This issue of TW has two sets of page numbers - International pages TW-1 to TW-44 for TW, and India pages TM-1 to TM-24 for TM. TM is inserted between pages TW-34 and TW-35 of TW.
A Record of Sorts
TECHNOLOGY 4D Cinema Alive at
Madame Tussauds TW-
Digital Cinema ‘Drives-in’ to Theatres
A Technicolor Feat
250 Screens on Film 3D
Review - ShowEast Preview - Cinema Expo
Cinema India Expo Cinema Today
CINEMA SYSTEMS Projection Series-XXX
Maintenance of Xenon Lamps, Rectifiers
entertainworld F U T U R E R E L E A S E S
MINDSHARE TW EDITORIAL
To those who thought film is dead … the news is … not yet! Companies with interests in film are attempting to breathe life into this format by adding 3D technologies to it. There is no denying the flavour of the season is 3D! If film 3D can give simple, economical solution to theatre owners then, given the majority population of film projectors across the world, it might just work. Film did pioneer 3D and that too many decades ago but it was riven with infirmities which are now addressed. Existing exhibition infrastructure which is not switching from film to digital anytime soon, due to various issues, is the compelling reason why film 3D might just work.
While digital 4k has been around for quite some, with more providers coming in, it is gradually going mainstream. We can expect film leapfrogging directly to digital 4k provided the involved companies emerge with a winning solution of simplicity and economics. Moreover 4k will eventually become inevitable as television is hot on heels and affordable 4k sets in 21:9 ratio are expected in a couple of years. 4k surpasses film resolution and digital will have to think of some new tricks since 8k as a natural evolution makes no sense. Eventually we can expect all film and 2k to evolve to 4k. Given the uncertainty of technology evolution it would be risky to predict beyond this!
Sandeep Mittal Editor / Publisher TW-4
Value - INR 150 (US$ 15)
Issue # 47 / October-December 2010
Never doubt that a small group of thoughtful committed people can change the world. Indeed, it is the only thing that ever has.
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CINEMASCOPE It’s been eleven years now since TW (TheatreWorld), began showcasing the Show Business in its own inimitable style. Evidently, it’s been a kaleidoscope of the global motion picture exhibition industry, as well as an effective interactive platform between the industry and the wide spectrum of professionals associated with it: architects, acousticians, interior designers, technocrats of sound and projection, ticketing, concessions consultants, and, of course, the cinema builders! Due to the kind of content it has been churning out issue after issue, there had been a persistent demand from discerning readers that the magazine should have a letters column through which they could express their views and share information. Admittedly, we did not realise that our effort would be valued so high, which was why we did not contemplate having a letters column so far. It’s been a fulfilling factor too for us. On completion of a decade of striving existence, we are pleased to commence a Cinemascope column under which our discerning readers can share their views. We invite all our readers to send their opinions as well as suggestions relating to the industry and our effort in making it better. It may kindly be noted that for convenience of lucidity, the letters may be edited suitably, and Cinemascope retains the right to accept or reject any letter depending on the merit of the subject discussed. So, please do send in your views to Cinemascope. Mail your feedback to email@example.com
Theatre World is a quarterly publication, on the motion picture exhibition industry, for private circulation. It reaches out to subscribers, mainly theatre owners and trade professionals in India, also subscribers in select Asian cities. Additional copies are being promoted at major international industry events. Theatre World seeks the healthy promotion of the theatre industry through dissemination of useful information. Some of the information is compiled from industry sources, trade journals, company brochures for the benefit of readers, especially, theatre owners. Theatre World acknowledges with thanks the authors and publishers of these printed materials. Views expressed in the articles are those of the authors and not necessarily of Theatre World. Theatre World is a trademark under registration. The contents of Theatre World are under copyright registration. All rights reserved. Reproduction by any means in whole or part without written permission is prohibited. Unsolicited printed material is welcome but no responsibility is undertaken for the same and will not be returned. Theatre World does not take responsibility for the absolute accuracy of information published.
Datasat to Power Ster Kinekor Cinemas Datasat Digital Entertainment has announced that South Africa’s largest cinema exhibitor Ster-Kinekor will be installing the DC20 Digital Cinema Processor at more than 20 of their sites in the coming months. “The DC20 is the server to install into 3D cinemas,” said Johan van Staden, Technical Manager for Ster-Kinekor. “The features on the DC20 make uploading of content so much easier and faster. The connections and installations go very fast, and the software is very user friendly.” The DC20 features a FIPS certified media block and can be used as a standalone digital cinema player for a single screen, or as a network player system for a multiplex configuration. The processor supports multiple playback formats
and offers both digital and analog audio outputs. “Backup service on the DC20 is something that cannot be matched, fast and down to the point,” continued van Staden. Datasat offers a high level of customer service and technical support on the DC20 and their entire cinema product line. Ster-Kinekor Theatres, the filmed and digital entertainment division of Primedia, operates 31 Ster-Kinekor Junction value cinemas and 16 SterKinekor Classic cinemas with over 400 screens and 60,000 seats.
Barco Dazzles Cinemas Around the Globe Barco Digital Cinema announced that the first half of 2010 has brought impressive results for its business thanks to the worldwide deployment of the DP2K series. According to the company, this year took off with a significant increase in sales, orders and production capacity. Powered by the global demand for digital and 3D projection, Barco’s new DP2K family of digital projectors is on its way to break all records. Launched at ShoWest in March 2010, this family of DLP Cinema Enhanced 4K digital projectors was the first ever to pass a DCI compliance testing milestone and the first to offer integrated CineCanvas subtitling. Furthermore, Barco has revealed that it has obtained full DCI compliance for its complete line of DP2K ‘C’ series Their extreme brightness, reliability and image quality in combination with Barco’s extended service offering featuring enhanced remote services, diagnostics and monitoring, have
made the DP2K family the preferred projectors for leading exhibitors worldwide. Major exhibitors that are already projecting the magic with the new DP2K digital cinema projectors include Cinemark, Malco, Cinedigm customers Rave, Starplex and Movie Tavern, Empire Theatres Limited in Canada, Kinepolis, Europalace, Cinéville, MD2, FinnKino, DCK, Cinépolis, UGC, Vue Entertainment, Empire Cinemas UK, DFL, Real Cinemas, Palace Cinemas, Multikino, Cineplex, Yelmo, ZON Lusomundo Cinemas, Space, Euroscoop, Nordisk Cinemas, Dadi Media Group, in Europe, and Jinji Zhujiang Cinema, Zhejiang Shidai, Guizhou Xingkong, Shenzhen Taikoo, Xinhua, CGV China, and Jiangsu Xingfu Lanhai in China, besides many others. The new DP2K series has received high praise from the market. “Barco will continue to deliver the proven
performance, reliability and userfriendliness of their renowned DP projectors, and they will prepare us for the future with DLP Cinema Enhanced 4K,” comments Alan Stock, CEO of Cinemark Holdings, Inc. “We have worked with Barco since 2006 and successfully installed over 300 Barco projection systems so far,” comments Liu Kaijun, General Manager of Dadi Cinema Development Ltd. “The reason why we selected Barco for this project again, is because its excellent product stability has laid a solid foundation for the good operation of our cinemas. We are also impressed by the company’s superior after-sales services. As Dadi Digital Cinema is growing fast, we look forward to an even deeper cooperation with industry-leading digital cinema system suppliers – like Barco.” Patrick Muller, General Director of Cinemeccanica states: “Both the Barco people and our team are passionate about what they do and are real experts in their respective fields. The results are first class projectors which are unmatched in today’s market. No other projector offers the same quality, ease-of-use and reliability like Barco does.” Supporting 2D and 3D projection, Barco’s six new DP2K projectors represent the most complete projector family available today with models for every screen size and budget. In addition to advances in software, diagnostics and patented cooling technology, all DP2K projectors include enhanced security features as mandated by the Digital Cinema Initiative (DCI). All of Barco’s digital cinema projectors are based on the pioneering DLP Cinema technology from Texas Instruments, guaranteeing perfect re-production of movies, time and time again, and ensuring that theatre-goers enjoy the highest quality movie experience with consistent picture brightness, contrast and vibrant colors.
USL Gets 5th ICTA Award USL, Inc., has been awarded the International Cinema Technology Association (ICTA) Manufacturer of the Year Teddy Award for 2009. It is significant that the cinema equipment manufacturer had been selected for the honour for the fifth time in less than twenty years. Previous Teddy Awards were bestowed upon USL in 1991, 1995, 2006 and 2007. This annual award is voted upon by the dealers in the motion picture industry who are active members of the ICTA. The Teddy award acknowledges the progressive principles of product development, the ability to provide dealers with services and the capability of a company to provide up-to-date technical and sales information. USL, Inc.’s Human Resources Director, Linda Wilhelmi shares, “we are proud and extremely pleased as a company to announce that USL has earned the prestigious 2009 ICTA Teddy Award as Manufacturer of the Year.” To be voted upon by dealers, and to win the 2009 Teddy Award as Manufacturer of the Year is an accomplishment, but to do this in 2009 speaks to the consistent approach and sound foundation that USL has forged as a manufacturer. Wilhelmi continues, “we at USL develop new technologies while maintaining the continuous technical support in an industry that is constantly evolving. This award is a company-wide win!” USL, Inc has been a supporting member of ICTA since 1988. ICTA was founded in 1971 and now represents more than 180 manufacturers and cinema-related businesses worldwide. Jack Cashin, Founder & President of USL, Inc. states, “This acknowledgment is truly satisfying as it represents the collective success our company has achieved,” he goes on to say, “As a technology leader in the development of cinema products, it is clearly a compliment when the technical and sales support for our company is recognized by our customers / dealers. “Customer service has always been a
priority of our company” comments Clint Koch, USL’s Director of Sales and ICTA Board Member. “Our customers have the ability to select products from any manufacturer in the industry.
We believe that our world class cinema products are chosen by our customers for their versatility and reliability. USL, Inc. offers each and every customer a brand they can trust,” concludes Koch.
An On-Screen Reality A Cinema ‘XpanDs’ in West Bank With an ambitious goal of bringing cutting-edge entertainment and good will to the West Bank, German filmmaker Marcus Vetter has teamed with international sponsors, including global 3D leader XpanD, to renovate and reopen the sole-standing cinema complex in the city of Jenin. The project is inspired by Vetter’s documentary, offering the war-torn area an entertainment venue that hasn’t opened its doors since the 1980s. Cinema Jenin was reintroduced to the public with a three-day film festival from 5-7 August, 2010, with the premiere of Vetter’s film, The Heart of Jenin, which recounts the story of a Palestinian man’s decision to donate his 12-year-old’s organs to Israeli children after an Israeli soldier accidentally shot the boy. The reopening also includes a new state-of-the-art 3D system, donated by XpanD, which will be unveiled at the festival and utilized for feature films on a regular basis. Approached by cinematic industry partner Carsten Schuffert of Bewegte Bilder Digital Cinema in October 2008, XpanD, without hesitation, donated on of its topof-the-line system to Project Cinema Jenin. XpanD CEO Maria Costeira believes whole-heartily that contributing to the reinvention of this once highly valued cinema would bring a new aspect of hope, entertainment and positive thinking to the West Bank territory. “The story of this heartwarming decision shines a humanizing light
on the tension in the Middle East and the shadow this conflict is casting on the innocent bystanders in the area,” stated Costeira. ”The arts, especially cinema, are universally appealing to all cultures as they provide a window to catch a glimpse at some of these rarely seen aspects of the area’s day-to-day situations. It is XpanD’s hope that with Jenin’s addition of a 3D cinema, locals will have an opportunity to enjoy beautiful films, taking the constant, uneasy thought of war out of their minds for a few hours at a time.” The complete XpanD system installed in Cinema Jenin includes: 500 pairs of X101 active 3D glasses, two infrared emitters, a synchronization distribution module, active glasses infrared tester, power supplies and a complete hardware set including the wiring, connections and cables, etc. “Today, 3D is a game-changing technology that allows the world to express itself in a completely original way,” said Ami Dror, Chief Strategy Officer, XpanD. ”Cinema Jenin is using 3D entertainment to bring about a social movement; it’s a chance to really improve the livelihood of the people in the surrounding area by showing the inspirational story behind Vetter’s film. It will truly inspire the masses.” For more information about Project Cinema Jenin, please visit www.cinemajenin.org
TOHO's Pact with Sony for Total Digital TOHO Cinemas Inc., largest theater chain in Japan, and Sony Corporation have reached an agreement to install a total digital cinema system solution. Through this agreement, Sony 4K Digital Cinema projection systems will be installed in all TOHO Cinemas sites for each of the exhibitor's 545 screens, not including co-operated theaters. The installation is planned to be completed by December 2012. Sony will provide TOHO Cinemas with a total digital cinema system solution, which mainly consists of Sony 4K digital cinema projectors and projection servers. Specifically, a theater projection system is connected through a network and is composed of a theater management system (TMS), which centrally controls content, and a central server system. Sony will also provide TOHO Cinemas with designated maintenance and service including a customer call center, remote hardware and system monitoring, and periodic maintenance. TOHO Cinemas can also utilize Sony's comprehensive hardware, system, and service while reducing initial startup and maintenance costs. "We value Sony's accomplishments in the digitalization of theaters, which it has achieved through cooperation with major Hollywood studios, domestic/ overseas studios and distribution companies," said TOHO Cinemas. "Sony is also the only company which can provide the high-resolution 4K projector as well as a complete and future-proof projection system."
Recently, digitalization in the movie industry has been rapidly accelerating, and the number of screens with digital projection systems has been quickly expanding. According to estimates by the research firm Screen Digest, the number of digital screens will increase globally from 16,000 in 2009 to 25,000 in 2010, while the number of digital screens in Japan will double from 400 to almost 800. Through digitalization of theaters, content can be maintained in master quality without deterioration from scratches or dust. Also, theaters have the flexibility to show alternative content such as live theater, concerts, and sporting events, thus creating additional revenue streams and increased programming options for customers. Since Sony introduced its Digital Cinema Solution Service in October 2009, there have been an increasing number of movie studios and distribution companies which have supplied digital film content as well as alternative content to theaters. Digitalization in the movie industry is expected to further accelerate, as a result of TOHO Cinemas efforts to digitize its theaters.
Star Wars Happening in 3D If movie fans of yester year considered that after 33 years and six blockbusters of the much frenzied Hollywood saga called Star Wars they had seen all they would from the George Lucas stable, they should think again. They haven’t seen it in 3D — not yet, anyway. Lucasfilm Ltd and Twentieth Century Fox film studio, which are behind the movies, recently said that they will release 3D versions of all six movies to theaters starting with Star Wars: Episode I — The Phantom Menace in 2012. The movies will be converted to 3D by the special effects wizards at Lucas’ Industrial Light & Magic. While some recent films have taken criticism for poor conversions from 2D to 3D, Industrial Light & Magic visual effects supervisor John Knoll promises “getting good results...is a matter of taking the time and getting it right. The saga famously began with the original Star Wars in 1977, telling of a quest by a young man named Luke Skywalker who helps save the universe from evil. It became a smash hit at box offices and was followed by two sequels that also proved to be audience pleasers. In 1999, Lucas returned to the story with a new trilogy that told the backstory to the first three movies. In all, six movies were made, ending with 2005’s Star Wars: Episode III — Revenge of the Sith. The first three movies were re-titled as No.’s 4-6, to keep the sequence straight. In all, the six movies have made billions of dollars at worldwide box offices.
Hoyts Digital Journey Signs on AAM for TMS Arts Alliance Media (AAM), Europe’s leading digital cinema company, has announced that it has partnered with Hoyts Cinemas, Australia’s leading cinema chain, to rollout AAM’s Theatre Management System (TMS) across the entire Hoyts circuit in both Australia and New Zealand. Hoyts Cinemas, which has over 400 screens across the two countries, will equip all digital screens with AAM’s proprietary software, custom designed to manage digital cinema operations. Hoyts is rolling out digital cinema across its entire circuit as part of the Digital Cinema Implementation Partners Australia (DCIPA) group. AAM will be working closely in partnership with Hoyts to further develop its software, calling on Hoyts’ experience in cinema advertising services (via its sister company Val Morgan) and its skills and knowledge in cinema operations. In true partnership form, Hoyts will provide ongoing input and feedback to ensure that AAM’s TMS continues to best meet the needs of all exhibitors. The partnership follows AAM’s announcement in March this year of a deal with Broadmedia to licence its TMS in Japan, and further demonstrates AAM’s multi-tiered approach to the digital cinema business. The agreement is the first that Arts Alliance Media has completed for a cinema outside those it has equipped as part of its own digital cinema rollout. Furthermore, this is the first deal of its kind where a major exhibitor has committed to a TMS solution that is independent from the equipment selection and the integration company involved. Adam Wrightson, Group Technology Director, Hoyts, said “for an exhibitor, choosing the right TMS is an important decision. It will become the foundation for workflow and management of our entire digital
cinema network. An effective TMS will enable us to achieve the operational efficiencies and real revenue opportunities that digital conversion promises. After reviewing all the products in the marketplace we found the AAM TMS to be the most flexible and the most suited to our needs. As we continue to expand our digital cinema platform, we see AAM as a strategic partner to achieving our goals moving forward.” According to Fiona Deans, Chief Operating Officer of AAM, although the rollout business is focused in Europe, their content and software businesses are worldwide. “We see Hoyts Cinemas as a key customer adding to our worldwide portfolio. Their operational and technical expertise is second to none around the globe making Hoyts a very welcomed client,” he said. AAM’s Vice-President, Technical Development, Matt Sullivan, said “we have been working with Adam and his team for over six months gathering their input on our TMS, which has been invaluable in improving our product. Our relationship is a true partnership and we look forward to continuing to work with them.” Arts Alliance Media’s TMS is part of a software suite designed to manage all aspects of digital cinema content and playback in a cinema from a single location. The entire digital cinema workflow, from creating shows and scheduling playback through to moving content between screens and managing security keys (KDMs), can be managed from an easy to use, secure web interface. The AAM TMS is currently being rolled out across AAM’s VPF-signed screens with Cineworld and Yelmo, a total of over 1,100 screens.
Pact with Doremi Hoyt’s Cinemas has also entered into exclusive agreement with Doremi Cinema to supply all the playback
server technology for the next phase of its digital cinema deployment. The deal also includes delivery of Doremi’s CaptiView Closed Caption Viewing Systems for hard of hearing patrons. The deal was finalized at the recent Australian International Movie Convention (AIMC) on the Gold Coast. The installations are set to begin immediately, and expected to be completed by the end of 2013. Hoyts Cinemas manages 400 screens across 38 Australian and 11 New Zealand cinema complexes, making it Australia’s second largest cinema chain. Delfin Fernandez, Chief Executive Officer, said, “Our goal is to have 100% of our circuit converted to digital cinema over the next 36 months. Having already installed over 80 Doremi servers, we are comfortable knowing Doremi will deliver reliable products along with the innovation necessary to keep Hoyts at the forefront of technology as digital cinema advances into the future. “. “Doremi’s expertise in large, international deployments, as well as their capacity to meet installation deadlines, makes for an excellent partnership”. Adam Wrightson, Group Technology Director comments “Doremi has provided outstanding service to us over the last few years since our first round of installments of their server technology. For this next phase, the 2K/4K option on the Doremi IMB/ ShowVault is essential to our expansion as it allows us the flexibility to convert to 4K when the time is right. The IMB also provides us the benefit of its alternative inputs and full scaling capabilities for alternative content. We are thrilled to secure our ongoing partnership with Doremi.” “We’ve enjoyed working with Hoyt’s since their initial installation of our servers” comments Michael Archer, VP of Doremi Cinema. ”They represent the next generation of
exhibition with their commitment to the latest technology and patron satisfaction. Their commitment to deploying three of Doremi’s products solidifies Doremi’s position as an innovative product company that meets the needs of digital cinema. We are dedicated to exceeding Hoyts’ expectations on this next deployment.” To date, Doremi has shipped over 15,570 digital cinema servers around the world. Their DCI compliant technology remains at the forefront of innovation and sets the standard for the industry.
Yelmo Cine, AAM in Pact for Spain’s Lagest D-Deal In what is the largest digital cinema deal to date in Spain, AAM and Yelmo Cines have reached an agreement to digitise Yelmo’s 31strong chain of cinemas in 3D. The move is set to dramatically increase the number of digital and 3D screens in the country. The arrangement includes all the financing to procure the equipment, allowing the rollout to begin immediately. Yelmo, Spain’s leading local exhibitor, will install digital systems in 370 screens under this deal. In Phase One of the rollout, at least half of Yelmo’s screens at each location will be converted to digital, with the remainder to be installed over the following months. Today’s announcement follows the deals struck between AAM and Yelmo over the past two years under which several screens have already been installed. AAM has recently announced the opening of an office in Barcelona to represent AAM’s business in the Spanish and Portuguese markets. The installation and maintenance will be carried out by AAM in conjunction with local Spanish integrator Grupo Kelonik. All screens will be 3D capable and will receive AAM’s Theatre Management System software and library management server. Sites will also be equipped
with satellite receivers in cooperation with AAM’s partner Arqiva for the receipt of digital prints and live events. The rollout will be achieved with financing provided by AAM through a •50m investment from funds advised by Sankaty Advisors, LLC, the credit affiliate of Bain Capital, LLC, for digital cinema conversion, announced earlier this year. The deployment with Yelmo in Spain is AAM’s seventh announced territory following deals in the UK (Cineworld and Reel), France (CGR), Italy (The Space), Holland (ABC), Denmark (Denmark Digital) and in Norway via its JV Nordic Digital Alliance. Fernando Evole, CEO of Yelmo Cines, said “the results we have had from digital cinema over the last two years, particularly in terms of bringing 3D to customers and also in the opportunities brought to us from alternative content, have convinced us to digitise our entire circuit. Our experience with Arts Alliance Media has also proven to us that they are the right long term partner.” Howard Kiedaisch, CEO of Arts Alliance Media, commented, “Yelmo has been a leader in digital not only in Spain, but also in Europe and has always provided the best experience to their customers. We have enjoyed a great working relationship with Fernando and his team, and are thrilled to be selected to work with them going forward.” Spain currently has around 300 digital screens, approximately 80 per cent of which are 3D-ready. Yelmo Cines is one of the leading exhibition companies in Spain, operating 396 screens in 31 sites. With more than 12 million patrons every year, Yelmo Cines is recognised for the quality of movie watching experience. Yelmo Cines innovation within the exhibition industry, its enhanced customer service, and the development of Alternative Content Programs, among others has served to be recognised as “International Exhibitor of the Year 2006” at the Cinema Expo International Congress held in Amsterdam.
Caribbean Cinemas go ‘Strong’ Ballantyne Strong, Inc., a provider of digital cinema projection equipment and services, cinema screens and other cinema products, announced that it will provide NEC Digital Cinema projection systems along with GDC Technology’s digital cinema servers and Ballantyne’s own ‘silver’ or ‘gain’ screens to outfit 20 auditoriums for Caribbean Cinemas, the largest motion picture exhibitor in the Caribbean Islands. This most recent deployment brings Ballantyne’s total installed base for Caribbean Cinemas to 62 NEC systems, or approximately 15 percent of Caribbean’s total footprint. Caribbean expects to convert the remainder of its screens to digital over the next several years and anticipates that Ballantyne will continue to play a leadership role in that process. “We have enjoyed a mutually beneficial partnership with the folks at Ballantyne Strong and greatly value their outstanding service that has helped facilitate our strong growth in the region,” said Robert Carrady, President and CEO of Caribbean Cinemas. “We began our relationship by purchasing Strong 35 mm projectors over a decade ago, and their reliability and customer support was a key reason we have entrusted Ballantyne with Caribbean’s expanding digital cinema rollout.” John P. Wilmers, Ballantyne’s CEO, commented, “It is particularly satisfying to work with exhibitors over an extended time period and to watch them succeed and expand their footprints. Caribbean Cinemas, led by Robert and his team, has truly done an excellent job of bringing affordable entertainment to their part of the world. With the rapid transformation to digital entertainment via 3D and alternative content, we look forward to working closely with them for many years to come.”
QSC Audio Opens Asian Subsidiary QSC Audio Products LLC, a globally recognised leader in professional audio, has taken a major step towards building local sales, service and support capabilities in key international markets, with the opening of a new subsidiary, QSC Asia Ltd., in Hong Kong. Situated in a 500 sq m split facility in the New Territories, it will support the burgeoning Asia Pacific region with a comprehensive operation, from localized sales, service, and support capabilities to managing the supply chain and offering 24/7 back office support and product training. Its geographical scope will extend from the Indian sub-continent to the West right across the Far East to Australasia, and also incorporate the powerful China and Japan markets. Commenting on the development, Harold Yin, QSC Senior VP, Global Sales and Marketing, said that the opening of QSC Asia had been the culmination of a strategic five year plan, and had been expedited following the strengthening of QSC’s Asian infrastructure. “First, we needed to ‘earn the right’ to enter the market and have the right management team in place,” he explained. In April this year the company took a significant step in that direction by recruiting the highly-experienced David Fuller as Sales Manager for the region, at the same time appointing project application support technician, Sebastian Chong, as Product Specialist for the Asia Pacific Region. It was after Harold Yin was drafted into the company two years ago to start developing global strategies that the momentum really started to throttle up. “Though the global recession then slowed down that momentum it didn’t stop us spending 18 months of solid planning through 2009,” he said. With the market in Asia Pacific continuing to grow, by early 2010 QSC had identified this region as a critical priority, and Hong Kong as the base from which to service it. “We will be putting in all the support functions — including sales and marketing, technical support and
training. We have a theatre in which to present seminars, and with Asia becoming an early adopter of Q-Sys , this is vitally important,” confirmed Yin. Added QSC CEO, Joe Pham, “this represents a significant investment for
QSC. We are excited about our prospects for growth in the Asia Pacific region, which requires strengthening our capabilities, and enhancing our partners’ capabilities as well.”
CGV Brands on Imax’s Big Screen Image IMAX Corporation announced that CJ CGV Holdings Ltd., a subsidiary of CJ CGV Co. Ltd., the leading theatre exhibitor in Korea, and the number one exhibitor in Asia, has signed an agreement to install 15 digital IMAX theatre systems in new locations planned for The People’s Republic of China. The deal marks IMAX’s single largest theatre deal in Asia and expands its existing relationship with CJ CGV, which already operates 5 IMAX theatres in Korea, and comes on the heels of the joint venture arrangement between the two parties that was announced in March. With this announcement, CJ CGV now has committed to operating up to 35 IMAX theatres overall. The deal calls for CJ CGV to install the first 2 IMAX systems in 2011 with all remaining installations scheduled to be completed between 2012 and 2015. Under the terms of the sale, the parties anticipate sharing in the box office of all 15 Chinese locations once installed. IMAX has had increasing success with revenue sharing deals in international markets in recent years. This announcement brings the total number of IMAX systems scheduled to
be open in Greater China, IMAX’s second largest market, to 96. The Company’s announced number of theatre systems signings year-to-date has increased to 168 worldwide, which compares to 35 system signings in all of 2009. “Our experience with the IMAX brand and business in Korea has proven to us that an effective method for us to grow our business in China is to include IMAX in new multiplex locations,” said Kim Joo Hyung, CEO of CJ CGV. “Entering a new agreement with CGV represents our confidence in their skills as a premier exhibition partner and in the strength of the Chinese exhibition market,” said IMAX Chief Executive Officer Richard L. Gelfond. “This deal represents the single largest IMAX commitment in Asia, and having it come from an existing customer reinforces the appeal of our business model,” added Don Savant, IMAX’s Senior Vice President and Managing Director, Asia Pacific. “CGV is now our third largest exhibitor partner worldwide, and they will continue to be a strong partner for us in the years ahead.”
QSC Unveils New DCP 100 Cinema Processor QSC Audio Products, LLC announced the release of their new DCP 100 Digital Cinema Processor which provides complete signal processing and monitoring functions in a single integrated, rack-mount system. With a suggested list price of $6,000.00 (USD), the DCP 100 offers many of the same features as the popular DCP 300, but at a lower price point ideal for six to eight channel systems that do not require CobraNet network audio distribution or 16 input channels. “In addition to cinema audio processing, the DCP 100 also provides booth monitoring and digital crossovers in an integrated package that provides network control and monitoring of DSP, amplifiers and loudspeakers,” says Barry Ferrell, Senior Director of Cinema Solutions at QSC. “Moreover, there are thousands of theaters around the world that are equipped with DCM-1 and DCM 10 monitor as well as, DCA amps. By replacing the DCM monitors with the new DCP 100, theater operators not only upgrade to D-Cinema audio but they also get complete network control and monitoring of their existing DCA amps and loudspeakers.” Designed for use with QSC’s digital cinema amplifiers (DCA) and featuring advanced DSP presets for QSC’s digital cinema speakers (DCS), the DCP 100 optimizes loudspeaker performance while simplifying cinema sound system wiring and configuration. While maintaining many of the features of a DCP 300, the new DCP 100 Digital Cinema Processor includes inputs for up to eight audio channels and provides crossovers for three passive or biamplified screen channels. Network control and monitoring via SNMP is
standard. The DCP 100 is ideal for cinema systems with three screen channels and two or four discrete surround channels. The unit is also compatible with analog cinema processor formats including Dolby Digital Surround-EX and DTS-ES and features an eight channel analog input for integration with 35mm audio systems. Like the rest of the DCP family, the DCP 100 greatly simplifies system wiring and set-up, significantly reducing installation time and labor cost. Inputs are provided via standard DB-25 cables from the DCinema server and/or 35mm cinema processor while connections to DCA amplifiers are made via a single QSC DataPort / VGA-style cable. PC-based software enables simple set-up and precise configuration of crossover frequency, equalization, polarity, delay and gain for optimized loudspeaker performance. Commonly used configurations can also be saved on a laptop via USB, allowing for quick uploads into additional DCP units and all system
configuration data is saved to an SD memory card, allowing easy transfer of settings to a new DCP, should replacement ever be required. The DCP 100 also features QSC’s exclusive “load fault” detection which warns of any open and shorts in the loudspeaker system. The processor will also alert to any amplifier clipping, entry into protect modes and heat sink temperature variations and reports them via SNMP (Simple Network Management Protocol) or a QSControl Ethernet monitoring system. Moreover, QSControl and QSCreator allow for the creation of custom control screens and remote access for fault reporting and diagnosis. The NAC 100 Ethernet remote control panel provides remote operation in a multiplex from anywhere on the local Ethernet network. Having made its debut at Cinema Expo, 2010 in Amsterdam the DCP 100 Cinema processor is expected to be ready for shipping by September, 2010.
RealD, Polaroid in Pact for Premium 3D Eyewear Polaroid Eyewear, a division of Stylemark AG, and RealD Inc. a leading provider of 3D technology for cinema, consumer electronics and professional applications, announced signing a global license agreement to use the RealD brand in conjunction with the launch of a new generation of curved 3D glasses Polaroid Premium 3D Eyewear. Under the terms of the agreement, Polaroid Eyewear will distribute its RealD certified Polaroid Premium 3D Eyewear line to movie theaters and cinemas, eye care professionals and other retail channels through its global network of subsidiaries and distributors. Polaroid Premium 3D Eyewear will be compatible with all RealD 3D enabled movie theatres around the world. “RealD is excited to partner with a brand like Polaroid that has a heritage in polarizing lens technology,” said Joseph Peixoto, President of Worldwide Cinema at RealD. “Polaroid Premium 3D Eyewear promises a range of custom frames with precisely curved lenses so moviegoers can fully experience RealD 3D with an uncompromising field of vision and a pair of glasses to match their personal style.” Polaroid Eyewear’s launch collection features a range of appealing designs to satisfy demand from all types of movie-goers. And prescription lens wearers are not forgotten, with a range of premium 3D cover styles that fit comfortably over any optical frame. There is even a junior style for the younger audience to enjoy. The collection has been developed under the umbrella of a full 3D vision marketing concept, supporting an easy-to-handle sales system in movie theatre and cinema lobbies, and professional optical and retail channels and will be available soon. All styles feature Polaroid Eyewear’s unique 3D formed lenses, differentiating the product from standard 3D cinema glasses provided at theatres and similar products currently available on the market. The product is also fully UVprotective so that a consumer can
choose to wear the product outdoors without risk of UV damage. “We are a brand that is all about technical innovation, style and great value for the money” said Andy Suszko, President of Polaroid Eyewear. “This endorsement from RealD recognizes the high quality of our 3D lenses, made possible only by our unique, patented ThermoFusion Technology, the same technology used to make our linear polarized lenses for the highly successful sunglass collections we sell worldwide. We are delighted to be associated with RealD and look forward to working closely with them and their other technology partners as 3D pushes into the consumer electronics mainstream.”
MasterImage 3D Delivers Kid-Sized 3D Glasses MasterImage 3D announced the availability of its smaller kid-sized 3D glasses designed to give children the best possible 3D experience in MasterImage 3D-equipped theaters. The company’s new kid-sized 3D glasses began shipping worldwide recently, just in time for the wide slate of family-friendly 3D movies opening during the holiday season — from Legend of the Guardians: The Owls of Ga’Hoole to Tangled, The Chronicles of Narnia, The Nutcracker in 3D, Megamind, and Gulliver’s Travels. Designed to sit securely on children’s smaller faces, the kid-sized MasterImage 3D glasses are fitted with the same advanced, circular polarized lenses as the company’s full-sized glasses. With this new offering, MasterImage 3D now provides theaters with three 3D glasses options: singleuse and reusable adult-sized glasses, and single-use kid-sized glasses.
“With so many 3D features aimed at families, the overall 3D theater experience has to be enjoyable for everyone,” said MasterImage 3D CEO and Chairman, Younghoon Lee. “MasterImage’s kid-sized glasses are light and right-sized, so they don’t slip off and pull kids — and parents — out of the story. Our goal is to help everyone enjoy the experience of 3D.”
RealD Introduces Kid-Sized 3D Glasses
Just in time for summer movie season, RealD Inc. announced that kid-sized RealD 3D glasses were made available nationwide in the USA and Canada at theatres showing Disney-PIXAR’s Toy Story 3. Sealed in individual packaging to ensure they are sanitary and quality assured, kid-sized RealD 3D glasses are smaller versions of standard RealD 3D cinema glasses and designed to fit children eight years of age and under. Kid-sized RealD 3D glasses are already available in select international markets. “The little ones will be able to comfortably enjoy the great summer movies coming out in RealD 3D wearing glasses designed just for them,” said Joseph Peixoto, President of Worldwide Cinema at RealD. “Kid-sized RealD 3D glasses are made to the same highquality standards as adult size RealD glasses with each individually packaged in sealed bags ensuring they are clean and fresh for every moviegoer.”
DLP Cinema Delivers Enhanced 4K Texas Instruments (TI)’ DLP announced it has started shipping DLP Cinema Enhanced 4K chips to its licensees, Barco, Christie Digital and NEC. Projectors with the DLP Cinema 4K chip are expected to be installed in Q1 2011 and several industry demos are anticipated between now and then by DLP Cinema licensees. With the availability of this chip, DLP Cinema offers exhibitors the widest variety of stable resolution options to suit their needs at any screen size. “Regardless of resolution option or screen size, exhibitors can count on DLP Cinema’s award winning technology to deliver all the light, to all the pixels, all the time,” said Dave Duncan, business manager for Texas Instruments, DLP Cinema Products. DLP Cinema’s 4K chip will enable its licensees to manufacture the brightest and most energy efficient digital cinema projectors in the world. In addition, all projectors utilizing the new 4K chip will be designed to meet the Digital Cinema System Specifications developed by DCI, LLC for established image quality and security. Currently, all DLP Cinema 2K projector models with the next generation DLP Cinema electronics platform are DCI compliant. Exhibitors will likely install the DLP Cinema 4K solution to light up
theatre screens as wide as 100 feet and 3D screens as wide as 75 feet, which has been a challenge for competing technologies. All DLP Cinema projectors, regardless of the resolution, have the leading attributes for which DLP Cinema products are known, including precise DCI compliant colors, superior contrast ratios including greater than 2500:1 and light output necessary to illuminate the largest auditoriums. “DLP Cinema remains dedicated to providing the cinema industry with diverse platforms in both 2K and 4K solutions,” said Kent Novak, senior vice president and general manager for DLP Products. “Texas Instruments will continue to innovate and further the development of its DLP Cinema 2K chips which are indisputably the industry standard, including the capability of upgrading the newest 2K projectors to 4K.”
World’s First Demo of DLP in 4K: Christie presented a pre-launch demo of its new Solaria Series 4K DLP Cinema projector line for digital cinema at the recently held IBC 2010 in Amsterdam. Taking the lead with the world’s first demo of a DLP Cinema solution in 4K, the new Christie CP4230 features the enhanced 4K DLP Cinema chip and is designed to be compliant with the Digital Cinema Initiatives (DCI) specification. It is the most robust and costeffective 4K solution available today, based on time-tested, highly reliable DLP Cinema technology. The projectors are the only DLP Cinema solution with the Christie 4K+4
advantage, which includes: Christie Brilliant3D technology for high performance 3D, Christie Pixel Track technology for perfect image quality, simple maintenance procedures, and the lowest cost of operation in the industry. For those looking to upgrade their existing systems, Christie also offers more options than any other manufacturer for fast conversion including the “15 minutes to 4K” upgrade process. “Christie is continuously investing in new product innovations to offer our customers the widest possible choice for their audiences,” comments Craig Sholder, VicePresident, Entertainment Solutions, Christie. “We understand how important it is for exhibitors to safeguard their long-term technology investment, particularly as more 4K content comes on the market. Our experience with the 1.2” DLP Cinema chip has given us an advantage over the competition on developing premium 2K and 4K technology to keep pace with the digital cinema rollout.” Christie is scheduled to launch the Christie 4K Solaria Series this fall with shipments beginning in early 2011. Pricing for Christie 4K digital cinema projectors is anticipated to be 35 per cent above 2K projector pricing. Development of Christie 4K solutions for markets beyond cinema will be based on market demand.
Christie First to Achieve Full DCI Compliance Christie, the leader in digital cinema projection technologies, announced that it is the first digital cinema projector manufacturer to pass the full range of tests required by the Compliance Test Plan (CTP) for the DCI Digital Cinema System Specification (DCSS), including all procedural and design review aspects. The tests were completed by CineCert, LLC, a technology development and consulting firm that is the only organization in North America licensed by Digital Cinema Initiatives, LLC (DCI) to administer the CTP. “We are very pleased to confirm that the Christie CP2220, featuring Texas Instruments’ Series 2 DLP Cinema technology, has passed all the requirements of the CTP,” said John Hurst, CTO of CineCert. “We are dedicated to helping the exhibition community understand all of the technical requirements for passing the CTP and helping manufacturers get through the testing process quickly and efficiently.” Hollywood studios require exhibitors worldwide to install DCI compliant projectors in their theaters; and passing the CTP is the only approved path to DCI compliance. Christie’s latest generation projector, the Christie CP2220 – from the Christie Solaria Series of 4K-ready projectors – was tested by CineCert, and their tests confirmed that the projector meets the highest level of technical performance, interoperability, and rigorous content security requirements as specified by DCI’s Compliance Test Plan. “With over 12,000 digital cinema projectors installed worldwide, Christie helps set the standards for quality, reliability and performance,” said Brian Claypool, Senior Product Manager, Entertainment Solutions. “Now that CineCert has confirmed the Christie CP2220 meets the CTP’s requirements, exhibitors have another level of assurance about our commitment to providing them with industry-leading products and services.”
Enhanced 4K technology to provide our customers with the most unforgettable movie experience. What we have seen from Barco during their 4K live demo last week definitely fits the bill.” According to him, the images projected by Barco’s DP4K-32B are the sharpest and brightest 4K images.
Recognized as “the future of 4K,” the Christie CP2220 projector is built on the proven, highly reliable 1.2" DLP Cinema chip, the only one to offer a 4K upgrade path using Christie’s easy “15 minutes to 4K” process. Smaller than other 1.2" DLP Cinema-based projectors, the Christie CP2220 provides exceptional installation flexibility with a motorized lens option that is the fastest and most accurate available. With more light output than any mid power projector on the market, the CP2220 also offers the lowest cost of operation. “With more than 80 years in the industry, Christie has earned the trust of the exhibition community by consistently providing products of the highest quality and reliability. This new digital cinema landmark – meeting the strictest requirements for DCI compliance – is further proof of Christie’s commitment to the market,” said Craig Sholder, Vice President of Entertainment Solutions at Christie.
Barco Treats Cinemark to First Live Demo of DLP Enhanced 4K Barco, one of the three DLP Cinema licensees, recently treated Cinemark, world’s second largest motion picture exhibitor, to enhanced 4K demo. During a visit to its facility, attendants were shown a live screening of native 4K content. Walter Hebert, Senior Vice-President for Cinemark commented: “we were the first to commit to DLP Cinema
“It confirms once again that we made the right choice when we decided to put our trust in Barco for our global digital cinema roll out,” he said. “We are excited to be offering this DLP Enhanced 4K experience to our worldwide customers in the very near future.” Wim Buyens, Vice-President, Digital Cinema at Barco, says: “exhibitors are offering moviegoers the premium digital cinema experience with Barco. Our overwhelming success in the market shows that customers have embraced our DP2K family as the most complete range of DCI certified digital cinema projectors, offering the perfect match for every screen. The addition of Barco’s DLP Cinema Enhanced 4K projectors to the family will strengthen this even further.” “While we remain fully committed to our DP2K platform and 2K as the industry standard, our upcoming DP4K projectors will allow us to also serve the Enhanced 4K segment, which will mainly focus on premium cinema screens.” Barco plans to lift the veil on its DP4K range at ShowEast in Orlando in October. Shipments are expected to begin in early 2011, as production will ramp up in line with the availability of 4K DMD chips from Texas Instruments.
Kinoton Expands D-Cinema Range
Doremi Equips Empire Theatres
Kinoton has expanded its range of premium D-Cinema accessories by two high-performance Digital Cinema Scalers optimized for use with DCP Digital Cinema Projectors. Both models provide powerful highquality scaling, making sure that alternative content from sources like HDTV, satellite receivers or PC are projected with optimum picture quality. This helps theatres to build additional revenue by including special shows featuring operas or sporting events, video gaming, arthouse movies or business presentations to their program. The new DMS DC1 Digital Cinema Scaler noticeably improves the detail and clarity of video signals from consumer and semiprofessional sources. An HDMI input enables the projection of HDCPprotected digital input signals, e.g. from Blu-ray players or HD set-top boxes. Kinoton’s second Digital Cinema Scaler DMS DC2 PRO is a high-end switcher and router for image and audio. It features a professional audio delay function and postproduction-grade image processing with frame rate conversion and a 24p output mode providing film-like motion characteristics. A large variety of inputs, including HD-SDI and HDMI with full HDCP support, make it possible to connect virtually any professional and consumer HD and SD content source.
Doremi Cinema, the leader in digital cinema technology, announced an exclusive agreement with Empire Theatres Limited of Canada to install Doremi Cinema Servers on over 300 Empire screens. The installations will include Doremi’s DCP-2000 and Integrated Media Block (IMB) with Doremi’s ShowVault. Burbank California based Doremi manufactures the industry’s most popular digital cinema servers with more than 15,570 units shipped worldwide. Empire Theatres is Canada’s second largest exhibition company with headquarters in Stellarton, Nova Scotia. Empire Theatres operates 50 theatres throughout Canada, with 380 screens, and employing more than 2,500 employees. “We began our relationship with Doremi last year when we installed 63 screens with Doremi’s DCP-2000 cinema servers,” commented Valerie Ryan, VP Real Estate & Development for Empire Theatres. “Given that initial success, and the additional field testing we conducted in
conjunction with Series II projectors, Doremi servers were the clear choice for going forward.” “We selected both the Doremi DCP2000 and IMB with ShowVault because we wanted to future proof our circuit for 4K,” commented Ryan. “Both models provide outstanding 2K playback for 2D and 3D, but knowing that Doremi’s IMB is the only 4K IMB readily available today which can easily be upgraded to 4K playback with a simple firmware upgrade gives us the flexibility to control how we roll out our 4K screens.” Empire Theatres’ choice of Doremi exemplifies their commitment to providing movie audiences throughout Canada with the most advanced technology in support of Hollywood’s 2D and 3D blockbusters. “Empire Theatres is a truly innovative exhibitor with an outstanding reputation for quality and guest satisfaction.” Michael Archer, VP of Doremi Cinema comments. “Their selection of Doremi as their exclusive digital cinema server provider illustrates their in-depth understanding of digital cinema technology and where the future of exhibition is headed. We are thrilled to undertake this long-term partnership and look forward to supporting Empire Theatres as they take their theaters to the next level.”
Dickinson in Pact with Cinedigm Digital Cinedigm Digital Cinema Corp., the global leader in digital cinema, announced that its Phase 2 digital cinema deployment program Exhibitor-Buyer financing option will be used by Dickinson Theatres to commence installations of 250 digital cinema systems at 25 sites immediately. One-half of the installations are anticipated to be complete in the next 12 months. Dickinson was one of the first exhibitors to commit to Cinedigm’s Phase 2 program though was not included in Cinedigm’s backlog until today given the undetermined financing. With this updated agreement and Dickinson’s exhibitor self-financing plan, Dickinson will complete the digital conversion of all their theatres. Dickinson will celebrate its 90th anniversary in November 2010 with its first digital cinema screens up and running. These newly transitioned screens will allow Dickinson to bring 3D movie extravaganzas, live sports programming, 3D concert films, event programming and much more to the audiences it serves across ten states. “We have been looking forward to working with Cinedigm on our digital cinema program and are excited to be moving forward,” said John Hartley, President and CEO of Dickinson Theatres. “Not only do they provide the best transitional services, but their leadership bringing high quality alternative content and live 2D and 3D events to theatres confirms that we’ll be bringing the best to our audiences.” “We are delighted to reaffirm our partnership with Dickinson Theatres,” said Chuck Goldwater, President, Cinedigm Media Services Group. “They bring a personal touch to their dedication to their customers combined with an excellence in operations that has earned them an outstanding reputation in the markets they serve. With digital
cinema they will extend that dedication even further with a greater variety of exciting programming options for their customers.” Cinedigm’s Phase 2 plan will bring up to 10,000 additional screens to the global roster of fully digital theaters. Such theaters are fully networked, turnkey systems that are simple and cost-efficient to operate. These screens will join the growing number of fully digital CinedigmCertified screens around the world. Cinedigm’s Digital Cinema division is the industry-leading deployment program for Digital Cinema. It facilitates the funding, installation support and administration for the company’s studio-supported Digital Cinema rollout plans. Cinedigm is also the digital cinema integrator of choice for the CBG, a buying program of the National Association of Theatre Owners (NATO) for small and independent theatre operators in United States and Canada.
NEC Achieves DCI Compliance NEC Display Solutions of America, a leading provider of commercial LCD display and projector solutions, announced that its entire line (NC1200C, NC2000C and NC3200S) of digital cinema projectors are the first in the industry to reach full Digital Cinema Initiatives (DCI) Compliance. The new projectors include the NC1200C at 9,000 lumens of brightness for screen sizes of up to 46-feet wide, the NC2000C at 17,000 lumens for
screens up to 65-feet wide and the ultrabright NC3200S at 31,000 lumens for screens up to 105-feet wide. The tests were completed by the Research Institute for Digital Media and Content at Keio University (hereafter, DMC) in Japan, which is one of three entities licensed by Digital Cinema Initiatives, LLC to perform the CTP tests. NEC’s digital cinema projectors were certified in: “We are beyond proud to be the first digital cinema manufacturer to have achieved this significant accomplishment,” said Pierre Richer, President and COO of NEC Display Solutions. “To have a full product line that meets the needs of today’s exhibitors is not only essential, but expected. NEC continually proves its place in the industry by capitalizing on stringent standards and providing innovative programs to enhance our products.” “We are very pleased to confirm that all the NEC digital cinema projectors (NC1200C, NC2000C and NC3200S), featuring Texas Instruments’ Series 2 DLP Cinema technology have passed all the requirements of the CTP,” said Kunitake Kaneko, assistant professor of DMC. NEC’s DCI Compliance allows exhibitors to capitalize on current and future growth opportunities.
Strong Acquires Joliette, Expands in Size and Reach Ballantyne Strong, Inc. announced that it has completed the acquisition of the Joliette, Quebec (Canada) facility that houses its Strong/MDI cinema screen manufacturing operations, as well as an adjacent parcel of land. Strong/MDI previously leased the facility. The acquisition will enable Ballantyne to significantly expand its cinema screen production facility and related capacity to meet rapidly growing global demand for conventional, large-format, ‘gain,’ ‘silver’ and other specialized screens. Ballantyne estimates the capital investment in the building, land and
facility expansion will approximate $6 million, with completion targeted for year-end 2010. The expansion plan involves adding more than 26,000 square feet of production space and related stateof-the-art systems and equipment in Strong/MDI’s ISO 9001 screen operations. This expansion of approximately 35% over the existing structure will substantially increase key production areas including the painting towers, PVC welding, rolling and drying areas to support a growing base of global business domestically and internationally. Regal Entertainment Group Senior Vice-President and Chief Purchasing Officer Rob Del Moro, stated, “Strong/MDI has been integral in providing Regal with state-of-the-art silver screens as we transform our circuit to support 3D digital cinema. This relationship builds on a decadeslong partnership with Ballantyne Strong that now also encompasses their skilled team of technicians who are overseeing the turnkey installation and integration of thousands of digital projection systems at Regal theaters across the country.” Chris Stark, Senior VP and Chief Operating Officer of Ballantyne, commented, “Strong/MDI’s screen backlog has been steadily growing as we have been operating at peak capacity in Joliette for several months now. With the global digital cinema transformation picking up momentum and straining our ability to meet demand, it became clear that we needed to invest in expanding Ballantyne’s production capabilities to better meet global sales opportunities. After much review, we determined that expanding our current plant was the best path forward, but that required us to purchase both our building and adjacent land to provide sufficient space for this expansion. When complete, our Joliette facility will have a total of approximately 75,000 square feet of production area, making it one of the largest such facilities in the world.”
Strong Powers Peru and Chile Circuits Ballantyne Strong, Inc. announced that it will provide NEC Digital Cinema projection systems and Ballantyne’s MDI/Strong cinema screens to outfit an additional 14 auditoriums, 12 for Cine Planet, Peru’s leading motion picture exhibitor, and two for its Chilean subsidiary, Cines Movieland. Ballantyne Strong has previously installed 23 NEC Digital Cinema projection systems for these customers, 19 in Peru and 4 in Chile. Fernando Soriano, Director General of Cine Planet, stated, “we have worked with Ballantyne Strong since our entry into the cinema business approximately ten years ago and have always relied on both the quality of their products and the excellent customer service they provide. As we enter the exciting new era of digital cinema it is natural that we will continue to rely on Ballantyne to expand our digital and 3D footprint and bring the latest movies and alternative content to our patrons.” John P. Wilmers, Ballantyne’s CEO, commented, “Cine Planet and Cines Movieland have both achieved noteworthy growth and success as leading exhibitors in their markets. As with many other parts of the globe, South America is undergoing a rapid transformation from analog to digital cinema. Under Fernando’s leadership his Company is on the cutting-edge of technological change and we are delighted to play an integral role in their digital deployment by supplying state-of-the-art NEC projectors and our high quality screens.”
Barco’s Projectors with Integrated CineCanvas Subtitling Barco Digital Cinema announced that its DP2K family of digital cinema projectors is now available with integrated CineCanvas subtitling support. The new functionality can be installed via a simple firmware upgrade. Barco is the first digital
projector manufacturer to offer this feature. Furthermore, Barco revealed that it has obtained full DCIcompliance for its complete line of DP2K ‘C’ projectors. Developed by Texas Instruments, CineCanvas technology eliminates the need for distributors to make a special print for each language version, which significantly lowers the cost of distribution for digital releases. Another plus is that it gives exhibitors access to a broader range of content and that it presents them with a much wider choice of server options. “Up to now, Series 2 digital projectors depended on the cinema server to render movie subtitles. In practice, this meant that subtitles sometimes had to be “burned” into each release and for each individual language version. It goes without saying that this process is not only very costly, but also forms a potential source of readability and uniformity issues,” explains Barco’s Digital Cinema Product Manager Theodore Marescaux. By integrating CineCanvas subtitling support into its latest digital cinema projectors, Barco managed to eliminate these shortcomings. “Subtitling overlay can now be done inside the projector itself, thereby eliminating interoperability issues and providing a uniform look across all theater screens,” says Theodore Marescaux. Barco’s latest firmware upgrade with CineCanvas support is immediately available. It can be downloaded from Barco’s online customer portal at https:/ /my.barco.com.
Fully DCI certified Following an earlier announcement made at ShoWest Convention in March, Barco also revealed that its full series of DP2K ‘C’ digital projectors has been listed on the DCI website, formally confirming their compliance in accordance with the DCI Specification. All three models (DP2K12C, DP2K-15C and DP2K-20C) have successfully completed the DCI testing procedures carried out by testing agency CineCert. An official communication to this effect, however, is yet to come.
A Record of Sorts
Digital Cinema ‘Drives-in’ to Theatres While digital cinema in 3D had been an indisputable driving factor for cinematic entertainment worldwide, particularly in the recent past, the Drive-In cinemas had been a speciality entertainment fare, through depending on movies as their offering central. Now a new era appears to be setting in bringing together both the formats. The honour of achieving this unique feat is taken by the Driggs, Idaho-based Spud Drive-In cinema while the credit of powering the drive-in is taken by Barco Digital Cinema. The Spud Drive In Cinema, located at Driggs in Idaho, is a unique entertainment fare. Situated at the footrange of the majestic Grand Teton Mountains amidst scenic natural settings, and spread over 7.5 acre open space, the drive-in embodies 1950sstylised nostalgia. However, the 57year-old drive-in continues the same charm to this day, though transforming its technology systems in tune with the time, offering all that moviegoers expected from it. In addition to showcasing first run movies, Spud provides a venue for large-scale video presentations for wedding receptions, club, sporting and community events, concerts, and more. When the cinema management recently decided to convert into 3D digital with a view to making its movie fare up-to-date with global technology traits it had its task clear. While other outdoor theatres have utilized digital projectors to show DVDs to large outdoor audiences, Spud decided to deploy digital cinema projection and surround sound audio, with 3D technology. It looked upto the solution providers, and Barco Digital Cinema stepped in, though in company with others. The timing was of critical essence. Since the drive-in movie season is relatively short in Idaho, it was important to get a projector online quickly for the June opening. Barco
was able to provide a projector within a few weeks. “We looked at a lot of options, but the Barco projector was the ideal fit for the drive-in movie environment because of its low power requirements, liquid cooling, and of course, incredible image quality and reputation for reliability,” commented Spud’s Chief Operating Officer, Keith Zednik. “It’s just amazing – like nothing I’ve ever seen before! With the Barco projector, we’ll be able to continue for another 50 years, not only as a movie exhibitor, but as a total entertainment provider” continued Zednik.
Spud now plans to offer alternative content packages to customers, including wedding receptions, nonprofit, club and community functions, and even live simulcast sports events and concerts. The exhibitor launched its digital premiere with a double feature on July 9th, showing Despicable Me and Robin Hood. Attracting hundreds of moviegoers from around the county, Spud enjoyed its largest crowd of the season, breaking records for its Monday night “$15 per car” promotion. “The image quality was picture perfect, and it was so easy to
SPECIAL FEATURE capable of illuminating drive-in screens. We are confident that driveins will continue to flourish in the digital age and congratulate the Spud on being the first of many drive-ins to offer their customers the digital experience.” use – no technical problems at all. The Barco has made my life a million times easier,” commented Zednik. The cinema projection and sound systems were installed and integrated by the Council Bluffs, Iowa-based cinema services major Heartland Theatre Services. Says Roger Bockert, owner of Heartland Theatre Services: “If anyone out there is still uncertain about putting digital in a drive-in, Spud’s experience will put their mind at ease. The results have been even better than expected as far as picture quality, light output, and reliable image.”
United Drive-In Theatre Owners Association (UDITOA) President Paul F. Geissinger stated, “we congratulate the Spud Drive In and their digital partner Barco in providing their patrons and the motion picture industry with the first digital projection system at a traditional drive-in theatre. This is an historic event for drive-in theatres, a true icon of Americana, which we view as only the beginning of what will be a huge transition to the digital age by drive-in motion picture theatres.”
The Barco projector utilizes Texas Instruments’ DLP Cinema technology, which produces higher contrast video, deeper black levels and reduced pixelation in a compact package. The projector is able to utilize standard lenses with no modifications to the electronics or housing, and project a crystal clear, precise image from a long distance. “We’re honored to work with Spud Drive In to pioneer the first true digital cinema drive-in theatre. This opportunity demonstrates the power and versatility of Barco’s products. We applaud Spud’s entrepreneurial spirit and desire to extend their entertainment options with alternative content, which will showcase the Barco projector’s features and delight patrons for years to come,” said Todd Hoddick, VP Digital Cinema North America.
In business for more than 20 years, Bockert has installed hundreds of digital projectors throughout the Midwest in traditional theatres, and looks forward to additional business in the drive-in market based on the success of Spud’s deployment. John Fithian, President of the National Association of Theatre Owners, commented, “Drive-ins are an important part of the theater business. At NATO, we are pleased to see Barco providing a digital projector solution
The Spud Drive-In Theater is one of the last American drive-in theaters, and one heck of a roadside attraction. It is most famous for Old Murphy, a 1946 Chevy cabover truck that carries a 2 ton potato. Old Murphy sits in front of the screen and has been photographed by travelers from all over the world. Of course, the always delicious Gladys’ burger and family friendly films are also a local favorite. The Spud was built in the spring of 1953 by Ace Wood and opened it’s doors July 3rd, 1953. It was a state-of-the-art facility back then, using mono-speakers that hung in the windows to broadcast the audio and twin carbon ark real to real projectors. Today, the audio is transmitted through FM stereo and each car can tune in with great sound quality. Some things have been updated at the drive-in, but the spirit remains the same.
4D Cinema Alive at
Madame Tussauds The prestigious dome theatre at Madame Tussauds in London recently turned into an incredibly awesome movie watching setting with superheroes coming alive in 4Dthanks to the collective efforts of a cinematic dream-team, Meyer Sound, Kraftwerk Living Technologies International, Threshold Animation Studios, and Merlin Studios. “We scored the film and created the sound design like we were making a blockbuster feature movie. Once something sounded great, we turned it up even more,” says Joshua Wexler, president of Threshold Animation. “The audio experience significantly enhances all of our 3-D visuals and drives the audience to scream, laugh, jump and duck at all the right moments.” A discrete 7.1 Meyer Sound Cinema Experience system was installed to facilitate an immersive audio experience for this dynamic application. Kraftwerk’s CEO, Christian Hofer explains: “When Meyer Sound introduced the new Cinema Experience product line, it was immediately clear to us that by installing this precision technology into Madame Tussauds’ domed theatre, we would be able to accomplish unprecedented effects while setting a new standard for immersive audio experiences.” Taking this from concept to reality involved closely coordinated efforts on the part of Kraftwerk’s team. The results are a configuration, compatible with Dolby Format 91 layout, that comprises seven Acheron screen channel loudspeakers, two 700-HP subwoofers, and a Galileo loudspeaker management system with two Galileo 408 processors. Sensations of wind, water, quakes and more are made real for the audience as a team of the iconic super heroes spill off the screen in a nine-minute adventure set in London.
“I have been impressed and overwhelmed by the passion, dedication and attention to detail that makes this project a smashing success,” says Paul Williams, creative director of Merlin Studios, the creative hub for Merlin Entertainments Group, which oversees brands including Madame Tussauds. “The audio is absolutely mind-blowing, and the beautifully crafted film is truly jaw-dropping and hugely entertaining. All in all, this is an amazing product which is being incredibly well received by our guests.” General manager of Madame Tussauds London, Edward Fuller concurs: “Our guests’ reactions to the immersive experience are just outstanding. The clarity of the audio, coupled with the 3D film and 4D effects allows audiences to feel as if they are really there with the super heroes.” Meyer Sound’s senior cinema and live sound design project manager Brian Long, and John Pellowe, project director for Constellation and former sound engineer for the late Luciano Pavarotti, mixed the audio content, which combined over 200 tracks of material and was mixed down into a 7.1 channel master for playback utilizing two Avid Pro Tools HD systems and ICON mixing surfaces provided by Stronghire in the UK.
“Mixing in the actual exhibition space enabled us to create maximum impact,” says Pellowe. “With stunning sound effects flying around the room to match the action in the film, we were able to deliver a rich tapestry of immersive sound from the beautifully crafted orchestral score.” The new Cinema Experience from Meyer Sound is a complete, integrated line of cinema sound products and digital solutions that provide engineers with precise audio reproduction for sound design and dubbing through to exhibition. Neither a traditional cinema nor typical content creation space, Madame Tussauds London’s dome theatre, is a unique model for nextgeneration immersive media spaces. Other facilities using Meyer Sound Cinema Experience include Francis Ford Coppola’s Zoetrope Studios, ImageMovers Digital, Skywalker Sound, University of Southern Calif.’s School of Cinematic Arts, The Digital Cinema Auditorium at UC San Diego, and a multiplex cinema at the Solaris Cultural and Leisure Centre in Tallinn, Estonia, to name a few. The 284-seat dome theatre thus became the host for a never-before movie watching experience. Interestingly, it is said to be the first digital movie screening at the theatre.
A Technicolor Feat
250 Screens on Film 3D Further supporting the successful launch of Technicolor 3D, the 35mm 3D solution, Technicolor announced it has installed its Technicolor 3D system on over 250 screens in North America just four months after its initial debut in theatres. This milestone demonstrates the continued industry demand for 3D and exhibitor confidence in the Technicolor 3D format as a highquality, affordable 3D solution. Technicolor 3D was launched in theatres on March 26 with How to Train Your Dragon, followed by Clash of the Titans, Shrek Forever After, The Last Airbender, Despicable Me, and Cats & Dogs: The Revenge of Kitty Galore. As a latest follow up of these outings, Piranha 3D from The Weinstein Company was released in 35mm 3D on August 20. “We’re thrilled to have surpassed 250 screens in just a few months,” said Joe Berchtold, president of Technicolor’s Creative Services division. “Exhibitor feedback has been great from both a theatre operations and audience satisfaction perspective. We’re glad to be able to provide a technology solution that helps to bridge the gap to solve the current shortage of digital 3D screens, and bring 3D to audiences in markets of all sizes.” “Technicolor 3D allows us to deliver high quality 3D to a greater number of
theatres and a wider audience,” said Clyde Cornell, chief operating officer for Portland-based Hollywood Theaters. “The technology gives our patrons the opportunity to view motion pictures as never before, combining the highest levels of resolution, contrast and image quality to produce precise, life-like images in vibrant colors.” “We have installed Technicolor 3D on 14 screens to date, and plan to add another six,” said Tom Hutchinson, president of Edmonton, Alberta-based Magic Lantern Theatres. ”Operation has been trouble-free, our customers are happy, and since the first picture, every installation has made money for us.” “Technicolor 3D has provided us with
How Technicolor 3D Works Technicolor 3D employs a proprietary production-to-projection system that leverages 35mm film projectors, in use today by the majority of USA and international theatres, to deliver a high-quality 3D presentation to moviegoers. A patent-pending lens system splits the left and right eye images as the film runs through the projector and delivers a 3D-ready image onto a silver screen. The solution works with circular polarized glasses—identical to those used for digital cinema 3D—to translate the film’s content into an image that is perceived by the viewer as being three-dimensional. The silver screen can be used for the projection of both Technicolor 3D as well as digital 3D content.
an excellent, cost-effective 3D solution, allowing us to remain competitive in our markets while we wait for an accessible digital plan to develop,” said Bill Banowsky, owner of Charlotte, North Carolina-based Carolina Cinemas. ”We now have at least one Technicolor 3D system at each of our locations, and will likely add more before the end of the year.” “We are pleased with our decision to utilize Technicolor 3D,” said Paul Wenger, vice president, Flagship Cinemas. “It’s is a high quality, costeffective product, which provides a superior 3D presentation for our audiences. Its affordability allows us the power to enhance the movie-going experience at our theatres and remain competitive in this digital age”. Technicolor 3D recently launched in international territories with Shrek Forever After from DreamWorks Animation. Other studios indicating support for the format internationally include: Paramount Pictures, Universal Pictures, The Weinstein Company and Warner Bros. Countries included in the international launch are the United Kingdom, Spain, Italy and Germany and Japan. Technicolor 3D is available now in the U.S., Canada, select European countries, and Japan.
CINEMA SYSTEMS Projection Series-XXX
Maintenance of Xenon Lamps, Rectifiers In Part One of Unit-VIII, featured in the last issue of Theatre World, we discussed the techniques of advanced
All lamp manufacturers have comprehensive guides on what to look for when checking a lamp and some provide informative wall charts.
maintenance of the
The projectionist needs to watch for indicators of overheating on the DC connections in lamphouses; check that all nuts; clamps; leads etc. to the lamp are tight every few weeks. One indication of overheating is the state
equipment that go to •
Allow the old lamp to cool right down. This may take between 15 and 20 minutes, so do not open the lamphouse door until then.
booth. In Part Two, we
Put on full protective clothing, including mask, goggles and gloves.
discuss the various
Have the correct container ready to receive the old lamp and necessary tools to hand.
With gloved hands, remove the old lamp according to the maker's instructions, and place gently in its container.
Take care not to knock the lamp with the spanner you use to remove connections and claps.
exhibition industry is
Clean the parabolic mirror with soft clean duster
Install the new lamp according to the maker's instructions, ensuring that the correct polarity is observed, and that the connectors are clean and tight. Do not try to strike the lamp with the lamphouse door still open.
theatrical exhibition that
Ensure that the lamphouse ventilation is working
rely and believe in film-
Switch on the rectifier and press the "strike" button
Check the current and adjust if necessary
Check the screen illumination and evenness. Adjust the mirror if necessary, keeping the dowser open for a short time.
of those systems based
Reset or make a note of the reading on the hours meter
on xenon lamps is
Complete the paperwork for the return of the old lamp and order a new one.
comprise a projection
aspects that matter most while maintaining xenon lamps and rectifiers. Though today's cinema
digital, that there is still a huge community of
based cinema systems, a peep into maintenance
CINEMA SYSTEMS of the lamp connectors. End caps take on a blue colour when overheated, instead of their normal bright chrome appearance, and brass conductors become blackened. If not checked and rectified in time, the lamp will fail to strike because the cable contact may become too highresistance- or lamp could even explode because the end seals may have become overheated. Overheating is a major problem in lamp houses as the lamp must not experience any undue thermal stresses. The projectionist must check that there is a free flow of air by ensuring that all the fans are rotating and that the blades or filters are not clogged with dirt. Often a few minutes ever week with a vacuum cleaner is enough to keep the buildup under control. The projectionist must also remember some lamp houses have vane switches which sense the air flow. Should this fall below a set
level, the rectifier will be switched off, extinguishing the lamp. The rectifier which supplies the projector lamp requires very little maintenance, but is potential weak link in the chain, due to the high currents involved. Each time the projectionist replaces a lamp, he should also check that the rectifier unit
is delivering the full required current, and that in so doing it is not overheating. The projectionist also needs to check that the rectifier's DC (direct current) cable connections are tight. These can become loose through vibration and heat, in which case they may cause localized overheating. If the
consult the manufacturerâ€™s instructions
CINEMA SYSTEMS Exercise utmost caution when making adjustments. Always treat the lamp with respect whether hot or cold, and always wear the protective clothing when handling a lamp, cleaning the mirror, or doing a routine visual inspection
xenon lamp in cradle
remove the old lamp
the vane switch detects air flow
store the discarded lamp
install new lamp
projectionist suspects that this is happening, he has to switch off, remove the nuts and then inspect the lugs for evidence, such as discoloration (oxidation) or pitting. If they are badly affected, replacements may be necessary. But if it is not required, they may be cleaned up and firmly reconnected. Fan- cooled rectifiers also have vane switches which switch off the supply should the fan fail or not provide sufficient air flow past the rectifier.
general procedure for changing a xenon lamp
Take care when maintaining the rectifier unit. To smooth out the DC for the xenon lamp, inside the rectifier is a bank of high capacitance smoothing capacitors. These capacitors keep their charge for several minutes after being disconnected from the supply and consequently can give you nasty burn as the amount of energy stored in them is quite high. Most rectifiers have 'bleed resistors' fitted to dissipate the energy quickly, but it is worth being cautions in case the resistor is missing or broken. Remember that all xenon lamp houses have safety cutout switches fitted to their doors which must never be overridden. They are there for your safety. If after closing all the doors the contractor in the rectifier does not pull in when it is switched on, check that all the covers are on. Check also that the doors are firmly closed and that one of the corners is not twisted out of place and so not operating the micro- switch correctly.
Find the manufacturer's instructions for lamp replacement. Note any special points, for future reference. (To be contâ€™d)
2010 ShowEast 2010, the 23rd annual convention and tradeshow for the motion picture exhibition and distribution community in the East Coast of the Americas will be held from 11-14 October, 2010, at the Marriott Orlando World Center in Orlando, Florida. This year's event assumes significance in that it seeks to explore the furtherance of 3D digital domain, means and methods to curb piracy, particularly online piracy, and maximizing cinema revenues through better interaction amongst exhibitors and distributors, besides improvising the quality of exhibition services. ShowEast, as it is, promises to provide the motion picture industry with the perfect place and opportunity to gather, and share ideas and information on the current and future state of the industry. It also promises to be a platform for
11-14 October Orlando World Center Marriott, Orlando, Florida
distribution professionals to network with customers and all the major cinema equipment and concessions manufacturers, suppliers and distributors. In line with its practice of over 23 years since its inception, the ShowEast event fare, this time too, include: • Screenings of new movies • Product reel presentations of upcoming movies • Sponsored food events • Technical sessions on issues concerning issues • Networking Events • Product demonstration Suites • Tradeshow • Awards presentation This year, the event will be preceded by a 'bonus programming geared toward theatre managers and projectionists.' Titled ICTA Technology 101: 'Keeping
Your Cinema Open on a Saturday Night,' the programme will be aimed at enabling the cinema technical and managerial personnel learning how to keep your theatre running in the face of unforeseen technical issues and how to get back on track quickly to keep your audience in their seats. Running concurrently with International Day programming, this session will throw light on topics such as an overview of digital projection, keeping the show on the screen, keeping the audio on the air, network operations centre, and managing servers. The actual event programming, however, will begin with a keynote address by Frederick Huntsberry, Chief Operating Officer, Paramount Pictures, who will speak on 'Geek to Sleek: The Surprising Evolution of Online Piracy.' Aimed to be an overview of the current state of online piracy, the talk
will seek to demonstrate how online piracy has evolved from complicated technology to easy-to-use process, from dorm rooms to highly-profitable commercial operations, from sharing to organized crime, from a 2-feet show to a 10-feet experience. The presentation will identify tactics which must be deployed in this new era where any movie can be found online with just four clicks and where stolen content can easily be viewed on the television in one's living room. The other technical sessions include topics such as alternative content and delivery methods, VIP cinemas and luxury experience for audiences, 3D made simple and 3D digital for every exhibitor. Movie screenings will include Lionsgate's The Next Three Days, Paramount Pictures' Morning Glory, and The Fighter, Warner Bros. Pictures' Due Date, and 20th Century Fox's Unstoppable, besides a special showing of Walt Disney Pictures' TRON: Legacy. Dubbed to be 'sister event' of ShoWest, ShowEast 2010 promises a continuum in the momentum built up by ShoWest in March 2010 by coordinating meetings with business associates, working with existing vendors and finding new ones at the
tradeshow and continuing industry education along with a host of opportunities to enhance business. The event also boasts of facilitating smart purchasing and programming decisions for the participants to last the entire year. An estimated 1200 professionals from across the industry spectra of theatre operators/owners, movie buyers, distributors, concessionaires, theatre design/construction professionals, equipment manufacturers, marketing/ media professionals and advertising agencies would participate in ShowEast 2010. The four-day event will be crested by a grand finale of awards ceremony that recognises and honours significant contributions made by the industry professionals in various areas of activism. The awards include: • International Achievement Award in Distribution • International Achievement Award in Exhibition • MPA Anti-Piracy Award • Show "E" Award • Salah M. Hassanein Humanitarian Award • The Kodak Award • Al Shapiro Distinguished Service Award
This year, the 'Show 'E' Award' will be conferred upon Tom Stephenson, Jr., President & CEO Rave Motion Pictures. The Award will be presented to him by Chuck Viane, President, Distribution, Walt Disney Studios Motion Pictures on October 14 as part of the final night banquet and Awards Ceremony. The ShowEast International Achievement Award in Exhibition for 2010 will be presented to Fernando Soriano, General Manager, CinePlanet while the International Achievement Award in Distribution will be conferred upon Mauricio Duran, VicePresident, Latin American Distribution Supervisor, Universal Pictures International. The Anti-Piracy Latin American Government Leadership Award this year will be presented to Arturo German Rangel, Deputy Attorney General for Federal Crimes Investigation, Mexico. The Salah M. Hassanein Humanitarian Award 2010, on the other hand, will be conferred upon Todd Vradenburg, Executive Director, TheWill Rogers Motion Picture Pioneers Foundation. It will be presented by Rory Bruer, President Worldwide Distribution, Sony Pictures Releasing.
Exhibitors List Advanced Specialty Lighting .......... 809 American Licorice ............................. 914 Baja Innovations .............................. 805 Ballantyne Strong, Inc. .................... 401 Barco .................................................. 201 Betson Enterprises ........................... 802 C Cretors & Co ................................... 609 Camatic Seating ............................... 800 Christie Digital Systems .......... 613/718 Cinedigm Digital Cinema Corp. ..... 705 Cinema Concepts .............................. 404 Cinema Equipment & Supplies Inc . 912 Cinema Hosting ................................ 121 Cinema Scene Marketing ................ 904 Connie's / Nation Pizza ................... 721 D-BOX Technologies Inc ................... 212 Dolby Labs Dolphin Seating ............................... 120 Doremi Cinema ................................. 601 Embedded Processor Designs, Inc .. 416 Entertainment Transportation ....... 820 Eomac Ltd .......................................... 307 Franklin Designs ............................... 512 GDC Technology of America LLC .... 419 Gehl Foods ......................................... 217 Gold Medal Products ....................... 908 Harkness Screens .............................. 518
High Performance Stereo ............... 900 Human Flight 3D .............................. 818 Inorca Seating ................................... 621 INTEG Process Group ....................... 817 International Cinema Equipment . 216 International Cinema Technology . 116 Irwin Seating Company ................... 513 Jack Roe USA ..................................... 514 JBL / CROWN ..................................... 701 Konica Minolta Sensing Americas . 317 Marchon Eyewear ............................ 112 Martek Contracts ............................. 309 MasterImage 3D ............................... 218 Mobiliario SA de CV ......................... 413 Moving Image Technologies ........... 213 NEC Display Solutions Nestle USA ......................................... 906 Omniterm Data Technology ........... 406 Osram Sylvania ................................. 400 Panavision 3D System ....... 719/SUITE N Paradigm Design .............................. 807 Posiflex Business Machines ............. 319 Preferred Popcorn ........................... 703 Proctor Companies ........................... 902 Professional Systems ....................... 616 Promotion In Motion Companies ... 607 ProSTAR Industries ........................... 821
QSC Audio Products ......................... 301 Qube Cinema Inc. ............................. 618 Radiant Systems ............................... 813 RCM Media - Cinema Clips .............. 320 Ready Theatre Systems ................... 219 Retriever Software .......................... 417 RGS // JOHO ....................................... 812 Ricos Products Company .................. 509 Schneider Optics ............................... 706 Seating Concepts .............................. 207 Simply Right ...................................... 117 Sirius III Corporation Sony Electronics ................. 100/101/ATL Stadium Savers ................................. 316 Technicolor 3D .................................. 801 Tempo Industries .............................. 516 The Coca-Cola Company .................. 501 TheatreWorld - TW ................ Pub Bin Therma-Stor ...................................... 418 Titan Technology Group .................. 713 Tivoli LLC TK Architects ..................................... 519 Tootsie Roll Industries ..................... 520 Ultra Stereo Labs ............................. 313 Universal Cinema Services .............. 420 VIP Cinema Seating ......................... 113 Vista Entertainment Solutions ....... 608
2010 The 2010 edition of Cinema Expo, the largest convention of the European motion picture industry, was held at RAI, in Amsterdam, the Netherlands from 21 to 24 June. Into its 19th year in the running, the event assumed significance on two counts. One- it was held at the most critical juncture of the industry, both in Europe as well as the world at large, and two- at a time when digital stakes have been flying higher than ever across the continent. The programming of the four-day event was packed with subjects that sought to address the industry's most concerning issues: 3D digital transformation, alternative content, and challenges of piracy. In line with the previous editions, the three-day tradeshow was preceded by a day-long technical sessions hosted by International Cinema Technology Association (ICTA). The sessions obviously dominated by D-Cinema included topics such as 'screens in a digital world'; 'upgrading sound systems for digital cinema'; 'operating all-digital cinema multiplex'; 'how to clean 3D glasses,; and 'service models for cinema industry. The day opened with a session by International Union of Cinemas (UNIC) a body focussed on European cinema industry. The ICTA technical sessions flowed into day one of CinemaExpo with a seminar on 'distribution of alternative content through exhibition' hosted by Thomas Ruettgers, Vice-President at ICTA. The session deliberated on all the aspects of the value chain, viz, obtaining content, delivering the product, and experience at the exhibitor end. It also debated on the intriguing challenge before the industry today: '3D (live) network for alternative content?' The session was immediately followed by a digital cinema global update by DLP Cinema- 'Now Showing at a European Cinema Near You.' Presented by Tony Adamson of DLP Cinema, the session sought to infuse
deeper thoughts on 'the digital advantage, the record growth, and what's next.'
while day four had a session on 'additional programming and new cinema going experience.'
The day's programming also presented the delegates with a 'game change' session by Sony on 3D digital in 4k.
The product reels from the studios were predominantly in 3D digital. Dolby, RealD, Xpand, and MasterImage are giving exclusive presentations on 3D digital.
Day one had something for the 35mm film-based exhibition too, but in 3D. Technicolor, the film major campaigning for film-based 3D for over a year, sought to explain the costeffective and more creative way of business with film-3D. It demonstrated their latest innovation allowing exhibitors and distributors to capitalize on the extraordinary success of 3D movies. The system claimed providing high quality and affordable 3D projection using existing 35mm equipment. With state of the art optics and a silver screen, this system also claimed that it affords exhibitors the chance to reach the latent demand for 3D without the heavy price tag of fully converting to digital. Another important item on day one was a debate on online piracy. It provided an overview of the current state of online piracy, demonstrating how it has evolved from complicated technology to easy-to-use technology, from dorm rooms to highly-profitable commercial operations, from "sharing" to organized crime, from a 2-feet show to a 10-feet experience. The presentation sought to identify tactics which need to be deployed in this new era where any film can be found online with just four clicks and where stolen content can easily be viewed on the television in living rooms. Day two programming focused on digital cinema roll out in Europe. It had an exclusive session on the measures initiated by European Union to support the cause of regional cinema exhibition. Day three began with a tech session on how cinemas can improvise their revenues from concessions by innovative design
The movie screenings this year included: " 20th Century's Knight and Day presented in 2k (Barco 32B 2k system) " Universal Pictures' Despicable Me in RealD 3D format " 20th Century's Money Never Sleeps in 2k " Warner Bros.' Going the Distance in 3D (Dolby and Christie) " Walt Disney's Toy Story 3D in 3D in multi language channels (Christie and MasterImage 3D) " Universal Pictures' Get Him to the Greek in 2k (Barco system) " Warner Bros.; Inception in 35mm Awards: At this year's CinemaExpo, , Universal Pictures International President David Kosse was honoured with International Distributor of the Year award, while PathĂŠ Theatres B.V. chief Lauge Nielsen conferred upon with the International Exhibitor of the Year. The Tradeshow: Tradeshow at CinemaExpo 2010 showcased a variety of latest and hot selling cinema equipment from across the world. The show included all the leading global and regional brands in projection like Christie, Barco, NEC-Strong, Sony, Kinoton and Cinemeccanica; audio brands like Dolby, Datasat, Alcons, QSC; 3D solutions providers such as RealD, XpanD, MasterImage, server solutions providers such as Doremi; Qube, network providers like SmartJog, Arqiva, cinema equipment developers like Proyescon, USL, and seating solutions providers like Figureas, Irwin Seating, Seating Concepts, Leadcom etc. besides Harkness Hall screens.
CINEMA INDIA EXPO 2010 3-5 June 2010 at Mumbai, India
The 2010 edition of Cinema India Expo was held from 3-5 June, 2010 at the Bombay Exhibition Centre, Mumbai. This year marked the tenth anniversary of the expo bringing together the professionals from the movie making industry. It covered areas like movie production hardware, both in the film and digital formats. Co-located with the highly regarded PALM Expo and Musician Expo, Cinema India Expo 2010 occupied nearly an area of 1500 square meters. The Expo also recorded an increase of an approximate 28 per cent in attendance to 11,533 attendees, out of which 2251 were unique visitors to Cinema India Expo. According to Anil Chopra, Managing Director of Diversified Communications India, the organizer of Cinema India Expo, the Expo this year touched new high. Cinema India Expo 2010 strengthened the annual convention bringing in a strong participation of multiplex chains and theatre owners. The dynamics of digital projection with transition to 2K attracted the industry. The Indian cinema industry is maturing rapidly in terms of revenue, technology and investment. "Cinema India 2010 presented a good opportunity to explore the latest technology and business initiatives. The high profile networking of top management from movie distributors, multiplex chains and technology companies proved productive for all delegates and participants," said Anil Chopra. "It was evident that the annual Cinema India Convention succeeded in playing an important role in providing a neutral platform that welcomed all players developing and investing in the Indian cinema industry," he added. Interestingly, Cinema India 2011 will move to new location, the Renaissance, the five-star convention facility at Powai in Mumbai. The focus is expected to be digital 3D.
Focus on DCI-compliant digital This year, the show focused on 2k cinema delivery, distribution and digital projection. Texas Instruments, who had showed exemplary spirit of participation in the past and supported Cinema India Expo as a sponsor, sponsored the show this year too. Scrabble Entertainment, India's first and only DCI-compliant Cinema deployment entity and the distributor of the blockbuster Avatar and other Hollywood movies, set up a theatre the Scrabble Digital Initiative - for conference and screening on digital cinema. They also screened movies like A-Team and Robin Hood. The initiative was also supported by Christie and Qube Cinema. MASTERIMAGE 3D presented the conference with its expertise in 3D technologies and digital projection. Doremi Labs presented a limited range of video servers for digital cinema and post production. Barco Electronic Systems showcased the world's most silent Three-Chip DLP Projector, RLMW6. Digital projectors by E-Cinema Systems were missing from the show. Also missing in action was NEC, the third major supplier of 2k projectors. Theatre Equipment on Show Leading market players in the step lighting, direction lighting and ambience lighting based on the latest
LED technology segment displayed their range of products. Shri Krishnashray Pvt. Ltd., showcased their product range that included step lighting, LED signage, LED lighting, fiber optic lighting etc. Penworkers, leading manufacturer of seating exhibited their seating solutions. Leading audio major QSC marked its presence by sponsoring at the Scrabble Digital Initiative. The Expo also saw participation from software solution providers like Professional eSolutions providing services to the film industry with software modules on film distribution, production and exhibition. HD Cinema Cinema India 2010 did have its big misses this time. Though the movie
making industry had been shifting its focus to new-age High Definition digital production, leading HD camera manufacturers such as Red One range of cameras from RED Digital Cinema, F35 Cine Alta digital cinematography cameras from Sony, HD VariCam Cinematography Camcorders from Panasonic, digital cinema cameras from Silicon Imaging and motion picture cameras from ARRI were conspicuous by their absence. However, the gap was partly filled by JVC who showcased their latest GY HM series Camcorders giving full HD, seamless and tapeless workflow. Mhatre Electronics Pvt. Ltd. who represented JVC also showcased the newly introduced pristine, full HD LCD Monitors range, along with the firstof-its-kind Professional Blu-ray and HDD combo Deck Recorder with SD card slot. AJA Video, a leading manufacturer of high-quality and cost-effective digital video interface, conversion and desktop solutions for professional broadcast and post production showcased products across their edit and convert categories including KONA続, KONA LHi, KUMO Compact SDI routers and FiDO Fiber Optic / SDI MiniConverters. Another technological innovation was seen in the workshop on AJA Video Systems wherein Autodesk's latest Smoke on Mac machine was displayed. Documentary film producers representing Indian Documentary Producers' Association (IDPA) and Radio and TV Advertising Practitioners Association of India Pvt. Ltd. (RAPA) marked attendance in huge numbers.
Support from SMPTE Society of Motion Picture and Television Engineers (SMPTE), the apex body for the motion imaging industry supported the Cinema India Expo along with Texas Instruments as one of the title sponsors of Cinema India Expo 2010. SMPTE holds conferences and meetings to bring together stakeholders of the industry. Support from SMPTE facilitated a useful interaction and information exchange between the Hollywood and Bollywood industry. Masterclass Workshops The Cinema India Expo this year was also marked by some very important workshops debating topical issues. The American Society of Cinematographers (ASC) which has been supporting the Cinema India Expo over the years joined in organizing a workshop at the Cinema India Expo this year on all the three days. Noted Australian cinematographer Donald McAlpine presented a Masterclass that was aimed at bridging between Hollywood and Bollywood, besides serving as a forum for exchange of ideas from either side. Kodak Team in India showed an exemplary initiative in sponsoring this Masterclass.
The McAlpine Masterclass at Cinema India Expo 2010 began with filmography of one of McAlpine's most famous works, Romeo & Juliet on day one. He talked about various aspects of new and unusual elements of cinematography which had been used during the making of the film. He showed behind-the-scene footages of the movie which generated curiosity among the audience. On day two and day three, McAlpine presented visuals of his works, as part of his moviemaking journey. "I feel the workshops at Mumbai were truly rewarding for all of us. The local film people seemed to be very interested in what I had to say, and attendance grew during each workshop. The questions were probing and each session ran over time. I truly believe it was time well spent," said the Academy Award nominated and BAFTA and ASC winning cinematographer. Keeping in view the increasing demand for more focused programming and participation, Cinema India Expo 2011 is expanding to a new venue with an added zeal and more reasons to visit and participate. The 2011 edition of Cinema India Expo will be held at Hotel Renaissance Powai, Mumbai from June 23 to 25, 2011.
Cinema Today, 23-25 July, 2010 at Chennai, India Cinema Today - Pro Sound & Light Expo 2010, the fourth edition of India's entertainment industry spectrum was held from 23-25 July at the Chennai Trade Centre in Chennai. South India's only trade expo aimed at bringing onto common platform the professional audio, light, music, theatre, auditorium, broadcast, digital cinema, media and entertainment industries, the event sought to create yet another confluence point for the professional and user communities of the country's bulging entertainment industry. The three-day event was largely successful in providing a networking platform wherein various segments of the entertainment industry interface their target groups not only from South India but also from nearby territories and neighbouring Sri Lanka. Some of the prominent and regular exhibitors in the event included ShowTex Middle East, Philips, Pope
AUTUMN 2010 OCTOBER 11-14 SHOWEAST, FLORIDA, USA www.showeast.com
Professional, Rinbo, Crayz, Krishna Quinette Seats, Nova Ausio, SoundLand, Pro Musicals, MDR Electronics, Silicon Radio House, Baba&Sons, StereoVision and Harris Corporation to mention a few. The event is promoted by Buysell Interactions Private Limited, one of the leading entities in trade show business. The company has organized over 70 shows in various cities in India abroad. The event was originally scheduled to be held in Hyderabad in February this year. However, owing to the nonconducive circumstances in the Andhra Capital at the time, the event had to be postponed and rescheduled back to Chennai in July.
WINTER 2010 DECEMBER 7-9 CINEASIA, HONG KONG www.cineasia.com
SPRING 2011 MARCH SHOWEST / CINEMACON, LAS VEGAS, USA www.showest.com
MARCH 23-25 FRAMES, MUMBAI, INDIA www.ficci-frames.com
SUMMER 2011 JUNE 27-30 CINEMA EXPO AMSTERDAM, HOLLAND www.cinemaexpo.com
JULY 29-31 Hansa Cine Equipments
CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
AUGUST AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au Sonodyne
Krish of BuySell presenting momento to Team Sandy
AUGUST BIRTV, BEIJING, CHINA www.birtv.com
Visitors at Sandy Media Stall
KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
A New Cinematic
Sangam and Indian cinema - an inextricable emotional bondage! A different genre altogether! While the movie springs everlasting romantic thrills in the hearts of movie lovers of yore, the movie house that came up, taking up its name, in the Indian movie capital had been an equally enamoured fare with the patrons for over half-a-century. Having been an inspiring manifestation of Indian moviefare for generations, the iconic symbol of cinematic entertainment has come to relive a totally new genre, in sangam with modernity and sophistication in expression, in multiple ways. The beloved single-screen cinema recently had been given the new avatar of a 4-screen multiplex to join the band of multiplexes in Mumbai's broadway of cinemas, Andheri. Aware of the big league around, the new Sangam multiplex shaped itself in a uniquely cinematic proposition that promises to safeguard its prestigious image among the moviegoers even as it continues to play the modern cinematic thrills powered by design, technology, services and management. Entertain World, this time, brings you a pictorial fiesta of a Sangam that had been a great exhibition script in itself. Feast your eyes and fill your hearts: October-December 2010
entertainworld Single-Screen Sangam with Multiplex Sangam theatre in AndheriMumbai, named after Raj Kapoor's iconic movie, opened its doors to audiences in Mumbai in 1968 and went on to become one of the much loved cinema halls in the movie capital of India. Its very name capturing the imagination of movielovers' imagination from time to time, it stood tall and high all through the big times of Bollywood. While the advent of multiplexes have had a bearing on the fortunes of the cinema, its charm still continued and enticed entrepreneurs to revive its glory. Enter Big Cinemas of Reliance Anil Dhirubhai Ambani Group, and Sangam had a union of modernity and tradition. An year of assiduous retrofitting thereafter saw the large singlescreen Sangam taking a rebirth as a state-of-the-art four-screen
multiplex that can give its competitors a chase for their money. With state-of-the-art film and digital projection and sound systems taking a central role of exhibition system, the 1276-seat multiplex sports one of the most luxurious offerings in the industry today. Sangam BIG Cinemas has been done in the BIG brand's signature brand colours with unique movie-based pop art
graphics. The cinema now boasts a bright and spacious pre-ticket lobby at the ground floor Box Office, a swanky inside lobby that sports dynamic contemporary design with a futuristic feel, luxurious and wide push-back seats and plush sofas, an exclusive gaming lounge with Nintendo WII consoles and an Art Gallery. The pop art imagery has been a carefully evolved assimilation of an collaboration with famous pop artist - Jayesh Sachdev for the pop art images used as the design element in the cinema.
F U T U R E
R E L E A S E S
A glimpse of movies coming to Asia this winter or later… Case 39
My Soul to Take Production Paramount Vantage
Production Rogue Pictures
Director Christian Alvart
Director Wes Craven
Starring Renée Zellweger, Jodelle Ferland
Starring Max Thieriot John Magaro
Genre Suspense Thriller
Let Me In
Life As We Know It Production Overture Films
Production Warner Bros.
Director Matt Reeves
Director Greg Berlanti
Starring Kodi Smit-McPhee, Chloe Moretz
Starring Katherine Heigl, Josh Duhamel
Genre Horror, Thriller
Genre Comedy, Romance
The Social Network
Production Columbia Pictures
Production The Weinstein
Director David Fincher
Director Sam Taylor-Wood
Starring Jesse Eisenberg, Justin Timberlake
Starring Aaron Johnson, Kristin Scott
Genre Drama, Musical
F U T U R E
Saw 3D Production Walt Disney Pict.
Director Randall Wallace
Director Kevin Greutert
Starring Diane Lane, John Malkovich
Starring Tobin Bell, Cary Elwes
Genre Horror, Thriller
Due Date Production Paramount Pictures
Production Warner Bros.
Director Jeff Tremaine
Director Todd Phillips
Starring Johnny Knoxville, Bam Margera
Starring Robert Downey Jr., Zach Galifianakis
For Colored Girls Production Summit Entert.
Director Robert Schwentke
Director Tyler Perry
Starring Bruce Willis, Morgan Freeman
Starring Janet Jackson, Loretta Devine
Genre Action, Comedy
Genre Comedy, Drama
Night of the Demons
R E L E A S E S
Production Seven Arts Pic.
Production Universal Pictures
Director Adam Gierasch
Director Greg Strause
Starring Shannon Elizabeth, Monica Keena
Starring Eric Balfour, Donald Faison
Genre Sci-Fi, Thriller
F U T U R E
R E L E A S E S
Faster Production DreamWorks
Production CBS Films
Director Tom McGrath
Director George Tillman Jr.
Starring Will Ferrell, Brad Pitt, Tina Fey
Starring Dwayne Johnson, Billy Bob Thornton
Genre Animation, Family
Harry Potter and the Deathly Hallows - Part 1
Production Warner Bros.
Production Walt Disney
Director David Yates
Director Byron Howard
Starring Daniel Radcliffe, Rupert Grint
Starring Mandy Moore, Zachary Levi
Genre Animation, Musical
The Chronicles of Narnia: The Next Three Days
The Voyage of the Dawn Treader
Production Fox Walden
Director Paul Haggis
Director Michael Apted
Starring Russell Crowe, Elizabeth Banks
Starring Georgie Henley, Skandar Keynes
Genre Adventure, Fantasy
Burlesque Production Screen Gems
Production Walt Disney
Director Steven Antin
Director Joseph Kosinski
Starring Cher, Christina Aguilera
Starring Jeff Bridges, Garrett Hedlund
Genre Action, Sci-Fi
F U T U R E Robot
R E L E A S E S Golmaal 3 Production Shree Ashtavinayak Cinevision Ltd
Production Sun Pictures Director S Shankar
Director Rohit Shetty
Starring Rajinikanth, Aishwarya Rai
Starring Ajay Devgn, Kareena Kapoor.
Genre Sci-Fi / Romance
Aakrosh Production UTV Motion
Production Big Screen
Director Sanjay Leela Bhansali
Director Priyadarshan Starring Ajay Devgn, Akshaye Khanna
Starring Hrithik Roshan, Aishwarya Rai
Genre Action / Thriller
ADVERTISERSâ€™ INDEX Company Name
Email / Website
Walls & Ceilings
firstname.lastname@example.org / www.anutone.com
email@example.com / www.barco.com
firstname.lastname@example.org / www.bluestarindia.com
Juliana.Tong@christiedigital.com / www.christiedigital.com
email@example.com / www.cinemaindiaexpo.com
firstname.lastname@example.org / www.datasatdigital.com
email@example.com / www.dlpcinema.com
firstname.lastname@example.org / www.doremicinema.com
email@example.com / www.galalitescreens.com
firstname.lastname@example.org / www.hitechaudiosystems.com
email@example.com / www.hdilbroadway.in
firstname.lastname@example.org / www.scrabbleentertainment.com
email@example.com / www.uslinc.com
firstname.lastname@example.org / www.vista.co.nz
The next issue of TheatreWorld is our Winter Special. It will be promoted at CineAsia - Hong Kong. The last date for advertising orders is 10 November 2010. Email email@example.com
Published on Oct 18, 2010