole continent, and although I knew satellite costs to be high, perhaps 1.5-3.0 million US dollars per year per transponder, if you divide this cost by the thousands of cinemas, surely it must work financially? But those in the cinema industry, and in particular those involved with distribution
• TECHNOLOGY •
and exhibition, are well-known for their abilities to keep costs down, and they certainly aren’t stupid enough to ignore a money-saving opportunity if it occurs, so there are presumably very good reasons why the current ‘hard drives and vans’ system remains the norm. I was fortunate to be able to bounce some of my ideas about electronic movie distribution, whether by satellite, fibre or internet downloads, off George Eyles, Head of Worldwide Business Development and Strategic Planning for Digital Cinema at Technicolor, and previously with satellite company Arqiva.
It works in the US He began by treating me gently, telling me that my ideas for satellite distribution are already working successfully in the USA, where there are lots of cinemas concentrated in an area that is easy to cover with a Kuband satellite footprint, and where, far more importantly, all these cinemas share one or at the most two languages and a common release date, although there are four main time zones. I was interested to learn that Technicolor has 1,073 cinema satellite sites in the US and has been operational since 2007, reliably delivering features, adverts and trailers. A coalition of film studios and movie companies known as the Digital Cinema Distribution Coalition
several groups currently offering (DCDC) has for the past three years satellite movie distribution services in worked on plans to design a digital Europe, including Smartjog, a delivery system that would make company that has being working theatrical distribution more efficient. with Technicolor, dCinex partnering At the time of writing the system with Eutelsat to form DSAT Cinema, hadn’t yet delivered any movies, but Arqiva, and Globecast. Each it will enable US cinemas to receive company tends to offer films through satellite regional or territorydishes, and the based distribution installations will be 'Any new networks, but at the paid for by the distribution moment movies are coalition. Movies will not typically available then be fed into a system needs to from all the European cinema’s digital be cheaper than providers and instead storage and hard drive distribution is management system, fragmented by region ready for projection. distribution, i.e. Arqiva may and at least as DCDC includes Warner transmit the UK Bros., Universal reliable; so far, version, SmartJog the Pictures, Regal French version and one of them Entertainment Group, DSAT the Italian meets this AMC Entertainment version of the same Inc. and Cinemark challege.' film. The result of Holdings. Cinemark having so much already relies entirely competition in such a on digital projection fragmented market in the USA and with movies available Canada and both from at least three AMC and Regal are satellites is that cinema following suit - these chains are nervous three are the largest about committing to chains in North any one system in case America by number of they end up not being screens and locations. able to get movies The DCDC has from all the distributors appointed Deluxe/ they use, or in case the technologies EchoStar LLC which has expertise in on offer change. both movie distribution and satellite Eutelsat, who use their Eutelsat 5 technologies to provide technical West A and Eutelsat 8 West A and operational support and digital satellites for cinema distribution in asset management for the new Europe, claims that its digital cinema digital delivery platform. The group delivery network serves some 700 is in talks with other film studios, sites in 20 countries, including Italy, majors and independents, since it is Germany, France and Spain. But the generally believed that economies of real issue for satellite operators is that scale as more film companies come their models effectively require on board will increase the financial pan- European multicast. They all viability ofwhat would seem to be an claim to have sites in many countries important logical next step in digital but are only being used economically distribution. where they have critical mass.
So why not in Europe? It is relatively easy to serve cinemas across the USA from a Ku band satellite since hundreds of cinemas require the same programme material
“So why can’t we do the same thing in Europe”, I asked George. He began by telling me that there are
Arqiva’s separate digital cinema network covers nearly 700 cinemas across 12 countries and includes many some cinemas of leading
• TECHNOLOGY •
exhibitors including Vue, Empire, Cineworld, Odeon UCI, Apollo, Reel, Yelmo and Space. The excellent European coverage provided by Arqiva’s IS905 satellite platform coupled with the professional receiver equipment deployed by Arqiva delivers a robust solution, but cannot yet sensibly compete on a cost basis with hard-drive delivery, especially when you consider the immense complexity of trying to serve the multifaceted audiences in the different countries of Europe with the necessary multiple file versions, as we discuss in detail below. Even putting that objection to one side, however, the general consensus is that less than 20% of European cinemas are currently using satellite distribution, so the potential benefits of reducing costs are nowhere near being achieved. To complicate matters in Europe even further, terrestrial IP (Internet Protocol) services from companies like Gofilex and Motion Picture Solutions, and fibre-optic cable based services from Unique Digital are also working well in serving small segments of the market. George said that Unique Digital’s service in Norway is an excellent example of how a fibre based service can work, but the special conditions applying there make it an unlikely model to be replicated around Europe. The actual fibre network was funded by the Norwegian government, there is a well-defined area to be covered, a single time-zone, and the studios have agreed to a system where Unique run all the networks and are in control of movie distribution and supplying advertising content. George pointed out that there other successful distribution systems in other parts of the world that also work well, but are unsuitable for adoption in Europe. He highlighted the system in Hong Kong, where there is a perfectly good fibre optic network available, but the cinemas on just 65 sites find it
much more economical to distribute movies via as few as ten hard drives which are passed from cinema to cinema ‘by hand’ since the distances involved are very small. That was the cue for a statement that was to come up again and again in our discussions – ‘any new distribution system needs to be cheaper than hard drive distribution, and at least as reliable, and so far, none of them meets this challenge.’ To put this into context, at a 250 megabit-per-second DCI data rate, a movie can be stored on a
'With current satellite transponder costs it would be far too expensive to send the many different versions to the limited number of recipient cinemas' ruggedised 500 GB hard drive for around £60 – a film print would have cost anything up to £1000. The hard drives can then be returned to distributors for reuse, making the system even more economical. That has to be the starting point when considering any replacement distribution system, along with the fact that there are probably around half a million hard drives currently in use for cinema distribution.
Why would you bother? As any distributor’s technical manager will tell you, movie distribution in Europe is extremely complex. My simplistic initial idea of sending one version of a movie via satellite to all the cinemas in Europe is totally unrealistic. Firstly, there is no one version that could be sent. I had the idealistic vision that the hard drive would contain a single ‘essence’ movie, with all the other options as additional files to be selected from the hard drive as required, rather as
you can choose to show subtitles or add audio descriptions at will. But throughout Europe there is no single ‘essence’ that satisfies all the needs there might be a dozen different language versions with their different subtitles and then there are the different ‘censored’ versions to meet the requirements of the different authorities in the different countries. Then there are the 2D/3D versions of each, potentially the different frame rate versions. Since 3D subtitles currently have to be ‘burned’ in, you have to have a different DCP for these too, and differently coloured timed versions are often prepared for different brightness showings of 3D movies. The new ‘immersive sound’ files, whilst they can theoretically go onto the same hard drive, are often so large that they may not fit along with all the other options. Although it would be possible to replace the existing half-million drives with larger ones that could carry all the required options it seems a less than cost-effective thing to do in the short term. But we are talking about satellites here, and the previous paragraph shows exactly what the difficulties are. Satellites are great if you have to send exactly the same data to say 1000 cinemas at once (this is around the figure that the experts reckon would provide a cost-effective replacement for the current systems), effectively dividing the costs between them, but if, as we have just seen, you need to send different sets of data to different cinemas throughout Europe then all the potential benefits of using a satellite disappear. With current satellite transponder leasing costs it would be far too expensive to send the different versions of the movie separately to their limited number of recipient cinemas.
Time-savings? And then there is problem of time. A movie DCP will take many hours of November-December 2013
• TECHNOLOGY •
satellite time to distribute, and if this has to be multiplied by the number of versions required the distribution time becomes unrealistic.
to get the required degree of reliability and quality of service from any of the current internet service providers.
George pointed out that not only is there no time saving over distributing a movie by hard drive, plane and van, but that a company couldn’t take the chance that the file might arrive corrupt since there wouldn’t be time to send all that data again. So the overall workflow needs to take into account the possibility that the satellite delivery will fail to some sites. I was interested to learn that it is not unusual for a very small percentage of satellite deliveries to fail, for reasons beyond the control of the satellite operator.
Even the high bit-rate services from companies like BT and Virgin are inevitably ‘contended’ – you are sharing the line with many others and it is not sensible possible to guarantee that you will get the bit rate you need at any particular time and there are many unanswered questions about quality of service and reliability. It is possible to pay a great deal more to the telecoms companies to rent a separate data line, but the costs are far more than a cinema or studio would want to pay, and we need to remember that the cinema isn’t going to want to pay for something it currently gets effectively ‘for free’. As George kept on reminding me, exhibitors and studios don’t want to pay any more than they absolutely have to, and remember that the whole point of this exercise is that we are trying to find a cheaper solution than hard drives!
Time has therefore to be allowed to send a replacement to these sites in the form of a hard drive, ensuring that this can arrive in time for the planned showing. So the time needed to electronically deliver plus that for drive replication and delivery is actually greater than when harddrives are shipped alone.
Release dates And then there is problem of release dates. Whereas most US cinemas carry the latest movies ‘day and date��� synchronised, the various European markets have very different requirements. As just one example, children’s movies are often released to coincide with school holidays, but these holidays vary enormously throughout Europe. In theory you could ask all cinemas to download the data at the same time and store it for a few weeks until it is required for their territory, but in practice Theatre Management Systems and screen servers have limited storage capabilities and looking after data that had been delivered weeks earlier would complicate the cinemas’ management problems. And we still haven’t found a solution that is cheaper than the hard drive!
Technicolor’s professional system approach to distributing, receiving and controlling movies via satellite. Its secure ‘ThinGest’ server captures the content and stores it until required by the Theatre Management System. The picture shows a rack containing the satellite receiver and the ‘ThinGest’ server. Data can also be transferred to the portable hard-drive unit shown for use in cinemas which don’t have an effective distribution network.
The alternatives Fibre distribution networks are fine and can work well, sending the data from a central distribution hub to individual cinemas and we have seen instances of how telecoms companies are providing fibre systems to some city cinemas - Globecast in France, Gofilex in the Netherlands and Broadmedia in Japan are all providing fibre-based movie distribution services via essentially dedicated private networks, but the use of these networks can be expensive for the cinemas and they tend not to reach the more rural outposts. It is yet another example of how having different fragmented systems means that the potential economic benefits aren’t being achieved. I asked George about the possibilities for Internet Protocol distribution, where a cinema might download its movies at a time of its own choosing from a dedicated ‘website’, much as we currently download video content at home. Almost all cinemas now have a broadband connection of some type, so this should be technically possible. But George believes that it would not be possible
We discussed another potential solution, currently being trialled by other companies. Here the company provides an internet connected secure server box in the cinema into which the distributor ‘pushes’ movies for later use by the cinema. It is currently used only by a few people, and leads to questions about how such a system, which relies on IP connections, would cope with a mass roll out of a movie to hundreds of sites simultaneously. Once the downloaded movie is in the secure server box (controlled by the distributor) it remains available to the cinema for as long as required, and can be transferred to the cinema’s Theatre Management System and then to individual screen servers as required. This type of set up could be acceptable if sufficient time is available for the movie to be checked and verified well before transmission, but poses questions about quality of service and
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reliability. George suggested that having pre-delivered digital movies ‘sitting around in projection rooms’ for weeks before they are due to be shown could be a disaster area - the available local storage is likely to be limited and the management systems would need to be excellent to be sure that the required files don’t get lost (or are accidentally deleted) and are still error free when they need to be ready to show the movie.
Reliability is everything consider the whole system This led to discussions of how there is far more to the electronic distribution of movies than merely delivering files. A company simply offering satellite based services, for example, can guarantee that a file has been transmitted and received without errors, but it cannot then be in any position to guarantee that the movie will work and appear on screen via any combination of projector and server in any cinema throughout the world. What the film distributor needs is a cast-iron assurance that his movie is effectively
‘quarantined’ in a safe environment from the time that it is delivered and that it will be ready to play at the scheduled time anywhere. Technicolor has been taking an overview of the whole distribution chain and has come up with its ‘ThinGest’ media management system in which Technicolor takes complete responsibility for and control of the movie delivery on behalf of the studio. Technicolor has so far deployed ‘ThinGest’ to over 1000 cinemas in North America. This service automatically delivers digital cinema content to a secure, Technicolorcontrolled ThinGest server installed in the cinema. Both digital cinema content and keys are delivered electronically and the ThinGest server captures the content and stores it until it is ready to be used. All the components are installed by certified Technicolor technicians, and the built-in management and control system ensures that the Technicolor kit works seamlessly with the cinema’s TMS, automatically ingesting the movie
into the appropriate servers at the selected time. ThinGest is used with both satellite and terrestrial (cable / fibre) systems, and in the USA several cinema malls use the system with fibre connectivity. I was interested to learn that the system can actually use a two-way satellite system that enables remote monitoring and support by Technicolor, and that the company prefers to supply and fit the satellite dish. The satellite link is in addition to the cinema’s ADSL connections for management and monitoring Technicolor is in full control. There is even a secure ‘mobile library’ facility available for cinemas that don’t have their own network system, allowing the ThinGest to duplicate its data directly onto hard drives which can be directly ingested into screen servers as required. Such a ‘professional’ satellite system overcomes many of the problems that have been encountered by cinemas who have fitted their own ‘domestic’ satellite reception
Large numbers of Ka band satellite spot beams could provide cost-effective coverage of even the smallest European countries.
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equipment for live cinema events, with various degrees of reliability, and studios are likely to insist on this higher level of quality assurance and reliability before trusting the distribution of their precious movie content to electronic means. The system works well in the USA, but since we have already shown how much more difficult and expensive it will be to deliver the multiple variants of a movie required for Europe, it seems likely that other solutions will need to be adopted here. Another company that is providing a controlled and monitored professional service via satellite for the secure digital delivery of trailers, ads and feature films directly to theatres is Smartjog, whose equipment I have come across in several projection rooms. DCPs are sent by distributors and their mastering facilities to the cinema where SmartJog’s DCinema gateway server receives and stores all digital cinema content. Upon reception, DCPs can automatically be pushed to other equipment, TMS or screen servers, on the cinema network, and they have taken care to ensure that
their system is integrated and interoperable with most digital cinema servers and Theatre Management Systems in the market. They also offer to look after the reception of live alternative content using the same satellite equipment. Their secure web interface, Mobius, gives clients the ability to manage and track their incoming files, and projectionists can also monitor the status of incoming transfers using the Gateway interface (RXTX Digital Cinema Manager). Recipients always receive e-mail notifications to confirm that the DCP was delivered and is complete. Cinemas can create systems for the automatic ingest of received content to their digital cinema playback servers and TMS. Smartjog highlight the fact that they provide customer support in several languages - yet another instance of a European requirement that makes the film distributor’s task more difficult than in the USA.
Looking to the future - there is another way for Europe We have so far come to the fairly dismal conclusion that any use of satellites for distribution in Europe
will fail the ‘is it as cheap as a hard drive?’ test, simply because the multiple versions of the files that need to be transmitted means that vast amounts of data have to be transmitted over different areas – ‘satellite footprints’ – and that if only a relatively few cinemas are receiving their chosen version the costs will be too high to make sense. Why are satellite costs so high? Launch costs are massive, between 50 and 400 million US dollars being typical, and the transponders (receiver / transmitter combination) cost a lot to maintain and monitor, keeping them in their allotted orbital place. A typical 36MHz bandwidth transponder designed to carry 8-10 digital broadcast channels will cost around $1.5 million a year. Current satellites were generally designed and optimised for telecommunications and broadcasting purposes, and since the demand for more and more channels is constantly exceeding the capacity of current satellites, there seems little chance that prices will fall. Satellites for TV and video distribution are in a geostationary
The future for cinema distribution looks far from simple - a mixture of satellite, fibre, IP and hard drive.
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orbit, so that fixed receive dishes can be used, and most currently use the Ku band (12-18GHz), but more recent developments in Ka band satellites, using the higher frequencies from 26.5-40GHz, offer new possibilities. In general a Ku band satellite will provide beams that cover a larger footprint than a Ka band satellite, and the higher frequencies of the Ka band generally mean that the gain of receive dishes is higher than for Ku band dishes, so that smaller dishes can often be used. But the higher frequencies are more subject to fading in rainy or poor weather conditions, so account has to be taken of this when planning the system by ensuring that signal strengths are sufficient to provide a satisfactory ‘fade margin’. So a Ka band satellite can have small spot beams that could be very suitable for providing individual coverage of a number of small European countries, which fits one of our requirements for European digital cinema distribution. Equally importantly, since the narrow satellite beams cover carefully controlled areas, the same Ka band frequencies can be used over and over again in different areas, so the capacity for sending movies effectively becomes unrestricted. Some Ka band satellites have been designed as ‘high throughput systems’ which use a large number of small spot beams which provide high signal strength and signal gain, which allows the satellite to link to small receive stations at high data rates with good rain-fade margins to provide good overall reliability. Probably more important, however, is that these new satellites were not principally designed for broadcast use, as the earlier Ku band satellites were, with transponders allocated to groups of TV channels, whereas the Ka band transponders have been designed from the outset to carry data at high bandwidths. This means
that such systems could be used to provide IP (Internet Protocol) transmissions, providing a massive range of options for broadband data transmission.
think we can be sure of at this moment is that - it won’t necessarily be cheaper than a hard drive!
Using an IP platform has many benefits, since IP is a universal standard for transmitting data around the world, with inexpensive hardware and connectivity, and it also allows bi-directional communications. So a satellite system of this type might act as a broadband data hub, allowing individual cinemas to download movie data at will, or to have such data ‘pushed’ into its servers automatically at appropriate times. And since the ‘broadband hub’ provided by the satellite could be used by many different cinemas around Europe, for example, it seems realistic to think that overall satellite data costs might reduce with time.
You can be sure that I tried hard to pin George down for a simple prediction as to what system studios and cinemas will be using for distribution in the next decade, but he provided the ‘cartoon’ below as his answer - the very best prediction is for a mixture of satellite, fibre, IP and hard drive!
As an example of the sort of area coverage that might be possible and could be suited to our needs, the map shows the individual footprints of a Global TT Ka band satellite situated at 13 degrees east. It isn’t the whole solution, of course. Although a Ka band system could provide lots of individual beams, meaning that, say, the Polish version of a movie need only be sent to Poland, and that the efficient reuse of the radio frequencies allows many different movies to be transmitted to different user simultaneously, it doesn’t overcome the problems of a movie taking several hours to transmit or that a last minute delivery of a movie premiere will need a hard-drive backup for ‘belt and braces’ security. But it could provide a cost-effective method of ensuring that thousands of movies, each tailored for its own particular country, are transmitted to thousands of cinema screens throughout Europe on a regular basis. It might also allow for automated systems of data download to cinema servers to take place, but the one thing that I
Crystal gazing But perhaps we needn’t despair, and perhaps technology will come to the rescue of the cinema distribution industry. We have seen how data transmission technologies are constantly evolving, and the effects that this has had well-established and 4G starting to take off, it was interesting to read that Samsung has recently claimed a further breakthrough in transmission technologies. It’s so-called 5G mobile data transmission system, which it is demonstrating in the lab and suggests could be used in commercial products as soon as 2020, is reportedly capable of transmitting data at more than 1Gbps, by using an ‘adaptive array transceiver’ which allows Ka band radio spectrum at 28GHz to be used for cellular data transmission. Put all the different technologies that we have discussed together, and surely we must come up with a way of distributing movies that is cheaper than hard drive! – Jim Slater, with many thanks to George Eyles of Technicolor.
(The author Jim Slater is the Editor of Cinema Technology magazine, the specialist publication for cinema professionals. He can be reached at firstname.lastname@example.org)
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Colin at Odeon Westbourne Grove in 1981. Note the 14,000 ft spools and Cinemation console.
Ex-Chief Colin Haywood provides his
Memoirs of a
Rank Projectionist I started in 1958 at the Ambassador in Hayes Middlesex (below), a cinema owned by the Odeon chain. I worked as a trainee projectionist, starting at the bottom of the ladder. It was a very grand theatre, seating 1500, and at the time I recall we were playing The Vikings. We were equipped with BTH Supas, also VistaVision and played films such as North by North-West and The Five Pennies. The following year Rank replaced the newsreel with the programme filler Look at Life, and Top Rank gramophone records were played in Odeon theatres. I remember those by guitarist Bert Weedon, and other hits of the day including Craig Douglas’ Only Sixteen. About eighteen months later I moved on to a smaller theatre, the Rivoli in Ruislip, Middlesex, owned by Shipman & King, where I was a 3rd projectionist. The Rivoli had Kalee eleven projectors, gas secondary lighting, and hand masking, which could be quite a challenge when showing a CinemaScope trailer. It certainly was a quaint little theatre seating around 750. There was a good working atmosphere, and the Rivoli will always have fond memories for me, as I met my future wife there, who was employed as an usherette at the time.
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L-R. Harlow Odeon 1972 with four-track mag sound. Mini-box at Odeon Swiss Cottage 1973. Odeon Uxbridge, closed 1982.
In 1961 it was with great sadness that I heard that the Ambassador was to close. Even today I think of that grand theatre being pulled down, all in the name of progress. It had a very short life from 1938 to 1961. Still with Shipman & King, I was now a 2nd projectionist and the company offered me a job as a relief projectionist. This appealed because I thought it would offer me a chance for more experience. They owned about 40 theatres, mainly with older equipment, similar to the Rivoli. I particularly liked the Embassy in Esher, and another Embassy at Petts Wood. Unfortunately, S & K were not the best paying company, and I left them in 1962, for a brief spell with Essoldo, where I worked in their Cippenham, Slough cinema. At Christmas that year I recall showing Ben-Hur in fourtrack mag, all 16 reels of it, and how cold it was in the box. By January 1963 - some may recall that very cold winter - I was back working for Rank at the Gaumont Notting Hill, a very old theatre with two balconies, and equipped with Kalee 21 projectors. In the area named bed-sit land, the Gaumont was a busy little theatre, and is still open today as The Coronet. Soon after, I was transferred to the Odeon at Park Royal, which seated about 1900. It had the Super Simplex projectors with Peerless Arcs, and Western Electric Wide Range sound. In 1965 I was promoted to relief chief projectionist. My new boss, Mr. Ken Gamble, was then in charge of about twenty-five of us. His office
was located within the Gaumont State Kilburn. Due to my previous experience with Shipman & King, he
off to the Classic chain. I had no wish to work for Classic, and within a year of starting there, I left. For a short
thought I should do well. Although we were primarily London reliefs, we often worked outside of the capital at Romford, Southend, Reading, Portsmouth, Colchester, and Aylesbury to name a few.
while afterwards, I worked for Technicolor in their 16mm joining and syncing department. It was however, shift work over twenty-four hours. I could not get used to working through the night shift, so I left and moved on to Rank’s Denham laboratory showing “rushes” etc. in their A and B theatres. I enjoyed working there, but missed the buzz of cinema, so I left and joined ABC Cinemas for a short time as a relief chief at Hounslow, covering theatres in Windsor, Maidenhead, the Rembrandt Ewell, and the Mayfair at Tooting.
The relief played an important role within Odeon and Gaumont theatres during that era. Many times I had a situation arise where a desperate manager would ‘phone for help when his own projectionist had failed to turn up for work, critical if the film playing was a big one taking money at the pay-box. I soon discovered how demanding the work could be, finding myself working seventy or eighty hours some weeks. No Health and Safety issues back then, and as for home life, forget it! Each relief had a theatre where he was based for administration purposes. I was stationed at the Odeon Acton. One day while out covering a unit, I met another chief Mr Nigel Wolland. We seemed to get on very well, and in fact remain friends to this day. Nigel moved on to the Odeon at Kensington, before taking over at Rank’s flagship Odeon in Leicester Square. At the end of 1966, the Odeon at Park Royal was looking for a resident chief, and I decided to apply. Although I was successful, this turned out to be a big mistake, because I was unaware that this cinema along with 46 others, including all the staff members, were scheduled to be sold
In August 1968 I was re-employed with Odeon as a relief chief projectionist, again based at the Odeon Acton. Now I was relieving well over one hundred theatres, both in and outside London. Some weeks I could work four or five different cinemas. I got through many a good car with all the miles I covered. All the reliefs had their favourite theatres. The Odeon at Harlow was one of mine, with its big 30’ x 60’ screen and four track mag sound. It was all very impressive. They also staged a number of live shows, including Bob Geldof and his Boomtown Rats, during which I worked the follow spots. Other favourite theatres were the Gaumont Richmond and the Odeon Westbourne Grove with its Victoria 8 projectors, 14,000 feet spools and Cinemation twin drum console. In the late sixties we still played the November-December 2013
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double-feature programme. One in particular comes to mind, shown at the Odeon Muswell Hill on their GB Kalee 21 projectors. The Guns of Navarone plus The Professionals with Burt Lancaster. Quite a show. By 1970 my base was the Odeon at Rayners Lane, Harrow, near to where I lived. This theatre seated around 1,000, and later became a grade 2 listed building. I stayed there for 11 years until it was sold to Ace Cinemas in 1981. I have happy memories of Rayners Lane. There was a good working atmosphere, with many friends both past and present. Like most projectionists, I have some stories to tell. I was relieving at the Odeon Swiss Cottage, one of Rank’s prestige theatres outside the west end, seating 2,000. I was showing Lawrence of Arabia to an almost full house. Nearing the intermission I was informed that we had received a bomb scare. These were fairly frequent in London at that time. I carried on until the intermission. The patrons were then escorted from the building into Finchley road. Luckily it was not raining. The police carried out their searches, but decided that the call must have been a hoax. On Boxing day 1970, the manager of the Odeon at Twickenham phoned me for help, as his projectionist had not turned up. I was just having my dinner, but said I would be over as soon as possible. While I was on my way, the manager decided to open the theatre and have a go at starting the film himself, and when I arrived an hour later, I discovered that he had run nearly three reels without sound. He had laced up, but missed the soundhead completely, hardly great for the patrons! I recall there was some print damage. I did relieve there a few times after that, but I never saw him again. In 1972, Rank opened its first London triple screen at Wimbledon Odeon. I was called in along with Nigel Wolland. It was all so different
projectors, and an unusual five plate Cinemeccanica platter adapted to run both screens, which was not ideal. This was my final base, and during the 90s most of my relieving was confined to Odeons at Haymarket, Kensington, and both the old Odeon and the new Odeon complex at Guildford.
Colin in the box at Oden Kensington, 1994
to the way we had previously shown films, but we soon adapted to the new equipment, with Philips platters and of course xenon lamps. Most of the Odeons converted to triples after Wimbledon. During 1973 I received a call to go to the Odeon Swiss Cottage, which was now a triple screen theatre. For me, it had lost the elegance and charm of a single screen. The film showing was A Touch of Class, which ran for 27 weeks. My base was changed again in 1981, when Rayners Lane became part of the small Ace cinemas circuit, and I was transferred to the Odeon at Uxbridge. This move was shortlived, because although tripled in 1976, Uxbridge closed in 1982, and I was moved yet again to be based at Hounslow Odeon. It was about this time that I was also relieving in the west end at the Marble Arch Odeon. We played films such as Ghandi and Return of the Jedi. With the huge curved 70mm screen and six track mag sound, it was really impressive. By 1984 Hounslow had closed, and I moved to the Odeon at Richmond. This was not by choice, because it was now some distance from home, but by this time the number of relief projectionists had dwindled to about six of us, with those retiring not being replaced. In the meantime, the old Odeon at Uxbridge had been demolished, with the site redeveloped to incorporate a new twin screen cinema and an office block, and in 1990 I went back to the new cinema. It was equipped with new Vic 5
Out of the 25 or so reliefs I originally started with, I was now the last remaining one, and in December 1997 I was made redundant aged 55. Regardless of that I was grateful for the many years of employment I had with Rank. I certainly gained many experiences, and made some very good friends. As I still had some years left to work, I thought that I would take a little time off over the Christmas, and see what was about in the new year. In February 1998 I started work in projection again, this time at the Virgin cinema, Hammersmith, where I stayed until 2000, during which time I also did some relief work for Virgin. In September 2000, my wife and I decided to move to the south coast, and for a short time I worked at the Dome cinema, Worthing, until 2002 when I was given a job as Chief projectionist at Butlins Bognor Regis, a twin screen cinema, owned by Bourne Leisure, but previously operated by Rank, and I retired in October 2007 aged 65. I still do relief work on a casual basis at the Pavilion cinema, part of Worthing Theatres Group, occasionally with another veteran, ex-ABC manager John Griffiths. Together we enjoy a trip down memory lane to share our past experiences. As we go forward with new technology, I suspect that soon all cinemas will be digital, but for me, without 35mm film, cinema will never be the same again. – Colin Haywood, Rustington, West Sussex email@example.com (This article is a extract from Cinema Technology magazine, the specialist publication for cinema professionals)
10-12 December 2013 Hong Kong Convention & Exhibition Centre, Hong Kong Come attend the only Pan-Asian Convention dedicated to the Cinema Exhibition & Distribution communities - CineAsia 2013, where Asian cinema exhibition and distribution professionals come to do business. CineAsia 2013 will take place from 10th December to 12th December at the Hong Kong Convention and Exhibition Centre. CineAsia is a unique event that brings together Asian cinema industry professionals, from cinema owners and suppliers to film buyers and distributors. CineAsia the only pan-Asian event of its kind. As the sister event to ShowEast and CineEurope, CineAsia maintains the same standards of programming, seminars, special events and suppliers. CineAsia also screens major Asian and Hollywood films and offers educational programs specifically geared toward the needs of the Asian cinema exhibition community.
Trade Show Find the products and services you need from hundreds of suppliers to the movie theatre industry.
Screenings & Product Reels See Hollywood and major Asian films before they are released and find out what the movie studios and distributors have in store so you can make.
Some of the topics and panels to be discussed are as follows:-
Increasing Revenue Streams
Best Practices from Leading Exhibitors
Digital Cinema and much more
A Panel Discussion Presented by the International Cinema Technology Association (ICTA)
Key spokesmen for Exhibition and Distribution discuss a wide array of issues facing the industry today. Topics to include 3D penetration, laser projection, immersive sound systems, alternate content, construction costs - and everything in between.
Moderator: Ioan Allen, Film Audio Pioneer & Senior Vice-President, Dolby Laboratories
Panelists: Irving Chee, General Manager, Golden Screen Cinemas Brian Hall, President & CEO, Megastar Media Sunder Kimatrai, Senior Vice President, Asia Pacific, Twentieth Century Fox International
Mark Viane, Senior Vice President, Latin America & Asia Pacific, Paramount Pictures International •
"Protecting Screen Content in Cinemas and Online"
Presenter: Ryan Murray, Director of Content Protection, Asia Pacific, MPA •
"Immersive Sound Systems What Are They and How Will This Benefit Exhibitors?"
Moderator: Bill Mead, Publisher, Editor and Developer, DCinemaToday.com
Speakers: Stuart Bowling, Director Market Development, Dolby Laboratories Brian Claypool, Senior Director Strategic Business Development, Barco
E X H I B I T O R S 3D Consumer .............................. 414
JBL / Crown ................................. 319
AK Designs Seating .................... 607
Kwan Cheong Ho ....................... 805
AnHui Star Ocean Screen ......... 507
Kencast ........................................ 415
Arts Alliance Media .................... 105
Klipsch Group ............................. 807
Ballantyne Strong ...................... 101
Krix Loudspeakers ...................... 119
Barco N V ..................................... 301
Leonis Cinema ............................ 500
Beijing Quinette GreatWall Seats .......................... 615
NCR Corporation ....................... 801
Caiz Optronics ............................ 811
ORC Lighting .............................. 603
ChangZhou Plusrite Specialty Lighting ...................... 609
Osram Asia Pacific ...................... 304
China Film Giant Screen ........... 511
Plato Chemical ............................ 617
Christie ......................................... 201
Pulz Electronics .......................... 315
Crown International .................. 319
QSC Audio Products .................. 100
Depthq 3D/Lightspeed Design ... 316
QUBE Cinema ............................. 401
Dolby LaboratorieS ................... 205
Screen Solution .......................... 318
Doremi Cinema .......................... 305
Shenzhen Hengchuangbaolai . 810
Easi Ticketing .............................. 815
Shenzhen Le-vision ................... 519
Eyes Triple Shut Sa ..................... 221
Sonic Tier ..................................... 518
First Audio Manufacturing ....... 604
Sony ............................................. 211
Fuyi Acoustics ............................. 611
Spectro Screen ............................ 318
GDC Technology ........................ 311 GetD ............................................. 504
Suzhou Burgeree New Technology Materials ....... 605
Golden Link ................................ 120
Sydeco Acoustics ........................ 613
Guangzhou Rio Tech Optics .... 501 GXM .............................................. 419
Newvos SDN BHD ....................... 808
Philips Lighting .......................... 405
TheatreWorld ............. Pub Bin
Dr. Bharani Kannappan, Director, Gokulam Pavilion Sundar Theatres
Harkness Screens ........................ 214
TK Architects ............................... 217
High Performance Stereo ......... 218
Tokiwa ......................................... 117
iPlateia ......................................... 317
Universal Cinema Services ........ 108
Ingrid Y. Lim, General Manager, The Grand @ Elements
ISK Optics .................................... 220
Ushio ............................................ 107
iVISION Global ............................ 418
USL ............................................... 204
J.F.H. Industrial ........................... 601
Vista .............................................. 115
Jack Roe ....................................... 804
Yuyu Lighting ............................. 505
14-17 October 2013 Gold Coast â€˘ Queensland
Located on Broadbeach Island, Jupiters Hotel & Casino provided a perfect venue to hold the annual AIMC which took place from 14th Oct to 17th Oct 2013. Delegates were able to move with ease between the distributor screenings in the Jupiters Theatre, to the seminars and networking functions in the Pavilion Ballroom and also the Trade Show and lunches in the Pavilion Marquee. Set amongst landscaped gardens and parklands, and only a short stroll or monorail ride to the Broadbeach restaurants, beach and shopping centres, Jupiters provided a relaxed environment for the delegates.
The Movies... The major and independent film distributor presentations provided an exciting showcase of product reels and movies set for release in the coming 12 months. Movies provided for a wide range of tastes and included: CAPTAIN PHILLIPS (Sony Pictures Releasing) LAST VEGAS (Universal Pictures) PHILOMENA (Hopscotch Entertainment One) AUGUST: OSAGE COUNTY (Warner Bros / Roadshow)
News Corp, presented on new media opportunities for the movie industry in a changing world.
ENOUGH SAID (Twentieth Century Fox) DALLAS BUYERS CLUB (Pinnacle Films) FILTH (Icon Film Distribution) JACKASS PRESENTS BAD GRANDPA (Paramount Pictures) DELIVERY MAN (Walt Disney Studios) CUBAN FURY (Studio Canal)
The Speakers... Senator the Hon George Brandis, Attorney-General & Minister for the Arts, presented the Keynote Address on Monday 14 October. Senator Brandis covered a number of issues affecting the Australian screen industry, particularly focussing on the importance of encouraging Australian production and the need for more stringent copyright laws.
Other speakers throughout the convention included Alisa Bowen, Group Director of Digital Product and Development,
Lori Flekser, General Manager, Motion Picture Distributors Association of Australia led a panel of industry experts from exhibition, distribution and technology companies as they addressed the current issues of digital delivery at a cinema site level. Don Groves, Senior Journalist, IF Magazine, interviewed Robyn Davidson, Rick Smolan and Emile Sherman about the story behind, and the making of the movie TRACKS. Bernard Salt, Partner, KPMG, enlightened delegates on managing and engaging Generation Y and how demographic shifts are changing the mass market in Australia.
The Business... An expanded Trade Show with many new suppliers provided business opportunities as exhibitors met with delegates interested in expanding, refurbishing, converting or upgrading equipment. The Trade Show cafe provided the perfect place to enjoy some time-out from a very busy
2013 program of activities, and the array of games machines supplied by Intencity offered some light relief as delegates challenged their skills and peers.
The Awards... The elegant News Corp Box Office Awards lunch on Wednesday 16 October featured the top awards for the year September 2012 to September 2013. Sony Pictures Releasing's SKYFALL took out top honours, with THE HOBBIT: AN UNEXPECTED JOURNEY winning the top 3D film released and top box office in New Zealand. The AIDA Dinner and Awards Ceremony was held on Monday 14 October. MC and AIDA President, Robert Slaverio, introduced delegates to the various member companies of AIDA as well as special guests, actors Don Hany and Felix Williamson. Congratulations to all winning cinemas and also to Ingrid van den Berghe, recipient of the Independent Spirit Award.
Thursday's Gala Convention Wrap Party featured the presentation of three industry awards Murray Forrest Award for Excellence in Film Craft to Andrew Lesnie Australian Star of the Year Award to Mia Wasikowska Lifetime Achievement Award to Jack Thompson Acting legend Jack Thompson received a standing ovation and
delighted delegates with his humble acceptance of the award in recognition of his contribution to the Australian television and film industry. Mia Wasikowska and Andrew Lesnie filmed acceptance speeches as both are currently working on projects overseas.
The Networking... The social and networking events allowed delegates to relax and catch up with colleagues and friends. The Vista Charity Golf Tournament was held in beautiful weather at the Palm Meadows Golf Course on Sunday 13 October. Twenty-one players competed with the winning team from Deluxe - Peter Gaila, William Robinson, Adrian & Caroline McCarten. Vista presented cheques totalling almost $12,000 to VarietyThe Children's Charity and the Motion Picture Benevolent Association as part of their fund-raising. Tuesday's Trivia Challenge hosted by Quiz Master Des Partridge (former Journalist and Film Reviewer with the Courier-Mail) and AIMC compere Todd Widdicombe made for a dynamic, fun and competitive evening. Congratulations to the winning team - Eventful-8 - on a tremendous job. The convention wrapped up on 17th October evening with the elegantly themed gala dinner - Noir - with entertainers the Two Tenors, The Jersey Boys and dance band Kick. Delegates adjourned to the Deluxe Network Bar in the Pavilion Gallery to challenge the experts with their karaoke skills.
10-12 DECEMBER CINEASIA, HONG KONG www.cineasia.com
2014 12-14 MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com
1-3 MARCH CHINA THEATER & CINEMA GUANGZHOU www.gtcff.com
24-27 MARCH CAESARS PALACE, LAS VEGAS, USA www.cinemacon.com
16-19 JUNE CINEEUROPE BARCELONA, SPAIN www.cinemaexpo.com
25-27 JULY CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
OCTOBER AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
27-30 OCTOBER SHOWEAST, FLORIDA, USA www.showeast.com
21-24 October 2013 Florida • USA ShowEast 2013 welcomed its visitors again at the Westin Diplomat Resort & Spa in Hollywood, Florida from 21st Oct to 24th Oct 2013. This year's ShowEast was 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 place to be, if you want to do business with the multi-billion dollar cinema exhibition and distribution communities. This year more than 1,300 cinema exhibition and distribution professionals with enormous purchasing power came 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 attended ShowEast to make their purchasing decisions.
more, to stay current with industry trends, Special programming for the Latin American market, Network at sponsored special events and the products, services and technologies were showcased that you need at the trade show to make your theatre a must-attend destination. ShowEast was attended by Theatre Operators/Owners, Film Buyers/Bookers, Distributors, Concessions Buyers, Theatre Design/Construction Professionals, Equipment Manufacturers, Marketing/Media Professionals and Advertising Agencies. Some of the topics discussed at this year's expo were as following: •
At ShowEast major studio and independent feature films slated for Holiday release were screened to help make informed programming decisions, Getting the latest information on issues affecting the industry such as: Digital Cinema; 3D; Alternative Content; Concessions and much
"Today's Cinema as Part of a Complete Entertainment Complex"
Presenter: Damon Rubio, Executive Vice President of Operations, Ultra Star Cinemas •
"The Evolution of the Cinema Industry - Challenges in the Future from a Technological Viewpoint"
Panelists: Richard Mitchell Harkness Screens, Andrew Gaweda - Director Product Management NA- Entertainment Division, Barco , Adam Peterson - Universal Cinema Services, Mark Mayfield- Cinema Marketing Manager, QSC Audio, Pat Moore - Vice President, Sales, Ballantyne Strong/Strong Technical Services, Mike Cummings Principle, TK Architects. •
"Marketing - The New Role of Cinema Marketing in Driving Incremental Admissions"
Whose job is it to tell the public about a film release? Studio or Exhibitor or both? How do you link the different channels of marketing on a movie to drive admissions to best effect? In this session we look at marketing techniques and solutions that will help combine and coordinate marketing activities to the mutual benefit of filmmakers, distributors and cinemas with the end result of growing profitable attendance for everyone. Moderator: Mark de Quervain, Managing Director, Action Marketing Works Ltd. Panelists: Tomas Bercovich, CEO, Zheta Pricing, Alexander Brouilat, COO, Highland Technologies and Will Palmer, CEO, Muvio.
F U T U R E
R E L E A S E S
A glimpse of movies coming soon… Out of the Furnace
Production Relativity Media
Production Columbia Pictures
Director Scott Cooper
Director David O. Russell
Starring Christian Bale, Woody Harrelson
Starring Christian Bale, Bradley Cooper
The Last Days on Mars
Saving Mr. Banks
Production Magnet Releasing
Production Walt Disney
Director Ruairi Robinson
Director John Lee Hancock
Starring Liev Schreiber, Elias Koteas
Starring Emma Thompson, Tom Hanks
Genre Sci-Fi, Thriller
Genre Comedy, Drama
Tyler Perry’s A Madea Christmas
Khumba Production Millennium
Director Anthony Silverston
Director Tyler Perry
Starring Jake T. Austin, Liam Neeson
Starring Tyler Perry, Kathy Najimy
Genre Animation, Family
F U T U R E The Hobbit: The Desolation of Smaug
Production Universal Pictures
Director Peter Jackson
Director Carl Rinsch
Starring Ian McKellen, Martin Freeman
Starring Keanu Reeves, Hiroyuki Sanada
Genre Adventure, Fantasy
Genre Adventure, Fantasy
August: Osage County Production Warner Bros.
Production The Weinstein
Director Spike Jonze
Director John Wells
Starring Joaquin Phoenix, Amy Adams
Starring Meryl Streep, Julia Roberts
Genre Drama, Romance
Genre Comedy, Drama
Anchorman 2: The Legend Continues
Production Paramount Pictures
Production Warner Bros.
Director Adam McKay
Director Peter Segal
Starring Will Ferrell, Christina Applegate
Starring Sylvester Stallone, Robert De Niro
Genre Comedy, Drama
Walking With Dinosaurs
Production New Line Cinema
R E L E A S E S
Jack Ryan: Shadow Recruit
Production 20th Century Fox
Production Paramount Pictures
Director Barry Cook, Neil Nightingale
Director Kenneth Branagh
Starring Charlie Rowe
Starring Chris Pine, Keira Knightley
Genre Action, Adventure
Genre Action, Suspense
F U T U R E
R E L E A S E S
Labor Day Production Paramount Pictures
Production Celluloid Dreams
Director Jason Reitman
Director Takeshi Kitano
Starring Kate Winslet, Josh Brolin
Starring Takeshi Kitano, Ryo Kase
Genre Action, Thriller
The Secret Life of Walter Mitty
Production 20th Century Fox
Production 20th Century Fox
Director Ben Stiller
Director Radio Silence
Starring Ben Stiller, Kristen Wiig
Starring Zach Gilford, Allison Miller
Genre Horror, Thriller
The Nut Job Production Universal Pictures
Production Open Road Films
Director Peter Berg
Director Peter Lepeniotis
Starring Mark Wahlberg, Taylor Kitsch
Starring Will Arnett, Brendan Fraser
Genre Action, Drama
Genre Animation, Family
One Chance Production The Weinstein
Production Universal Pictures
Director David Frankel
Director Tim Story
Starring James Corden, Julie Waters
Starring Ice Cube, Kevin Hart
Genre Comedy, Drama
Genre Action, Comedy
F U T U R E
R E L E A S E S
Gulaab Gang Production Eros International
Production Benaras Media
Director Soundarya Rajnikanth
Director Soumik Sen
Starring Rajinikanth, Deepika Padukone
Starring Madhuri Dixit, Juhi Chawla
Genre Action, 3D
Dedh Ishqiya Production Yash Raj Films
Production Vishal Bhardwaj
Director Vijay Krishna
Director Abhishek Chaubey
Starring Aamir Khan, Abhishek Bachchan
Starring Arshad Warsi, Madhuri Dixit
Genre Action, Thriller
China Theatre & Cinema