Festival time Technology adoption Signs that Asia is no slouch when it comes to adopting cutting edge technologies comes from South India that has been traditionally at the forefront in such aspects and at par with Hong Kong. Yes, its not famous Bollywood that the world knows so well but South India’s regional movie centres like Chennai and Hyderabad that lead on technology adoption. At Chennai, lead actor Kamal Haasan recently announced the release of his magnum opus, ‘Vishwaroopam’, in Auro 3D sound for the first time in India. And at Hyderabad, director Gunasekhar announced the launch of ‘Rudramadevi’ to be shot with 3D cameras, a la Avatar, as the first historical stereoscopic 3D. ‘Haunted’ has been the first horror 3D and all others like Ra.One, Don2 etc were derived from original 2D. Whatever the accuracy of their claims, the point is moviemakers, that at best represent regional cinema of India, are increasingly accepting new platforms on both the sound and the picture sides in their quest to mesmerize audiences and ensure success to their business. This has a ripple effect as cinemas in Tamil Nadu grapple with audio upgrades to Auro 3D and those in Andhra Pradesh with screen and projection for 3D. So its not the tier1 only but also the tier2 and tier3 cities that are leading the change Though this imposes an immediate burden on the exhibitor it augurs well overall for the industry since what is good for the audience is good for the business.
The festive season is increasingly becoming more competitive bringing out the good, the bad and the ugly side of the business. Whether its Christmas for Hollywood, Chinese New Year for Hong Kong or Diwali for Bollywood, the story is the same. The good is that exhibitors make a windfall during such festivals, as does the entire ecosystem from studios to services, since patrons throng the cinemas in great numbers and make the cash registers ring. The bad is that a slew of releases are carefully timed for the same day-date leading to cannabalisation of eyeballs and mercilessly killing movie talent that could have otherwise come good. Sometimes the promos and media hype end up confusing the customer making it difficult to cut through the clutter and make sense of it all. The ugly is a legal faceoff as it happened in India’s Bollywood between Ajay Devgn’s ‘Son of Sardaar’ and Yash Raj Films’ ‘Jab Tak Hai Jaan’. Ajay Devgn’s team alleged that the opposite side had cornered a larger number of screens due to industry muscle and also were emotionally exploiting the sad demise of Yash Raj Chopra. Thankfully it got resolved just before Diwali for both movies to be released simultaneously.
RIP Yash Raj Chopra Yash Raj Chopra straddled the Hindi movie industry like no other for half of a century. As a director, Yash Raj brought refreshing changes to the way Hindi movies were made notably picturesque Swiss locales and chiffon-clad heroines, as
a producer and later as studio boss Yash Raj helped professionalise an unorganised industry, as Bollywood idealogue Yash Raj lobbied with insensitive governments to recognise the rightful merits of a beleaguered industry, as a repeat award winner Yash Raj inspired many to strive towards the exacting standards set by him, as Indian spokesperson Yash Raj took India’s soft power to all corners of the global. TheatreWorld’s brush with Yash Raj was in 2004 at Bangkok when CineAsia honoured him with ‘Lifetime Achievement Award.
Anniversary Edition As every year, bringing out our Anniversary edition is always a great pleasure. Since 1999, for fourteeen continuous years, TheatreWorld has brought to you the best from behind the screens. We have had our ups and downs but have largely survived to tell you a tale and more! We pledge to not only continue what has become a journalistic tradition for our industry but to better it and the good news is that from 2013 TheatreWorld goes bi-monthly as six editions in a year instead of four. Added bonus is a makeover. Stay tuned!
Sandeep Mittal Editor / Publisher
This issue of TW has two sets of page numbers - International pages TW-1 to TW-52 for TW, and India pages TM-1 to TM-36 for TM. TM is inserted between pages TW-46 and TW-47 of TW.
Issue # 55 October-December 2012
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TW-28 Osram Lights Up Digital Cinema TW-30 Bright Sparks and Craftsmanship From Philips
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Contributing Writer Jim Slater, Cinema Technology, UK
Health and Safety in Cinemas
FIRST PERSON TW-40 Small Chip. Big Ideas.
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RNI # KARENG02795/10/1/2002-TC 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.
Vista and J2 Retail Systems at The Light Cinemas The Light Cinemas, have rolled out an EPoS solution from specialists Vista Entertainment Solutions and its hardware partner J2 Retail Systems in a second venue. The Light Cinemas already use Vista for all their european cinemas and now the combined J2 and Vista solution is running at Neustadt Centrum, in Halle, Germany and in New Brighton on the Wirral Peninsula. Each of these venues has 8 screens, equipped with state of the art digital picture and sound. The cinema at New Brighton is part of a major urban regeneration programme that also includes a casino, restaurants, bars, retail and a hotel. The Light Cinemas are using the J2 630 PC-based touchscreen EPoS terminal. Explains Keith Pullinger, Managing Director: "We use both our ticket offices and our concession counters to sell tickets. We like being able to pole-mount the J2 630s so we can swivel the screens round to let customers select their seats." Adds Vista's Phil Meredith: "Vista and J2 work together across hundreds of venues for clients such as Vue, Cineworld, Everyman and Apollo. Installing J2s is smooth and fast, which helps new venues come on stream quickly and efficiently. We find the J2 630 a particularly good machine. It's highly reliable, which enables clients to dispense with fixed maintenance contracts, adding up to a high level of satisfaction and a low cost of ownership." The Light Cinemas was established to capture a growing element of the UK and European cinema-going market. It targets all socio-economic categories but puts particular emphasis on the A, B and C demographics, families and the mature market. The Light Cinemas' first opening was in the Liberty
Centre in Bucharest, Romania. Early 2013 will see it open a fourth cinema in Wisbech, Cambridgeshire. Continues Keith Pullinger: "We aim to make our cinemas a social hub for the whole community and opt for city-centre locations that are easy for drivers and safe for pedestrians to reach. At New Brighton, The Light has quickly become the cinema of choice for people on the Wirral with admissions and turnover 30% above our initial expectations and further
growth occurring as the scheme matures." With digital technology, The Light can show the newest on-screen content including broadcasts of live arts and sports programmes as well as blockbusters, independent and international films. It provides a quality food and drink experience that appeals to cinema-goers turned off by the predominantly youth targeted 'popcorn and cola' multiplexes.
USL Surpasses Audio Systems Milestone Ultra Stereo Labs announced that over 6,000 JSD-100 digital cinema processors and ECI-60 electronic cinema interfaces have been shipped worldwide. This milestone demonstrates the continued industry demand for USL's innovative audio products. The JSD-100 and ECI-60 were launched in coordination with the global digital cinema rollout and have been selected by exhibitors throughout the world. The JSD-100 processor is specially designed for digital cinema applications. In addition to eight standard formats, the processor offers
two fully configurable formats to address such details as audio level changes and 3 or 5 stage channels. The ECI-60 comes with an internal universal power supply and is an affordable interface to adapt electronic cinema sources to older
cinema processors. Exhibitors have the benefit of two excellent, low cost, options for upgrading their existing cinema sound systems. "We are very pleased by the continued demand for our digital cinema technology products. The JSD-100 processors and ECI-60 electronic interfaces continue to lead the way and are being shipped and successfully installed in cinemas worldwide," commented Jack Cashin, President, Chief Designer and Founder of USL. "As the digital cinema rollout continues at an astounding pace, our team of designers and engineers are constantly designing innovative new products that exceed our customers' expectations." Cashin added, "We have some exciting new products with additional technological advancements that we'll be introducing to the industry in the months ahead."
GDC Technology's New IMB Achieves DCI Compliance GDC Technology announced that their new Integrated Media Block (IMB) with digital cinema servers including SX-3000A, SX-2000AR and SX-2000TR models are now compliant with the Digital Cinema Initiatives, LLC (DCI) digital cinema system specifications, pursuant to compliance testing as conducted by Keio University, an entity licensed for compliance testing by DCI. GDC Tech's groundbreaking SX3000A and SX-2000AR/TR IMBs support high frame rate (HFR) playback in both 2D and 3D (at 48 and 60 frames per second per eye), as well as 2K and 4K resolution. In addition, they also feature Intopix decoding technology capable of playing compression bit rates of up to 500 Mb/s for all color
components, and delivers second to none playback quality for HFR 3D content. They also support built-in digital connectivity for alternative content. Furthermore, they feature long distance content streaming and remote access via gigabit Ethernet, which can significantly simplify cinema multiplex operations with standalone architecture. "We are extremely pleased to confirm that our new IMB has passed all applicable CTP requirements for DCI compliance," said Dr. Man-Nang Chong, founder and CEO of GDC Tech. "As an accredited and trusted global digital cinema service provider with over 20,000 servers installed worldwide, we are determined to offer exhibitors the most cutting edge and reliable technology. Thanks to GDC Tech's feature rich products and track record of earning customer trust over the years, GDC Tech has received orders of approximately 3,000 units of DCI-compliant new IMBs to be delivered over the next 12 months. We are confident that we will continue to contribute to the industry with premium quality digital cinema solutions."
Cinedigm Announces Digital Deployment Pact with Metropolitan Theatres Cinedigm Digital Cinema Corp announced a long term VPF deployment agreement with Metropolitan Theatres Corporation ("Metropolitan").
This Cinedigm financed conversion will deploy 82 Cinedigm certified screens, with installation expected to be completed later in the fall. Metropolitan will utilize systems from Barco. Metropolitan currently operates 16 theatres in California, Colorado, Idaho, Utah and British Columbia. The transition from 35mm film projection, which has been used for 110 years, to digital projection systems is a worldwide motion picture industry effort and the costs to deploy this new technology are covered primarily through the payment of Virtual Print Fees (VPF) from studios to implementation companies. Cinedigm's digital cinema division facilitates funding, installation and operations support, along with ongoing VPF administration, for the company's digital cinema rollout plans. Cinedigm has signed long-term VPF agreements with all the major studios and interim agreements with over one hundred independent distributors. "Metropolitan has been very diligent in evaluating their conversion options and we are thrilled they have chosen to work with us," said Gary Loffredo, Cinedigm's President of Digital Cinema Services. "We know David and his team will immediately benefit from the many enhancements digital cinema offers, both from the operational side as well as the consumer viewing experience." Metropolitan's President, David Corwin, stated, "We are excited to complete our transition to digital cinema with the support of experienced industry leaders Cinedigm and Barco. They will be great partners in the continuously changing landscape of theatrical exhibition and the many new opportunities presented."
Dutch Cinemas Become 100% Digital Every Dutch film theatre and cinema has been equipped with digital projection equipment. Out of the 789 screens in the Netherlands, 506 were converted to accommodate digital projection by Cinema Digitaal, in conjunction with integrator Arts Alliance Media; theatre chains PathĂŠ, Utopolis, Euroscoop and a few independent theatres implemented the conversion independently. Cinema Digitaal is a unique publicprivate digitisation project initiated by the Nederlandse Vereniging van Bioscoopexploitanten (NVB - the Dutch Cinema Exhibitors' Association), the Nederlandse Vereniging van Filmdistributeurs (NVF - the Dutch Film Distributors' Association) and EYE Film Institute Netherlands. The collaborative Cinema Digitaal project made a collective transition possible all throughout the Netherlands and prevented the compulsory closing of small film theatres and cinemas. This technological conversion in the cinema business demanded a high investment that would have been financially unfeasible for many exhibitors without the support of Cinema Digitaal. The large scale digitisation project is based on the principle of solidarity: commercial cinemas cooperated together with film theatres and, by doing so, the existing culturally diverse and close knit exhibition network was able to be maintained and film continues to be accessible in all of the Netherlands. The coordinated transition from analogue to digital was realised over a very short time, which meant the costs of running a dual system (distributing analogue and digital film) were limited. The first installation took place on 20 July 2011, and the transition was completed in just 14 months. In total, the Cinema Digitaal project cost 39 million. The biggest share of
the project (70%) was paid for by the film distribution companies that are active in the Netherlands: 20 independents and 6 major American studios, under a Virtual Print Fee (VPF) model, implemented by Arts Alliance Media. Distributors were willing to invest in the one-time replacement of 35mm projectors, because of the savings that will be made now the production of celluloid film prints will disappear. Cinema Digitaal was co-financed by the Ministry of Economic Affairs, Agriculture and Innovation (3 million from the Implementation Programme Agenda ICT Policy / PRIMA) and the Netherlands Film Fund (2 million). As a whole, the film sector in the Netherlands invested around 55 million in the digitisation. With the digitisation of the Dutch cinema exhibition business, celluloid film (35mm film) has nearly disappeared from the cinemas. There are innumerable advantages to digital projection: wider distribution of films, more flexible programming, and improved image and sound quality. Films can be screened more quickly throughout the entire country. Digitisation also creates new possibilities for distribution via satellite and fibre optics. Additionally, every exhibitor now has the option to expand what they offer to include (live) concerts, opera, theatre productions or sporting events. Ron Sterk of the NVB and a driving force behind Cinema Digitaal: 'The year 2012 will bring the end of more than 100 years of screening analogue film. With the digitisation of cinemas, our business is undergoing tremendous innovation. Digitisation provides better quality, more efficiency, offers countless new possibilities for exhibitors and a wider availability of films for Dutch audiences'.
CinecAward 2012 for Volfoni's SmartCrystal Pro At a glamourous reception at an historic Munich residence, the Bavarian State Minister Martin Zeil recognized the innovation in the technical progress of the cinema industry by awarding the prestigious CinecAwards. Volfoni has received the award for its SmartCrystal Pro, as a unique facilitator for 3D projection in the postproduction process, by turning active 3D projectors of any type (DLP, DILA, SXDR, LCD) into passive 3D projectors. It's a unique possibility to use for example highend JVC Projectors for colorgrading in an extremely simple passive 3D setup. "We are extremely happy to see our R&D work recognized, especially in this very demanding industry,"noted Thierry Henkinet, CEO of Volfoni SAS. The CinecAward covers 8 categories, with over 60 high-tech novelties in competition. Other price winners include industry flag-ships such as ARRI, COOK Optics or Thales Angenieux.
Barco achieves DCI Certification for CineStore SoloG3 Barco has announced that its CineStore SoloG3 digital cinema server has passed the Compliance Test Plan (CTP) for the DCI Digital Cinema System Specification (DCSS). Since June, Barco has been providing its customers with a software only and fully automated update package to upgrade the CineStore SoloG3 server to a DCI compliant version. This upgrade process is near to completion. "I congratulate the team on passing the compliance test plan," says Wim Buyens, Senior Vice President of Barco's Entertainment Division. "We are very pleased that the CineStore SoloG3 has achieved DCI compliance. This again proves our commitment to offering the digital cinema industry high class technology. As DCI compliance is mandatory for all digital cinema manufacturers, we now guarantee our customers that they can meet the VPF obligations with their DCI compliant server." Digital Cinema Initiatives, LLC (DCI) is the originator and administrator of the Compliance Test Plan (CTP), created to provide a uniform testing procedure for demonstrating compliance with the DCSS. The DCSS is intended to promote the widespread deployment of high quality digital cinema equipment that is interoperable and provides rigorous content security. Manufacturers may demonstrate compliance by developing equipment in accordance with the DCSS and its referenced SMPTE, ISO and FIPS standards, and then submitting the equipment for testing to a third party entity licensed by DCI to administer the CTP. The CineStore SoloG3 digital cinema server receives content via a standard mobile hard drive connected through e-SATA or USB 2.0, as well as via CRU media drive. The server can play out any DCI compliant digital
cinema content, both in the DCI SMPTE format and in the MXF Interop JPEG 2000 or MPEG-2 format. Featuring a large internal storage capacity (redundant), the CineStore SoloG3 can hold at least 20 hours of high-quality content formats, title versions, languages and subtitling.
Christie Sponsors Projection at Vancouver International Film Festival Christie is proud to again sponsor the Vancouver International Film Festival, for which Christie provided digital cinema projectors from its Christie solaria series, as well as Cine-IPM 2K image processors. The festival, one of North America's leading cinema events, brought hundreds of new films to the city September 27 to October 14. "It is only through the support of Christie that we are able to maintain the standards of excellence that filmmakers expect and deserve," said Alan Franey, Festival Director & CEO, Vancouver International Film Festival. The projectors and equipment, installed and managed by Christie partner ZOOM Audio Visual Networks, ensured that festival goers enjoy their cinematic selections in the crisp colors, brilliant image quality and 3D possibilities available only through state-of-the-art digital projection.
"Christie's technology and support have made it possible to transform many of the Festival's screens to digital," said Michael Stewart, president of ZOOM. "Their exceptional image quality and expert service help make the festival a big success for exhibitors and patrons alike." Dave Muscat, Christie's senior director of sales for Canada said "Our participation in major film festivals is part of our commitment to the Canadian and international film industries. Our network of highly skilled and dedicated integration partners helps us make it happen, and ZOOM's work on VIFF is indicative of that commitment." In terms of admissions and number of films screened (about 150,000 attendees and almost 380 films), VIFF is among the five largest film festivals in North America. The international lineup included selections from the world's top film festivals as well as numerous titles from smaller studios and providers. VIFF screens the largest selection of East Asian films outside of that region, is one of the biggest showcases of Canadian film in the world (with 80 Canadian titles this year alone being screened) and includes a large and significant nonfiction program. Kathryn Cress, vice president, global and corporate marketing at Christie, notes that Christie's digital solutions are helping festivals as well as the industry in general with the transition to digital projection. "Christie's state-of-the-art projection technologies and skilled business partners make our firm the preferred choice for film festivals across the globe. And the arrangement with the Vancouver festival has a strong Canadian component, as Christie is the only provider of high performance digital cinema projectors with its main engineering and major manufacturing site located in Kitchener, Ontario."
Harkness Screens Lights up Hugo 3D Laser Demonstration at IBC 2012
and direct an entire cinema circuit from a single application in one location; and AdFuser, advanced software providing integrated ad campaign management for cinemas and media agencies. Oleg Berezin, Managing Director of Neva Film, said of the partnership "We're excited to be announcing this deal with Arts Alliance Media. We have had a good relationship with them for several years and look forward to bringing their industry leading software to our exhibition partners in Russia."
Harkness Screens, manufacturer of projection screens for cinema and events applications, assisted Christie Digital and Xpand in achieving an industry first, showing a full-length feature film in 3D at 14fL, the DCI specification for 2D presentation using Laser projection. The showing of Martin Scorsese's Hugo in 3D held in the 'IBC Big Screen' theatre at RAI Amsterdam utilised a 16.7m x 7m Harkness Spectral 240 3D silver screen along with Christie Digital's first prototype laser projector and Xpand's active 3D system. "The industry is extremely aware of the brightness level issues involved with 3D digital cinema. This demonstration provided a glimpse into the not too distant future at what might be achievable and also highlighted that whilst our Spectral 3D surfaces are usually deployed in passive 3D systems, the high gain properties can make it suitable for active systems. The screening was simply stunning and showed just how impressive 3D content can look with correct brightness levels, says Tony Dilley, Head of International Sales at Harkness Screens. Harkness Spectral 240 3D silver screens are considered by cinema exhibitors and special venue operators worldwide to be the optimum 3D projection surface for
3D systems using polarised light. Spectral 240 is a high brightness silver screen that gives excellent performance with "passive" 3D applications using polarised light such as RealD. It also performs well under 2D conditions. The aluminium flake based coating applied to the unique base material provides high gain characteristics, strong signal-tonoise ratios, generous viewing angles and excellent colour temperature.
Arts Alliance Media and Neva Film Partner for Sales in Russia Arts Alliance Media and Neva Film, announced a partnership to sell AAM's digital cinema software to exhibitors across Russia. The agreement was announced at the Kino Expo conference in St Petersburg, where Neva Film demonstrated AAM's theatre management system to attendees. Arts Alliance Media's software offering includes Screenwriter, the leading Theatre Management System (TMS) currently deployed on over 12,000 screens worldwide to provide automated content, playlist, scheduling and reports management to digital cinemas; Producer, an enterprise TMS designed to monitor
Eric Stevens, Commercial Director of Arts Alliance Media, added "We're delighted to have Neva Film as our partner in Russia. Their 20 year history in the Russian film business and expertise across all aspects of the cinema industry means that they are the perfect partner for us as we expand into this fast moving and exciting territory."
Dolby Integrated Media Block Achieves DCI Compliance Dolby Laboratories announced that the Dolby Integrated Media Block (IMB) is now compliant with the Digital Cinema Initiatives (DCI) Digital Cinema System Specification, as conducted by Aegisolve, Inc. The Dolby IMB is compatible with all series 2 projectors and offers built in support for high frame rate 3D (48 and 60 frames per second) as well as 2K and 4K playback, all at a single price, combining compatibility, lasting value, and cost-effectiveness. "Last year, Dolby conducted the industry's first demonstration of high frame rate 3D with a single projector. Using Dolby's IMB and cinema server with Dolby 3D, we showed the audience the state of the art for 3D movies in both 48 and 60 frames per second," said Doug Darrow, Senior
Vice President, Cinema, Dolby Laboratories. "DCI compliance is another milestone toward enabling our customers to offer their audiences premium quality 3D playback that filmmakers like James Cameron and Peter Jackson are advocating."
Blitz-CineStar to Build 18 Screen Multiplex in Belgrade Delta real estate reached an agreement with Blitz-CineStar, the leading theatrical exhibitor in the Balkan region, on the lease of space for CineStar Planet, an 18 screen multiplex, including an IMAX theatre and gold class theatres, within the delta planet shopping mall to be built in Belgrade, Serbia. The opening is scheduled for autumn 2014. CineStar Planet will be a fully digital megaplex with a total seating capacity of 3,300, the largest cinema in the region. In addition to films, visitors will have an opportunity to enjoy alternative content such as live transmissions of concerts, operas, ballets and sports events, presented under the name "Spectacles at CineStar." No less than 10 screens will be equipped with 3D digital technology, while two CineStar eXtreme theatres will utilize the Auro 11.1 immersive sound system. CineStar Planet will have two luxurious gold class theatres separated from the rest of the multiplex, with their own box office, a spacious lobby and a cloakroom. Each theatre will boast 58 electronically adjustable chairs with a compartment for personal items next to the armrest. The seats will be placed in pairs with a small table between them. Each chair will be equipped with a waiter call button, and visitors can order food from a custom menu as well as a wide range of soft or alcoholic drinks.
Sichuan New Times Digital Film Development Selects Christie Digital Sichuan New Times Digital Film Development Co. Ltd. (SNTDFD) realizes quality digital cinema projection for the millions of audience in western China as it adopts the state of the art digital cinema technology of Christie, a global leader in digital cinema projection. Under an agreement sealed between Christie and SNTDFD, Christie will deploy 100 of its signature Solaria series of digital cinema projectors Christie CP2210, Christie CP2220 and Christie CP2230 for SNTDFD's newly built cinemas across the western Chinese province of Sichuan. Lead by the Sichuan Broadcast & Film authority, the Sichuan New Times Digital Film Development Co. Ltd. was founded in January 2011 for the film distribution, cinema
operations and sales and maintenance of cinema equipment within Sichuan province. Currently, it has three operational cineplexes and 23 cinema chains under its wing. The company is expanding its business to be a one-stop film production, distribution and projection company to promote film culture in China. "To offer the most enjoyable cinematic experience for our audiences, we aim to be on par with the technology applied in the cinemas worldwide," mentioned Xin Gao, General Manager of Sichuan New Times Digital Film Development Co. Ltd. "As we keep abreast of the technological advancement in cinema technology, Christie, a total cinema technology solutions provider, provides us the technical expertise in digital cinema projectors. We are particularly impressed with Christie's latest development of laser projection and Solaria One projectors. Through this agreement, we hope to further our collaboration with Christie to enhance the quality of projection for our cinemas and reward our audiences with superb cinematic experience." "Christie is honored to realize the digitalization of cinemas in Sichuan which is at the heart of this country," said Lin Yu, vice president, Christie Asia Pacific. "As our new exhibitor client in Sichuan, the deployment of 100 digital cinema projectors clearly illustrates the confidence Sichuan New Times Digital Film Development Co. Ltd. has in our products and service. With our relentless effort to revolutionize the cinemas worldwide, we hope to reward the exhibitors and the audiences with superior cinema projection through the development and the eventual introduction of new technologies such as those deployed for high frame rate and laser projection."
Christie Powers "Big Green Screen" at the Tom Ridge Environmental Center The Big Green Screen Theatre located in the Tom Ridge Environmental Center (TREC) at Presque Isle state park has made the move to digital cinema technology. The announcement was made by Pennsylvania Department of Conservation and Natural Resources (DCNR) Secretary Richard J. Allan at the Sunset Celebration. This event, hosted by the friends of The Tom Ridge Environmental Center, also included the presentation of the 2012 John C. Oliver Environmental Leadership Awards. This special recognition was presented to the award recipients by Governor Tom Ridge. The Big Green Screen Theatre is owned and operated by DCNR and offers various educational films for school groups, families and other users of the park. It is the only large format theatre in northwest Pennsylvania with its 4-story high, 45-foot wide screen. R&R technical services, a full service cinema supply company and Christie partner, installed the Christie Solaria series CP2230 projector. It will replace an 8/ 70.5/70, 4/35 Kinoton Projector, which will, however, remain in operation, for occasional use to show film when a movie title is not yet available in a digital format. "Presque Isle, with its beautiful coastline and many recreational opportunities, is one of the mostvisited state parks in our system, however a lot of that visitation occurs during the warm months," Allan said. "The Big Screen Theater plays a big role in creating a destination during the off-season at the Tom Ridge Center. That's why we did not want to skip a beat as the industry transitions from film to a digital format." "The Christie CP2230 was chosen because of its superior image quality
and reliability, and the full backup services provided by Christie's Network Operation Center and service team," said Bob Ray of R & R Technical Services. "With our colleagues at TREC and Poggi Designs, we developed a design and layout of the digital system that accommodates both the Christie 4500 watt Xenon lamp-based projector and the Kinoton. We could see that Christie would produce the best image quality for this large format screen, compared to other brands. "It was challenging to keep the Kinoton projector fully operational and in the same place, alongside the digital projector, since the front wall of the projection booth was double 8-inch cement block with reinforcement. But after a short closure for upgrades and the installation of a new port opening, we are now able to switch between the film projector and Christie's in a matter of minutes," said Mr. Ray. The agreement with Christie also includes Service Plus, a warranty program that offers next-day parts delivery and complete remote monitoring to minimize down time from Christie's Network Operations Center (NOC), ensuring fast and reliable technical support and maintenance for the environmental center. Through remote monitoring, Christie technicians make sure that tens of thousands of displays across the U.S. and Canada are running smoothly, getting timely maintenance and receiving software upgrades.
Sean James, vice president of Christie Managed Services, noted that the Tom Ridge Environment Center chose Christie's Service Plus plan, selecting from a menu of services that provides 24/7 remote monitoring of the Christie projectors and connected devices. Through this service, the Center gained access to a local network of technicians for rapid response to technical issues, software upgrades and troubleshooting, as well as repair and replacement of parts for the next 10 years.
Qube Cinema Brings Single Server 4K 3D to Giant Screens Giant Screen theatres are rapidly converting to digital cinema and at the GSCA conference later this month in Sacramento, CA visitors can see the latest technology from Qube Cinema. The Qube XP-I server will stream a single high bit rate 4K 3D DCP through two Qube Xi 4K Integrated Media Blocks (IMBs) in two Barco DP4K-23B projectors. This high bit rate, 4K 3D projection from a single DCP through a single server greatly simplifies exhibition for Giant Screen theatres. The Qube system has already been installed in the Houston museum of natural science's Giant Screen theatre, which was converted to digital in march 2012 when they installed a Qube XP-I server and two Xi 4K IMBs. "Our conversion from 70mm film to digital cinema couldn't have been smoother," said Charlotte Brohi, VP giant screen operations and film production at the HMNS. "The projectionists found the move to
digital seamless and, because of the decrease in troubleshooting that comes with digital." The HMNS, which could only have three films at a time on its schedule prior to the conversion, intends to launch a film festival later this year with five or six movies. "Audiences are still getting the pristine, immersive experience they were used to and, although attendance is stable, our net revenue has increased because of the lower operating costs," said Brohi. "We also plan to convert our library of self produced films to digital so we can continue to offer them to other Giant Screen theatres." At the GSCA conference, the Qube XP-I server will be paired with two 4K Xi IMBs installed in two Barco DP4K23B projectors. The XP-I server is capable of synchronizing the IMBs and can stream up to 1 GB of data or 500 Mbps per projector through a dual gigabit ethernet interface, supporting dual projectors at up to 60 fps for 4K projection and up to 240 fps for 2K content. "This Qube system is ready to ship to other giant screen venues around the world," said Eric Bergez, Qube Cinema's director of sales and marketing for the Americas. "As digital conversions sweep the industry, our advanced technology couldn't have come at a better time."
brighter than industry standards. In addition, by purchasing the same model (DP2K-23B) for every auditorium, Hallett Cinemas will reap the full benefits of Barco's platform efficiencies to simplify maintenance and related costs, build flexibility into its theatre operations, and show both 2D and 3D movies on any size screen, from its largest to smallest. "We want to offer our loyal patrons the best cinema entertainment available," commented Ray Hallett, GM/Owner of Hallett Cinemas, LLC. "After touring the Barco factory in Belgium, I was very impressed with the quality and care Barco invests in both the design and manufacturing of their projectors. With Barco, we're taking show quality to the highest levels, in our double-stack 3D auditoriums. We're achieving 3D images averaging 10 foot lamberts per eye, to deliver amazingly bright, crystal clear 3D movies, plus averaging 16-18 foot lamberts on every 2D screen, using lower wattage lamps." As a business owner, Hallett also appreciates the positive ROI associated with owning and operating Barco's digital cinema projectors. "We're a 'value-based' company that believes it's essential to
consider the total cost of a product over its life cycle, not merely a low initial purchase price. I'm pleased my investigation has confirmed that Barco's DP2K-23b is a winner in both. We're optimizing the projectors to take full advantage of their modularity and energy efficiency to generate a quick payback, like retrofitting them with projector mounted exhaust fans and utilizing the less expensive/longer life lowerwattage lamps." Hallett Cinemas' new 100 percent Barco digital cinema footprint features 40 percent 3D and 60 Percent 2D auditoriums, which can be easily configured for giant screens as well as cost-effectively upgraded to 4K resolution with a simple retrofit. "Hallett Cinemas is the perfect Barco client in that they share our passion for stellar-quality movie presentation, and are willing to invest in the best tools to achieve it," commented Scott Freidberg, VP Sales Digital Cinema for Barco North America. "Mr. Hallett is a savvy exhibitor who knows how to leverage the latest technology to create the optimum viewing experience, while maximizing Barco's low total cost of ownership."
Hallett Cinemas Selects Barco for Digital Cinema Deployment Barco is supplying its DLP Cinema projectors for 100 percent of Hallett's 42 screen circuit, with sites located across Washington and Idaho. Widely recognized for its high quality cinema entertainment, Hallett is electing to double stack many of its new Barco projectors to offer patrons a 3D movie experience two times October-December 2012
Sony Digital Cinema and Dcinex Join to Deliver Sony 4K Across Europe Sony Digital Cinema announced that it has entered into a mutually beneficial partnership with one of Europe's leading digital cinema companies, dcinex, to become a "Dcinex preferred supplier" of digital cinema projection equipment. Dcinex's cinema exhibitor customers will now be able to enjoy the industry leading projection resolution from every seat in the cinema, "easy on the eye" immersive dual lens 3D and high contrast ratios delivered by Sony's leading market share digital cinema 4K projection systems. Dcinex have recently committed to purchase a large quantity of Sony's new SRX-R515 ultra high quality 4K digital cinema projection systems, designed for small and medium sized screens, which delivers an revolutionary improvement in screen image quality. The ongoing transition from 35mm to 4K digital screens, in particular with independent cinemas, will enable Dcinex to offer greater choice to its customers and their audiences, not only on the most talked about films but also on the expanding range of live and recorded 3D and 2D content. Beyond its superior 4K resolution, Sony's new 4K projector includes an outstanding contrast ratio of over 8000:1 and multiple high pressure
mercury lamps, a first for the cinema industry which ensures there are no more lost shows from lamp failure and allow easy lamp change without the need for trained staff. The SRX515 represents the next stage in the evolution of digital cinema, enabling smaller exhibitors to deliver a superior viewing experience at lower lifetime cost, for their customers. Oliver Pasch, Sales Director, Sony Digital Cinema said "This deal and the launch of our new projection system emphasises Sony's long term commitment to the exhibition industry and desire to partner with the leading European cinema integrator. We appreciate that dcinex has taken the opportunity to focus the future of its business on preferred partnerships with the leading manufacturers in the industry. We are proud that Dcinex has chosen Sony's 4K Projection System. " Till Cussmann, Vice-President, Exhibitor Services of Dcinex said "It's important that we offer our customers the latest digital cinema technology. Sony's new projector is full of technological innovations like 4K resolution, outstanding contrast ratio and new lamp systems that deliver a truly superior viewing experience to our customers. This joint venture with Sony Digital Cinema will further increase Dcinex's expertise in
emerging formats such as 4K, and it will strengthen our position as a major player serving distributors and exhibitors across Europe."
NATO's CBG Signs Independent Screens for Digital Conversion The National Association of Theatre Owners' Cinema Buying Group has announced that it has now signed over 3,000 independent CBG screens for conversion to digital cinema. Cinedigm is the digital cinema integrator partner for the CBG, a buying program for NATO's independent theatre operators in the United States and Canada and is responsible for deploying nearly 40 percent of all digital cinema screens in North America. "NATO and the CBG congratulate Cinedigm on the momentous 3,000 screen milestone," said NATO president John Fithian. "Cinedigm's efforts and leadership have brought all the benefits of digital cinema to the local communities these theatres serve and we are tremendously proud of the outcome." "When we implemented the virtual print fee program nearly eight years ago, our goal was to help convert as many theatres as possible, both large and small to digital cinema. We are so proud that Cinedigm has delivered on that promise and is without question the number one choice for exhibitors to entrust with their digital cinema program," said Gary Loffredo, president of digital cinema & general counsel, Cinedigm. The Elkader Cinema, a historic movie theatre in a town of less than 1,500 people, is a perfect example of a theatre not left behind by Cinedigm. Built in 1941, closed down in 1993 and vacant for 10 years, the Elkader Cinema's present owners Lee and Diane Akin, refurbished it, complete
with original marquee, with a volunteer group and some community grants. Cinedigm helped the Akins, selffinanciers and CBG members to keep the theatre open as the industry transformed to digital.
Star Cinema Grill Enhances with Addition of Sony 4K Star Cinema Grill is adding a new dimension to its full service movie theatre concept with Sony 4K Digital Cinema technology. The Houston based, family owned and operated exhibitor recently equipped all 21 screens across its three Texas locations with 4K projection, now providing their customers the highest quality movie viewing experience. Star Cinema offers their guests an extensive dining menu and full service bar with a wide selection of beer, wine and spirits. Now, the theatres digital conversion allows them to offer "the best of both worlds," according to owner Omar Khan. "We want to make sure our customers have the best meal they've had in a long time," Khan said. "But it's equally important to us that they also have the best movie watching experience, with the best projection and sound system. "So when it came to making the switch from 35mm to digital, there was no question that we would go with Sony 4K." Khan's movie theatre experience spans more than 20 years. A second generation owner and operator, his parents were among the first to bring the Bollywood movie concept to the United States. Star Cinema's attention to detail covers all aspects from the menu to the auditorium, and is evident in the management's approach to every aspect of the business. "We're totally focused on the 'premium' experience," said Gustavo Vazquez, Star Cinema Grill's Vice President of Operations and a former restaurateur. "The bread for our restaurant is delivered daily from local bakeries. We have craft beers on tap, and local farm items on the menu, all delivered to the seats. We even have a wireless paging system so guests can alert us when they're ready to order. This conversion to Sony 4K just completes the whole picture for our operation." To make the conversion to 4K as seamless and cost effective as possible, Star Cinema worked with Sony to take advantage of its flexible and customizable Virtual Print Fee (VPF) financing options. "With our extensive leasing options, theater owners can differentiate themselves with the highest resolution digital projection available. We're thrilled Star Cinema Grill selected Sony as a long term partner to help enhance their premium experience that their customers have come to expect," said Christopher Simpson, national account manager for Sony Electronics' Digital Cinema Solutions Group. October-December 2012
Barco's 0.69" Projector for Smaller Screens First to Achieve DCI Compliance Barco has announced that its DP2K10S digital cinema projector has passed the Compliance Test Plan (CTP) for the DCI Digital Cinema System Specification (DCSS). Designed from the ground up around Texas Instruments' S2K chipset, the brand-new DP2K-10S projector is ideally suited for smaller theatres with screens up to 10 meters (33 feet) wide. The brightest projector in its category, the DP2K10S is the first digital cinema projector featuring Texas Instruments' new 0.69" DLP Cinema chip to achieve DCI compliance. "I wish to congratulate the team on their tremendous achievement of being the first to pass the Compliance Test Plan with a projector designed around the new 0.69" DLP Cinema chip," says Wim Buyens, Senior Vice President of Barco's Entertainment Division. "We are very pleased that the latest addition to our digital cinema projector family has now also achieved DCI compliance. As a global digital cinema technology leader, we are proud to offer the most complete range of DCIcompliant digital cinema projectors in the industry. From the compact DP2K-10S to our top-of-the-line DP4K-32B, we offer a perfect match for every cinema screen." "We have newly designed our DP2K10S projector from the ground up, to ensure maximum performance out of Texas Instruments' 0.69" DLP Cinema chip and made no compromises in bringing the same superior image quality as offered by the other Barco digital cinema projectors to theatres with smaller screens," comments Theodore Marescaux, Product Manager at Barco. "Thanks to the DP2K-10S digital cinema projector, smaller
exhibitors can also enchant moviegoers with first-class movie experiences with consistent picture brightness, vibrant and stable colors. As the DP2K-10S has been designed with the specific needs of smaller exhibitors in mind featuring our latest intuitive projector user interface that further simplifies operation and ensures low operating costs, it guarantees worry free DCI compliance when going digital." Thanks to its superior optical efficiency, DMD cooling system and patented sealed engine, the DP2K10S projector achieves exceptional brightness levels. It generates crisp images with vibrant colors that are stable over time due to its standard Xenon lamp and the acclaimed manual color convergence mechanism of Barco's larger digital cinema projectors. And as it's equipped with motorized lenses, a perfect image ratio is guaranteed in every setup. The projector's operating cost is minimized through the use of energy-efficient Xenon lamps, a standby eco-mode, reusable air filters and the commonality of components with the other Barco digital cinema projectors. The DP2K10S comes with integrated handles, user-friendly software tools and a smart modular architecture for easy transport, installation and service. These features make it ideally suited for outdoor and mobile cinemas alike. Digital Cinema Initiatives, LLC (DCI)
is the originator and administrator of the Compliance Test Plan (CTP), which was created to provide a uniform testing procedure for demonstrating compliance with the DCSS. The DCSS is intended to promote the widespread deployment of high-quality digital cinema equipment that is interoperable and provides rigorous content security. Manufacturers may demonstrate compliance by developing equipment in accordance with the DCSS and its referenced SMPTE, ISO and FIPS standards, and then submitting the equipment for testing to a thirdparty entity licensed by DCI to administer the CTP.
Volfoni's Passive 3D Solution SmartCrystal Cinema Volfoni's passive theatre system is poised to be a game changer in the world of 3D cinema. The system consists of a liquid crystal based polarization modulator, easy to set up with any DCI-compliant DLP projector with projector lamps up to 7kW. SmartCrystal Cinema boasts one of the largest polarization windows currently on the market, a whopping 264x143mm (10.4" x 5.6"), making it suitable for all types of projector lenses, and offering excellent image quality with one of the highest optical efficiencies of all polarization modulators available. The SmartCrystal Cinema polarization modulator uses a proprietary "surface-switching" technology to deliver high performance on screens with widths up to 59 feet. SmartCrystal Cinema utilizes ultra-
fast switching of the liquid crystal next to the alignment surfaces of an LCD, providing both fast switching as well as excellent optical performance. And the high-quality anti-reflection surfaces ensure that a superior optical efficiency is achieved, for amazing image clarity together with colors that pop. The SmartCrystal Cinema polarization modulator, with two models of brackets, is also very practical for integrators, allowing quick and easy installation in any projection situation. The model A with casters is easy to move from one projection booth to another. A hightech electronic module is integrated, allowing the user to switch from 2D to 3D, settle the 3D images, and control the systems with indicators. External controls can also be used, for automation, for controlling the system via a network, or for unlocking the entire system. It is also very easy to adjust the window size. For even more flexibility, another bracket, the model B (fixed bracket), is in development.
MasterImage 3D Expands Suite of 3D Digital Cinema Systems Continuing its commitment for all 3D movies to be enjoyed in the best available 3D image presentation, MasterImage 3D broadened its product portfolio to satisfy the contemporary business decisions made by theatrical exhibitors around the world. The 3D system suite now includes five models, each designed for unique screen sizes and boothtypes. The MI-CLARITY3D line comes in three versions, specified to varying types of projection configurations. The new 3D product introductions, MI-WAVE3D and MI-DUAL3D, address exhibitors' desires to equip big and small screens with the highest quality presentation at competitive pricepoints. MasterImage 3D systems enable premium 3D image quality with improved lighting efficiency, precise color accuracy and fidelity. Each model offers high frame rate compatibility, full system automation (2D/3D and start/stop) and a license free ownership business model. "Cinema exhibitors around the world continue to tell us they want premium presentation quality without being limited by a one-sizefits-all solution," said Sean Lohan, Senior Vice President of Digital Cinema at MasterImage 3D. "Our new product suite gives customers greater choice in addition to the superior image quality and business terms they expect from MasterImage 3D." The MI-CLARITY3D product suite includes the patented Circular Polarized Filter Disc, providing a perfect balance of clarity and brightness with 3D filtering precision that is unequalled in the marketplace. Three MasterImage 3D models provide for the range of projection booth needs. The models are MI-CLARITY3D SA, MI-CLARITY3D MX and MI-CLARITY3D RH. New product entrants provide
MasterImage 3D technologies and full system automation for 2D/3D and start/stop. Designed for customized solutions, applicable to a variety of screen sizes and budgets, big and small. The models are MI-WAVE3D and MI-DUAL3D. October-December 2012
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All-digital CityPlex 12 The city of Newark, NJ, celebrated the opening of the new CityPlex 12 theatre, an all-digital, stadiumseating multiplex on september 14. Co-owned by Boraie Development, LLC, and Newark native and NBA legend Shaquille O'Neal, the new theatre is on the site of the former six screen Loews Newark Metroplex and Newark screens theatre. Mayor Cory A. Booker, O'Neal, members of the Newark municipal council, deputy mayor of economic and housing development Adam Zipkin, brick city development corp. CEO Lyneir Richardson, Goldman Sachs managing director Alicia Glen, New Jersey community capital president Wayne Meyer and other dignitaries were on hand to cut the ribbon to officially open the CityPlex 12 in Newark's central ward. "The redevelopment and expansion of the newark screens to the CityPlex12 Newark is overall an urban success story. CityPlex12 Newark has advanced the revitalization of the central ward and become both an attraction as well as a community asset," said Richardson. Mayor Booker declared, "CityPlex12 is the best place to watch a movie in
New Jersey. This movie theatre is in the heart of the central ward, so newarkers from all five wards can stay in our city to see the latest movies from Madea to Men in Black." Deputy Mayor Zipkin added, "at the beginning of this administration, newark's only movie theatre was struggling to survive. But with decisive action from Mayor Booker and local partners, we were able to stabilize the movie theatre and put it in the capable hands of Boraie development and Shaquille O'Neal. This state of the art theatre is an important community hub of entertainment and employment opportunities for our citizens." Financing for the project was provided by Goldman Sachs Urban
Investment Group in partnership with New Jersey Community Capital and Brick City Development Corp. Amenities include Barco 4K digital projection in all 12 theatres, Dolby 7.1 digital sound, RealD 3D and a new concession stand. The theatre's premier auditorium is the SHAQ-DX, "a bigger than life digital experience." This 300 seat stadium style auditorium features high back leather rockers and a 47 foot wide screen. In conjunction with the new party room and expansive lobby, the CityPlex12 was designed to host events, screenings and birthday parties. The theatre celebrated its grand opening by launching "30 Days of Shaqness" on september 15, with a cookout featuring entertainment, food and select $1 movies all day.
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Doremi Digital Cinema Servers at
Mall of America The nation's largest retail and entertainment complex, Mall of America has selected Doremi Cinema to complete the digital conversion of nine more of its theatres. The unique complex features 2,259 seats throughout 14 theatres with digital sound, image with 3D capabilities, DBox seating and a VIP theatre. Each of the theatres will be fitted with the DCP-2000 cinema server, the first commercially available server capable of playing JPEG2000 digital movies conforming to DCI specifications. It is the most installed cinema server worldwide. Included in the expansion is the installation of a Doremi IMB-4K. The IMB (Integrated Media Block) utilizes Doremi's patented 4K media block technology and ensures that the theater is prepared for the future of digital entertainment.
experience possible," said Jill Renslow, Vice President of Business Development and Marketing. "Partnering with Doremi on the digital conversion of our screens will take the experience to new levels."
"Theatres at Mall of America aims to give guests the best theatre going
Theatres at Mall of America has also chosen to feature the Fidelio, a
Doremi Cinema audio delivery system that provides narration for the visually impaired as well as assisted listening for those hard of hearing. The CaptiView closed caption viewing system for hearing impaired guests is being deployed in each of the theatres.
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Kometa at Chita City Magna Tech Electronic (MTE) recently offered total planning, development and operations consultation to "Kometa" LLC, a company with the main activity in organization and staging of theatre and opera shows, concerts and other stage shows to open a Cinema hall naming it "Kometa" Theatre in Chita city, which is situated in East Siberia. MTE an academy award winning company offering total planning, development and operations consultation to open a cinema anywhere in the world also helps and invites clients to choose from the world's largest selection of new and pre-owned professional cinema equipment, furnishings, and accessories. MTE and its affiliates represent most major makers of Cinema Equipment including Barco, Dolby, QSC, JBL, Osram, Harkness, Ushio. Being in the motion picture theatre equipment business since 1975, they supply turnkey service or individual items relating to projection, sound, seating, aisle lights, screens and front ends, wall covering, concession, lobby and box-office.
cinema. All they had at that moment were only 4 walls and MTE using its expertise over the years made all necessary measurements and offered them custom-designed project. MTE did a great job of design, equipment selection, and installation and in commissioning the cinema. The whole set up was done by high professional engineers. In this cinema, two similar cinema rooms were created using 7m screen, 50 seats, Projector - Barco
They supply all major brands of theatre equipment and also offer the choice for a new, rebuilt, used or any combination service.
DP2K-12C, Server - Dolby DSS200 and processor Dolby CP750. All equipment used is of very high quality and has proven itself in many cinemas. Active system Li-Tek (Hi-Shock) was chosen as 3D system. It was best solution for the combination of price and quality.
A term used by MTE," Give us four walls and we'll give you a theater"! And this project completed by MTE Russia proves it very well.
Kometa LLC was completely satisfied with the work and equipment and now it can proudly say that the people in Chita city can enjoy watching movies in a new cinema.
"Kometa" LLC, contacted MTE without even having an imagination as how to organise and set up a
In the pictures below you can see how step by step their cinema hall was set up.
The screen frame Set
Combed claw teeth (block terminal) is ready
Speakers and seats set
Screen is ready
The equipment is mounted and installed
Training of projectionists by our engineer
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Meyer Sound Cinema System for
Korea's New M2 Premium Screen South Korea's Megabox chain of movie theatres has selected Meyer Sound's cinema loudspeaker system for its newly enhanced "M2" premium screen concept. At the Megabox COEX, the largest multiplex in Korea with 16 screens, powerful, low-distortion sound now accompanies upgrades to projection and patron amenities. The "M2" screen is now operating in 5.1 and 7.1 surround modes, and when the renovation is complete, this room is set to become Asia's first Atmos compliant cinema to be equipped with a Meyer Sound cinema system. All "B chain" elements are in place, including the extensive complement of side, rear, and overhead loudspeakers. "There has been a lot of competition among the new 3D immersive sound formats," observes Youlgoo Lee, the chief technical manager for
remote power supplies, and a Galileo loudspeaker management system.
Megabox. "But Meyer Sound convinced us that any new format requires high quality speakers to present clear and powerful sound to the audience. We have already experienced the difference Meyer Sound makes at our other installation, so we decided to install Meyer Sound systems whenever we get the chance." The new system at Megabox COEX includes Acheron 80 and Acheron LF screen channel loudspeakers, X-800C cinema subwoofers, HMS-10 cinema surround loudspeakers, MPS-488HP
"Even though the full Atmos experience has yet to arrive, we're already having a very good response from the audiences," reports Lee. "They say they feel the difference compared to regular cinema sound, so we're excited about what we will experience with the completion of the system." The new Meyer Sound system was provided by Kinoton Korea, the company that installed Asia's first Meyer Sound cinema system at Megabox KINTEX near Seoul in 2011. Kinoton Korea provides conventional and digital cinema projection systems, as well as advanced sound solutions, to commercial cinemas, broadcasters and film/video production facilities, both within Korea and elsewhere in Asia.
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Osram Lights Up Digital Cinema The cinema has been exciting audience members worldwide for more than 100 years. Only when animated pictures are put on screen, they become blockbusters, which occasionally go down in the history of motion pictures. While at the beginning of the motion picture theatre only short films could be projected, we now have a new digital era. Now large data bundles, compressed on small hard drives are delivered to the cinemas that are only decoded and converted into pictures once they are inside the projector. Screening in highdefinition requires one thing in particular: High-performance light. The XBO cinema lamp from Osram, the leading light supplier to the movie industry, has been writing film
history for over 50 years and still is in demand for digital projection. They combine a high luminosity with a long service life and thus are an economical solution for cinema operators that are converting their cinemas for the digital era. The history of cinemas has been accompanied by the light of XBO for more than five decades. In 1983, Osram even received an Oscar for the outstanding light output of its cinema lamp. The company produces the XBO in its factory in Eichstätt as the only manufacturer using fully automated production. In comparison to handmade cinema lamps, the tolerance values are very low, so that customers all around the world can profit from the consistent high quality of the lamps. As a result
of the dependable high quality standard, the XBO is now used in every second cinema worldwide. Nowadays more and more cinema operators are opting for digital projection. This makes sense not only because of the sharp details and colour rendering, but also since the
Milestones of the XBO cinema lamp • 1949 Start of XBO development • 1952 XBO 1,000 W lamps for 35 mm projection • 1954 First commercial film projection • 1970 XBO lamps for horizontal operation • 1980 Introduction of ozonefree quartz glass • 1983 XBO awarded an Oscar • 1998 XBO used for digital video projectors • 2001 Extended durability and guarantee • 2006 XBO series for every manufacturer of digital cinema projectors • 2009 Robust coil spring design • 2010 Start of fully automated production • 2012 Especially long lasting XBO lamps used for digital cinema
Automated electrode assembly
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majority of films nowadays are produced digitally. Economical high performance - In general, cinema projection lamps need a compact design, must possess a high light density and convince through a long service life. Light output requirements have increased with digital projection. A particular bright lamp is necessary to ensure a brilliant reproduction of clear images that illuminate the whole screen. Cinema operators therefore demand a high performance and economical solution. XBO laser processing
The XBO fulfils these requirements. It is a short arc xenon lamp which generates lots of light in a small area through gas discharge, and therefore has a particularly high luminance. The arc tube in which the gas discharge takes place after lighting, is positioned between two Tungsten electrodes. Made from high temperature resistant quartz glass, it is resilient against extreme temperature changes and high pressure. The XBO also proves robust against vibration: the capillaries i.e. the finely elongated case at the side of the arc tube is protected by a coil spring. In the case of a fall, this cushions the delicate lamp. The cinema lamp impresses with its long life of many thousand hours. Its daylight similar light of 6,200 K remains constant over the entire lifespan, so that maintenance costs for cinema operators are greatly reduced. The companion in the digital age, Both sides benefit from digital cinema projection with the help of the XBO. Audiences are delighted with the clear, vibrant pictures. Thanks to the interaction of consistently high quality, luminance and service life, cinema operators can keep their expenses under control. Osram is constantly developing its cinema lamps in co-operation with projection manufacturers, so that it can remain the reliable companion in the digital age.
Manual spot check October-December 2012
• TECHNOLOGY •
Bright Sparks and Craftsmanship From Philips
By Jim Slater
Jim Slater visited the Philips xenon factory in Los Angeles and saw how some of the highest technology products are the result of the application of hands-on craftsmanship. In the beginning … With such a biblical sub-heading preceding an article about xenon lamps my journalistic instincts cried out for the words 'let there be light' to follow, but my more careful engineering head knew that the actual creation of light wouldn't be appropriate until much later on! The beginnings we are talking about concern the factory that began life as LTI (Lighting Technologies International) in 1999, when a group
of just seven people, all of whom had varied backgrounds in different areas of lamp manufacture, and had worked with well known optical companies including ORC (Optical Radiation Corporation) and PerkinElmer, decided that there would be a good market for high quality xenon lamps made in North America for the expanding cinema business. Up until that time most cinema xenons used in the US had been imported, and there were good reasons for being able to provide locally sourced lamps in the US. LTI grew and expanded, exporting its lamps worldwide, and I noted from the Cinema Technology magazine index that Australian BKSTS Member Daryl Binning had written a CT article about the LTI factory in March 2006, describing it as "a modern, progressive specialist lamp production facility equipped with the latest research and
L-R: Ana Simonian, Dave Beaulé, Tom Hardenburger, Linda Roesch HR Manager, Curt Glover, Michelle Wei Logistics Manager and Alan Luttio
manufacturing equipment, and staffed by some of the most experienced people in the Xenon lamp business." So successful was the plant that in 2007 the Philips company showed an interest and decided to purchase the company outright. It is now part of the Entertainment segment of Philips Special Lighting. Many of the original founders of the company remain today, and I was privileged to
• TECHNOLOGY •
meet the current management team. Tom Hardenburger, Global Product Manager, Alan Luttio, Engineering Manager, Curt Glover, Plant Director, Ana Simonian, who is in charge of global sales, and Dave Beaulé, Quality Manager. Between them, and with the help of other colleagues they explained the history of the company, and we had some interesting discussions about the past, present, and what they are convinced is the very positive future of the xenon lamp in the cinema business.
Number 1, Number 3 … With typical US panache I was told that Philips is number one company in the world in lighting, involved in everything from entertainment, through education, to street lighting and even providing the searchlights that reach high into the sky at the Ground Zero memorial in New York. In Paris the giant searchlight on the top of the Eiffel tower was specially designed as a 'one off' lamp that has become almost as famous as the monument on which it stands. Although the Baldwin Park factory, on the outskirts of Los Angeles, has a history of building many types of lamp from metal halide to ceramic to mercury arc lamps, in recent times it has concentrated entirely on cinema xenons. In this very specialised area of lighting, Philips admits to currently being number three in the world, behind Osram and Ushio,
although it soon became clear that they are not remaining content with this position, and are working hard to improve their position, primarily aiming to do this by focusing unreservedly on quality and customer service. Philips are currently number two in the North American cinema lamp market. Xenon lamps are manufactured with powers of from 700 to 10,000 watts, but most of the production typically ranges from 2000 to 6000 watts. The factory, dedicated completely to cinema xenons, currently employs an ethnically diverse workforce of some 300 people, reflecting the population of greater LA, and it serves the global market. The feisty Ana Simonian told me proudly that a Philips customer anywhere in the world can expect a speedy response to a sales or service query 24 hours a day, challenging me to be able to say the same of her competitors! Tom Hardenburger was keen to tell me that Philips really takes its '100%' lamp warranties seriously - if a lamp fails after 99% of its rated hours it will be replaced with a new one, provided that there hasn't been any damage caused by the customer, and Tom said that this another USP for the Philips brand. I was interested to learn that the output of the factory really does reflect the fact that the transition to digital cinema is reaching completion - Tom told me that some 85% of the output is lamps for digital cinema, with Philips lamps
being officially certified for use in Barco, NEC and Sony projectors, with a majority of the Sony projectors worldwide using their lamps, primarily, I guess because of the huge market represented by AMC and Regal cinemas. I remarked on the one projector manufacturer missing from that list - it seems that Christie have their own reasons (Ushio?!) for not wanting to certify other manufacturers' xenons! Nevertheless. the Philips sales material says that they have cinema xenons designed for use in Christie digital cinema projectors.
The digital questions … I was told that Philips makes four ranges of cinema xenons, each designed to provide the ultimate total cost of ownership for different market sectors. In addition to its Standard range it offers Helios lamps that provide greater brightness and efficiency at a higher price, along with growing quantities of the Digital range, lamps which have been specially designed to provide optimum performance from today's digital projection equipment. There is also a range of Digital Helios lamps, based on film lamp technology but adapted for digital applications; these are intended for smaller digital screens and offer a lower total cost of ownership. Since one of the few disadvantages of going digital for the cinema operator is that the lamp prices are generally higher and the lifetimes lower than for the original 'film' lamps, I really did try to find out on behalf of our readers just why this should be. But I am afraid that even after watching how the lamps are
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Just part of the massive manufacturing and production area. Notice the multiple workstations with extensive fume extraction equipment and ducting, used to remove the heat from the glassworking operations, always ensuring that the atmosphere is clean, safe, and comfortable for the operators to work in.
constructed I wasn't initially convinced that the sometimes significant cost differences are justified, which led to some interesting discussions with Curt and the team - they obviously felt passionately that I should be able to understand that digital lamps really do require something extra in the manufacturing process, and that this is what requires such lamps to be more expensive. The accepted technical explanation, which I am quite happy with, is that the TI DLP based projectors require a very small aperture for the light to illuminate the micromirror devices, which means that lamps have to have shorter arcs, providing a smaller, denser light source. Whilst being able to accept that these more compact lamps will have to deal with more concentrated heat in a smaller volume, and therefore it might be reasonable to expect a shorter lifetime, my factory tour hadn't highlighted any great differences between the manufacture of the different types of lamp, and I hadn't at that point really seen any convincing evidence that it is more
complex to manufacture the requisite short arc digital lamps. It is always good to talk, of course, and in subsequent discussions with Curt he told me that because of the concentrated heat generated in a smaller volume, special electrode processing is needed to achieve the required lifetime, and this extra processing adds to the cost of making the digital lamps. Philips uses special proprietary manufacturing processes on its digital lamps to achieve this, but Curt admitted that they deliberately hadn't shown me this part of the process during my tour, since it was regarded as too business-sensitive to reveal all their technical secrets to competing lamp manufacturers - you can be sure that these will soon be busy dissecting this piece! We had, though, during the tour, discussed how the 'dark arts' of electrode shaping and various special coatings are the features that distinguish one manufacturer's product from another, so I have no problem in accepting that the extra electrode processing required by digital lamps will lead to their
necessarily being more expensive - it seems that you really aren't being 'ripped-off'! As explained in the 'training' section, later in this article, new staff are trained to work on smaller 35mm lamps and only progress to the digital models as they become more experienced, and their pay increases as they develop their skills to work on the more expensive lamps. When discussing the increased costs of digital lamps Curt said that only the best operators are qualified to produce digital lamps with the required short arc gap specifications. Even these highly trained operators need more time to build these lamps, which adds additional labour costs relative to film lamps. One thing that was made clear, however, as I pressed the team for information about whether we might expect better, more efficient and perhaps even cheaper lamps in the future, was that, in spite of decades of development, the design and manufacture of xenon lamps is far from mature - the research engineers are constantly coming up
• TECHNOLOGY •
What it is all about - schematic diagram of a typical cinema xenon lamp showing the essential parts and assemblies described in the article
with new ideas to improve light output and efficiency, with reducing the total cost of ownership being a constantly moving target for the Philips engineers.
The factory tour … Plant Director Curt Glover spent several hours taking me on a conducted tour of the factory. He had been involved since its inception, and was therefore responsible for much of its design, both originally and as it has moved forward and been updated to provide the best possible environment for the manufacture of the latest generations of xenon lamps. Everywhere I looked there was evidence that existing equipment was being replaced with new and being updated with new functions and capabilities. Many of the precise measuring techniques that had been traditionally been carried out using mechanical calipers (and it was interesting to see this still happening) are being replaced or supplemented by carefully calibrated 'vision systems' which allow the operator to see a much magnified video image of the electrodes or glass seals being worked on, making it easier to achieve consistent accuracy every time. These can be seen in some of the photographs of the manufacturing process. I spoke with Dave Beaulé, Quality Manager, and it was interesting to learn that he is constantly making checks on all aspects of the production, and has the right to stop production at any time if he is not happy with any aspect of the work fortunately, he wasn't able to
remember the last time that this had actually proved necessary, since it is usually possible to spot potentially harmful problems before they actually affect lamp production in any significant way. Curt took me through all the individual steps in the production of a xenon lamp, from the inspection of the original quartz tubing (bought in various
Above: The lamp building process begins by taking pre-cut lengths of high-quality quartz tubing, mounting them in the lathes, and gently heating with various gas flames until the material begins to soften. The burners use pure hydrogen and oxygen to reach the temperatures required to melt quartz glass. Below: Envelope forming. In this process, quartz glass tubing is joined together and an envelope is “blown” in the center. The shape of the envelope is controlled through the use of a graphite template. It takes months of training under close supervision to be able to make large envelopes for high wattage xenon lamps.
lengths and diameters from a specialist company, with some of that company's stocks being stored on site), through each of the production processes, right through testing, packaging and dispatch. The photographs and their captions explain the procedures in detail.
Craftsmanship in glass … I have to say that I was totally surprised by much of what I came across in the Philips factory. I had, quite wrongly, expected to find that complete glass bulb assemblies would be bought in from outside ready to be fitted automatically with the various electrode assemblies by complex automated machinery which would align and adjust everything to suit. Imagine, then, my surprise, to come across dozens of individual work stations fitted with complex glass-working machinery - as you can see from the pictures each work station is effectively a rotating lathe fitted with a series of moveable gas jets and mechanical tools made from carbon, which are used to shape the glass. My only previous experience of glass-making, apart from making pipettes in chemistry lessons using a Bunsen burner, came from a visit to the Pilkington'sglass factory in St. Helens in the UK and from watching artists create fantastic glass sculptures in a studio, so it was surprising and amazing for me to watch these Philips craftsmen at work. Beginning from tubes of highest quality quartz the operators carefully apply heat from various types of gas burners and then gently blow the molten tubing to form a bulb in the
â€˘ TECHNOLOGY â€˘
Lamp sealing process. The electrode assemblies are inserted into the lamp envelope and the quartz material is fused together to provide a strong, gas-tight seal.
Building lamp seal assembly. Multiple layers of glass with different expansion coefficients are built up under vision system guidance, to allow the seal to compensate for the difference in expansion rates between quartz and tungsten.
Operator sealing a xenon lamp. Most lamp manufacturing operations are performed on specialized glassworking lathes.
In another part of the factory Electrode assemblies being spot welded. These assemblies are put together by hand to exact specification.
centre of the tube, all the time carefully shaping the bulb and the ends of the tubes using carbon tools, whilst constantly checking that the measurements of each part of the bulb and its associated tubing are within carefully defined parameters, with no bubbles and no air pockets. Not surprisingly, each bulb is slightly different from any other, and I was fascinated to learn that although each bulb looks the same to an untrained eye, and is, of course, within the tightly specified tolerances, an operator can tell you which bulbs he or she has made. Inspections are made at each stage of the process, and it was interesting to see that each different glass bulb could be traced back to its particular producer, allowing any possible problems such as air bubbles to be spotted early on and for corrective measures to be taken.
Overview of lamp sealing operation, showing vision systems which provide real time feedback to the operator of arc gap and electrode concentricity.
The thickness of the electrode glass seal assemblies are 100% inspected using a high accuracy digital microscope, to ensure all assemblies are built within specification.
And some careful metalwork... After the envelope (bulb) is complete and has been scrupulously inspected, including measuring wall thickness at various points, the electrode shafts are coated with different layers of special glasses designed to cope with the very different coefficients of expansion of the metals and the quartz, and it was fascinating to see the care with which the lathe operator was adding the different layers, and how the visual inspection equipment enabled constant checking. The electrodes require high-purity tungsten, which can be extremely difficult to machine and require diamond tools to work them. The seal is created by wrapping different types of glass around the electrodes to form a graded seal that can compensate for differences in thermal expansion between the quartz and the metal shafts of the electrodes. As the electrode assemblies are inserted into the ends of the envelope, again by hand, and
Lamp sealling process. The quartz glass is heated red hot during an annealing step to remove stress.
Installation of metal fittings on the end of the lamp. The metal fittings are unique to each model of digital and film projector and are held in place by compression rings. The dimension from the cathode end base and cathode tip is carefully controlled to ensure the cathode tip is in the focal point of the reflectors inside the projector.
• TECHNOLOGY •
As the lamp is being assembled, with the various electrodes and connections and the clever sealing technologies incorporated, ten to twelve people will have been involved in the manufacture of a typical lamp, and each of the individual contributions is logged and recorded and each lamp is given a distinct serial number.
Filling with xenon …
Close up of lamp xenon gas filling process.
again with extreme care, with various different gas flames playing over the different parts of the graded seals, the final positioning of the electrodes and the gap, which has to be accurate to within one tenth of a millimetre, is carried out using the vision inspection system, and the seals are then made and the complete glass assembly is annealed to remove any potential stresses before being allowed to cool. The metal fittings are then installed on each end of the lamp, being held in place by compression rings. The fittings are unique to each model of digital and film projector and the dimension from the cathode end base and cathode tip is carefully controlled to ensure the cathode tip is at the focal point of the reflectors inside the projector.
The process of filling the assembled lamp with gas is complex, dramatic, with liquid nitrogen vapour splashing about, and very interesting. All the existing gas is extracted from the bulb under high vacuum in order to remove all traces of contaminants, and then pure xenon gas is backfilled to a precisely controlled pressure. The lamps are then cooled with liquid nitrogen to freeze and compress the xenon, allowing the operator to seal the lamp without the xenon gas escaping.
Testing everyone… After the final inspection each lamp is individually tested in a series of special lamp houses - blue in the photograph below left to check that it ignites properly and that its electrical characteristics meet the specifications. I guess that now is the time to use the phrase I wanted right from the beginning of this piece 'and there was light!'
Packing carefully Almost immediately afterwards the lamps are packed ready for despatch. This is a process that is, not surprisingly, carried out with extreme care, using specially designed doublewalled cardboard boxes within which the lamps are suspended in their own individual boxes.
Xenon lamps are 100% tested
Curt told me that they hardly ever receive reports of lamps that are damaged when they arrive at the customer. The factory despatches
lamps in small quantities to individual cinemas as well as in quantities of hundreds to installation companies, and they pride themselves on being able to manufacture and supply special orders rapidly. The factory currently works a three shift system over 24 hours, but closes from Friday evening to Sunday evening, giving most staff every weekend off.
Planning ahead The business takes great care to make forecasts of anticipated requirements over a period six months ahead, and, based on these forecasts a materials requirement plan is drawn up and discussed with their key suppliers. It isn't a 'just in time' delivery system, but modest stocks of the various component parts are kept in racks around the factory, and 'pulled' from the holding stocks as required. I gathered that it typically takes a couple of days for a lamp to be manufactured from the 'raw' quartz tubing before it is ready to be despatched, but because the factory prides itself on being flexible, if a customer has a really urgent need for a particular lamp they can often turn it around within the working day. Curt said that this type of service really is one of the Unique Selling Points of the Philips xenon operation, something that their customers really do appreciate. The lathes and the optical test equipment are all US made, so that spare parts and any necessary servicing requirements are October-December 2012
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readily available, eliminating fears of production downtime due to equipment problems.
Training - the Quartz University I asked how on earth these people can be trained to produce such consistently high quality products, and Curt was delighted to tell me how new recruits, often taken from craft and technical colleges but sometimes brought in on the recommendations of existing staff, are taken through a six-month apprenticeship which provides them with a complete knowledge of the various properties of quartz and how to deal with it - after the first six months the operators are considered proficient, and they then start on the longer term tasks of continuously improving their skills, starting on 35mm lamps and eventually graduating to the digital ones as their skills improve. I was interested to see that each bulb is individually identified and coded, so that any problems can be traced back to the operator concerned, not just to point the finger of blame, but to identify where further training might be beneficial. Training continues throughout the operator's career, and they move up in pay grade as their skills develop. I was interested to learn that staff turnover is very low, with most of the people having been with the company for many years. I gather that the pay and the conditions of service that a big company like
Philips can offer are attractive compared to the limited number of other opportunities in manufacturing in the region, which obviously helps with staff retention, and there is also a certain pride in being able to tell your neighbours that you work for Philips.
on at the factory, this isn't done on a completely standalone basis, and that one of the major benefits of being part of a larger enterprise is that the factory is always able to take advantage of the global R&D resources within the Philips organisation.
I was interested to learn that specialists in glass manufacturing and engineering from other parts of the Philips empire often contribute their expertise to the training programme. Ongoing training isn't restricted to the manufacturing staff - one of the afternoons when I was on site I noticed most of the top management were attending an interactive management training seminar aimed at improving their 'people' skills over a wide range of areas.
I was greeted by a collection of projectors from the major manufacturers all of which were ready for immediate use in testing, and saw a Sony digital projector set up in the specialist test area where projector brightness and uniformity can be tested with different lamps and lamp conditions.
I jokingly suggested that this might just be a 'big company' way of scoring brownie points for their training policies, but two of those who had taken part in the course assured me that it had been useful and had genuinely made them think of new ways of going about the business.
Engineering and R&D From my extensive discussions with the management team it became apparent that the business takes future developments very seriously, and I was taken upstairs to the extensive engineering development and research areas. It was stressed that although I would be seeing some of the R&D work being carried
I was surprised to see dozens of 'Strong' projector lamp houses mounted in racks, and was shown how these are used for long term testing of lamps under all sorts of realistic usage conditions, as well as for trying out new designs. I was interested to discuss future developments with the team - how could I resist suggesting that it might not be too long before laser light units eliminate the need for their core product?! Unsurprisingly they were fully up to the minute with all that is happening in that field - Tom was even off to a laser discussion at NAB in Las Vegas the following weekend- and we had some useful discussions about the progress that different manufacturers are making, but didn't do any better than any of the other pundits as to knowing whether laser light sources for cinemas are two or five years away.
• TECHNOLOGY •
Looking to the future The whole team was, however, totally confident that there is a market for their specialist xenon lamps for cinemas for many years ahead, and they said that all their research indicates that the development of xenon lamps hasn't yet reached maturity. There are still many areas in which xenons are capable of being improved to provide better efficiencies, lifetimes and TCO. When I asked how, and why they were so confident, there was the natural reluctance of R&D people to divulge the secrets on which their future prosperity might depend, but I gathered that there is still much work to be done on the careful shaping of electrodes, and that significant improvements in performance can be expected from more exotic material being used to coat the electrodes. It will be interesting to see how these developments turn out in the years to come.
It is always interesting to visit factories, and I particularly enjoyed my visit to Philips as I found so much skilled craftsmanship in use, rather than the extensive mass-production that I would have expected. I had often wondered why a single xenon bulb for a cinema projector can cost £1000 - surely the most expensive lamps in the world? Now that I have seen everything that goes into the
making of a lamp, I will perhaps find it easier to explain to colleagues in the projection room just why such prices may be justified! I did ask the Philips guys whether massproduction techniques might take over in the near future, and we discussed some areas of manufacture where new techniques are already coming into use (vision systems for accurate measuring, for example). I also asked whether they felt that a competing Japanese manufacturer, for example, might be able to invest in mass-production technology that could seriously reduce prices, but Tom, Curt and their colleagues genuinely believe that to produce a high-quality product there is no substitute for the craftsmanship that goes into every Philips xenon lamp. (The author Jim Slater is the Editor of Cinema Technology magazine, the specialist publication for cinema professionals. He can be reached at firstname.lastname@example.org)
• CINEMA SYSTEMS • Projection Series-XXXV
Health & Safety in Cinemas As well as observing the health and safety policies of your cinema along with everyone else, as supervising projectionists you often have special responsibilities, mainly to do with ensuring the health and safety of the working environment, by coordinating risk assessment. This means that: •
Responsibility for risk assessments is allocated to competent personnel
Arrangements for assessments provide for all hazards to be monitored and assessed
The roles and tasks of those responsible for risk assessment are clarified and agreed, summarised accurately and communicated clearly to all those who need to know
The sequencing and timing of assessments are summarised accurately and explained clearly to all those affected by them Timescales and resources available for completion of risk assessments are sufficient for the scale of the task and the degree of risk involved October-December 2012
Health and safety precautions are evaluated against risk and cost, and the level of precautions identified is consistent with the risk assessment Assessment records are clear, accurate, meet statutory requirements and are made available to those who have a right to them
In order to coordinate the control of risks, the supervising projectionist should be able to satisfy the following performance criteria: •
Safety and protective equipment provided are fit for purpose, meet approved standards, are properly maintained and are accompanied by clear instruction
Reliable systems are implemented to assure the safety of materials and equipment introduced to the work place
Individuals and groups are informed clearly and accurately of the risks identified by the assessment
Agreed preventative and protective measures and
procedures are implemented •
Responsibility for emergency procedures is allocated to competent personnel
Safety procedures are monitored and reviewed at all times, and updated when there are changes in circumstances
Implementation of precautions specified in the assessment is monitored for their effectiveness.
Supervising projectionists and technicians often have special responsibilities regarding fire hazards, in addition to those which apply to all cinema staff. Usually the role of the supervisor is to ensure that all projection staff are thoroughly familiar with fire hazards and health and safety policies relating to fire, and that they are able to behave correctly in the event of a fire warning. Individual cinema and cinema chain policies may vary slightly, as may the requirements of cinema licences, as laid down by the local authority. In general, the duties of a supervisor may include:
• CINEMA SYSTEMS •
Organising and implementing fire drills to management specification
Monitoring staff behaviour during fire drills
Reporting to management on fire drills
Correcting staff behaviour following fire drills
Ensuring all policies relating to fire hazards are implemented at all times
Supervising staff during fire drills and fire outbreaks
Ensuring that all fire appliances are fit for use at all times
Liaising with fire appliance suppliers and contractors
Liaising with local fire department officials
Facilitating fire fighting access in emergencies and drills
Ensuring that all fire notices are displayed correctly and are up to date
Maintaining calm during fire emergencies
HOW to understand fire extinguishers Supervising technicians should be completely familiar with the correct use of each different type of appliance in the cinema. It is also useful to understand how each type works.
If you do not have notices like these, why not try to get some from your appliance contractor?
Small Chip. Big Ideas. TheatreWorld team, Clancy and Raghav caught up with Dave Duncan, DLP Cinema Business Head, Texas Instruments (TI) and Tony Adamson, Manager, Worldwide Marketing, DLP Cinema, TI to learn and discuss about the new DLP Cinema S2K Chipset and the future of Cinema Exhibition in India at the Hollywood and Bollywood Conference - Cinema India Expo 2012 - held at the Renaissance Convention Centre in Mumbai
TW – How does it feel to have over 98% market share of DLP cinema in Indian Digital cinema? How's been your journey over the past 26 years that you've been with TI? DD – It feels wonderful. We have 763 D-Cinema projectors and somewhere near 5500 or 6000 E- Cinema projectors that have been installed in India. We are quite happy with the progress made so far with D-Cinema and E-cinema installation in India, and the big news for us at the Cinema India Expo is the release of our new small S2K chipset. Yes, it's been 26 years and the journey has been ever so lovely. I've come a long way wherein I've held management positions in operations, product marketing, and business development in TI's Defense Systems and Semiconductor divisions. TW – Tell us about the new DLP Cinema S2K Chipset which was launched recently? DD – Featuring the same core, award-winning technology that powers DLP's 2K and 4K chipsets, the S2K chip has been engineered for small screens and meets DCI specifications for image quality, color, and security, allowing for greater versatility, including 3D and high frame rate capabilities. Everything scales suitably - the optics, the lens, the mechanical box and the electronics. All the early digital screens were rather large, but we knew that there
were a lot of medium-sized screens, so we did our 0.98 inch chip, and then we did our 4K chip, which was bigger. Eight out of ten screens which are converting to digital have used one of these three chips and these chips have served us well and now we have 66, 000 screens installed worldwide. Our 2K, 4K and new S2K chipsets prove our continued dedication to exhibitors and with select VPF models expiring soon the S2K chip will offer an affordable solution for small screens to resourcefully switch to digital cinema in every corner of the world. The advantage of this chip is more affordable projectors for theatres all around the world who till date haven't been converted. With The S2K chipset we've gone to a platform that's more integrated, it's smaller, less bright and it's aimed at the emerging markets like China and India. While in China many theatres are coming up, in India, one-screen
theatres are refurbishing into two or three screens. TW – How is S2K taken up by DLP Cinema's OEM licensees, BARCO, Christie and NEC? DD – All three of DLP Cinema's OEM licensees - BARCO, Christie and NEC have agreed to develop projector models utilizing the S2K chip design, which will integrate each manufacturer's pre-existing DLP Cinema 4K and 2K powered product lines. Pre-production versions of the S2K chipset have already been delivered to each licensee for product research and development, with production-ready chipsets currently scheduled for delivery later this year; S2K powered projectors can be expected to become available to exhibitors for ordering and installation soon after. TW – What was the thought behind making S2K when you already had 2K in the market?
DD – Well, it was a pretty easy choice; the fundamental advantage we have in DLP is once you have the pixels, the underlying structure that is inside these chips and the core technology behind these chips, then, we only have to decide what size and resolution we want and take the specifications to the designer and tell him what we need. The S2K has the same performance as far as 2D, 3D, high frame rate, color, reliability, contrast, DCI compliance are concerned - it's just a smaller package and that's the only difference. We do a lot of market research, talk to exhibitors at Trade Shows and other events and our market research told us that exhibitors are looking at projectors with a price range. The price range is not yet established, but will soon be. After going through the design effort we spoke to our friends Real Image and Scrabble and we knew what our targets were and working with our customers BARCO, Christie and NEC, we designed the product keeping the targets in mind which was challenging. But it's a collaborative effort with our customers and we know that the market needs something like that. TW – What are the plans for India with this new S2K chipset and how is it going be beneficial to cinemas across India? DD – This is my first time in India, and our team is present here. We know that it is an important market for Texas Instruments and DLP. As I was visiting a lot of theatres in south Mumbai during this trip, what I found out was that some of the screens are still large in India, some of them going up to 33 feet, but there are unique opportunities for smaller screens as well. We are working with our customers, exhibitors and System Integrators in India to figure out which product will be more suitable for the market. The good thing about DLP is that we have many options, and even beyond that, we have E- Cinema
options. The main purpose for being here is to educate the exhibitors about the choices they have once they decide to go from film to digital. Then they have to decide whether they want to move to Dcinema or E-cinema and if they are moving to D-cinema, then there are options each one of them has to consider based on their requirement. Having a portfolio of products like this makes it easier in the market place because everyone has different requirements. With the new S2K design, motion picture exhibitors from small towns and villages to large metropolitan cities will have access to DLP Cinema's complete portfolio of cutting-edge projection technologies, each tailored to help ensure an optimal viewing experience with every 2D and 3D showing, regardless of the screen size. TW – Is there any particular strategy from DLP Cinema to promote S2K in small cities of India? TA – One of the reasons we are here is to better understand the market. Yes, we understand the larger cities and we have been speaking to larger multiplex exhibitors. We haven't spent a lot of time with independent cinema owners and associations. Getting information from the associations is quite different in India and thus we need to move around here and get to know the owners of multiple theatres that exist. Our strategy for the Indian market is basically to go out first into the Mumbai market and probably next year go to the different markets. The Indian market is unique and our strategy is to go to the cinema owners and exhibitors. We will be working with our customers to develop our strategy and take the product to the end user with the help of our team here in India. We also plan to work with the Integrators. TW – What would be the approximate investment for S2K
for a small player? DD – It really depends. As Tony here mentioned, that the Indian market is quiet unique. If they have a rental, then it is not so important to know what the initial price of the projector is. It becomes their monthly operating spend, when the investment is done upfront as capital expenditure. The key thing is to enable our customers to manufacture affordable projectors. Our customers BARCO, Christie and NEC are very sensitive to the market needs and requirements and they will be quite competitive while pricing the product. It all depends on the Exhibitors and the pricing of the tickets. Well, for multiplexes the return on investment is quick. TA – It is the overall investment than just the projector when you transition to Digital Cinema. You have to potentially consider a whole new set up, a new screen, certain DCI standards. You have to meet digital cinema's uncompressed sound, etc. TW – What is the future plan for DLP 4K Enhanced? DD – If the customer wants 4k we have it and this is the largest chip we make and is an expensive one. It depends on the demand for 4K. If 4k becomes more popular across theatres then yes, we will look at making more affordable 4k chips. TW – How do you see the future of cinema exhibition in India? DD – I hope to see more digital systems installed in India using DLP technology. The chips are robust to any weather conditions which is an important need. And then of course we would like to see the market grow. Based on some database we got to know that India can have three times more of the big screens and for this reason we want to help our customers, help their customers to grow the market to that extent, offer solutions to them and make sure that it is as affordable as possible.
5 - 8 November 2012 Westin Diplomat Resort & Spa, Florida ShowEast Expo which took place from 5 to 8 November at Westin Diplomat Hotel, Miami, Florida witnessed a huge crowd and the many new products and technology that came in. Being a major convention and trade show for the cinema exhibition and distribution community on the East Coast, Cinema Exhibition professionals came to ShowEast for exciting film screenings of major studio and independent feature films slated for holiday release as well as product reel presentations, exciting special events with Hollywood's hottest stars, educational seminars and to find the latest products, services and technologies at the trade show.
offering at ShowEast 2012 •
Sony focused on Digital Cinema conversion - It continued to offer Virtual Print Fee deals, previewed a new 4K projector designed for small to mid-sized theaters, and demoed high frame rate support
Master Image featured four new 3D polarized projection options
Qube Cinema demoed its Qube Touch software to manage the Integrated Media Block. Qube Cinema showcased its cinema sever, integrated media block and new software tool, called Qube Touch, that allows operators to easily ingest, schedule, manage and monitor the content either at the projector or using an app that
Highlights and showcases of this year's show: •
Dolby showcased the Atmos cinema processor CP850 Presale, Dolby IMB with High Frame Rate, and Dolby digital cinema solutions while it raised the standard of the entertainment experience
Lightspeed Design displayed the unprecedented speed, clarity of DepthQ 3D
Barco described their CineCare
allows a smartphone to interface with the software for remote control •
Doremi illustrated their new Integrated Media Server. The new Internal Media server sometimes is called an Integrated Media Server (IMS). The IMS integrates the Integrated Media Block along
WINTER 2012 11-13 DECEMBER CINEASIA, HONG KONG www.cineasia.com
SPRING 2013 12-14 MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com with a processor and storage and is built into the digital cinema projector to provide decryption and playback of DCI compliant content
15-18 APRIL CINEMACON, LAS VEGAS, USA www.cinemacon.com
24-27 JUNE CINEEUROPE BARCELONA, SPAIN www.cinemaexpo.com
SUMMER 2013 JULY CINEMA INDIA, MUMBAI, INDIA www.cinemaindiaexpo.com
26-28 JULY CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
NEC unveiled the new dual lamp digital cinema projector
MiT showcased their Cinema Integration Services. At ShowEast 2012, they profiled their services and demonstrated a new actuator for moving the RealD XL polarization switch for 3D movies
AUTUMN 2013 SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
13-17 OCTOBER AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
NOVEMBER SHOWEAST, FLORIDA, USA www.showeast.com
The Dolby Atmos sound processing solution was explained at ShowEast 2012 Dolby's new sound solution called Atmos that the company hopes will become the next standard for sound mixing in the cinema industry. At the expo it set up a small area with 12 speakers and a processor board to explain and demonstrate the incredible capabilities of this new solution
Christie Digital unveiled its newest digital cinema projector, the Solaria one, which features an smaller 0.67inch DLP chip set, 2K
resolution and an integrated media block •
GDC Showcased their new Integrated Media Server that can be plugged into digital cinema projectors. At ShowEast 2012, the company described its features
Lamp, LED and laser maker Osram showed its projection lamps as well as a new LED backlight unit for digital signage in the cinema lobbies
Barco explained about digital signage for cinema lobbies at ShowEast 2012
Christie Digital used ShowEast 2012 to showcase its Duo digital cinema projector solution which features two projectors and a mirror system to create well-aligned, brighter 3D images
Sony demonstrated closed caption glasses at ShowEast 2012. Sony has developed glass for the hearing impaired that presents closed captions as a virtual image in a pair of glasses the patron dons. At ShowEast 2012, Sony gave a demonstration of these and explained how they work
11 - 13 December 2012 Hong Kong Convention & Exhibition Centre, Hong Kong
CineAsia is a unique event that brings together Asia-Pacific cinema exhibition professionals with companies from all over the world that sell their products and services to movie theatres. CineAsia, this year will be held on 11-13 December 2012 at the Hong Kong Convention & Exhibition Centre, Hong Kong. CineAsia is the only international convention dedicated to the Asian cinema exhibition and distribution community. CineAsia is the only pan-Asian event of its kind. As the sister event to ShowEast and CineEurope, CineAsia maintains the same
standards of programming, seminars, special events and suppliers. CineAsia also screens major Asian and
Hollywood films and offers educational programs specifically geared toward the needs of the Asian cinema exhibition community. At CineAsia, you will learn about the latest technological advances and the newest trends in cinema, Find out how to make your theatre more profitable, Gain insight into the issues facing the industry, See upcoming major Hollywood film releases and product presentations to enable you to make smart programming decisions, Network with industry peers to form lasting business relationships, Find new content,
products, services and technologies at the trade show to enhance the theatre-going experience
Show Features •
Major Hollywood film screenings
Product Presentations of upcoming films
Educational Seminars and Special Events geared toward the Asian market
Educational Seminars •
Increasing Revenue Streams
Best Practices from Leading Exhibitors
Digital Cinema and much more
Trade Show Find the products and services you need from hundreds of suppliers to the movie theatre industry.
Screenings & Product Reels See Hollywood and major Asian films before they are released and find out what the movie studios and distributors have in store so you can make informed programming decisions.
Exhibitors Anhui Star Screen ........................ 606 Ballantyne Strong ....................... 101 Barco ............................................ 301 Beijing Aigexinda ........................ 605 Beijing Multiricher Film & TV .... 502 Beijing Quinette Great Wall Seats ......................... 615 Beijing Zhongju International Trading ........................................ 617 Caiz Optronics ............................ 501 Changzhou Plusrite Specialty Lighting ...................... 601 Christie Digital Systems ............. 201 D-box Technologies ................... 108 Depthq 3d / Lightspeed Design ..................... 316 Dolby Laboratories .................... 205 Doremi Cinema .......................... 305 Easi Ticketing .............................. 815 Eyes Triple Shut SA .................... 812 First Audio Manufacturing ....... 600 Focux Technology ..................... 810 Future Cinema Equipment ....... 601 GDC Technology .......................... 311 GetD .............................................. 504 GXM .............................................. 514 Gold Medal Products ................... 104 Golden Link .................................. 116 Guangzhou Rio Tech Optics ....... 515 Harkness Screens .......................... 214 Integ Process Group .................... 515 Jack Roe ........................................ 803 JBL Professional / Crown ............. 315 Kinoton Gmbh ............................. 405 Klipsch Group .............................. 807 Kwan Cheong Ho Company (Ferco Seating) ........................... 805 Leonis Cinema (Beijing) .............. 511
Masterimage 3D .......................... 411 Maxwell Technology ................... 814 NCR ............................................... 416 Newvos SDN BHD ......................... 808 Osram Asia Pacific ....................... 304 Plusrite Electric (China) ............... 601 Preferred Popcorn ....................... 216 Qingdao Fuyi Acoustics Products Design & Development ............. 611 Qsc Audio Products ................... 100 Qube Cinema ............................. 401 Schneider Optics ........................ 217 Shenzhen Xshock 3D Glasses .................................... 603 Screen Solution .......................... 811 Shanghai Diewei Image Technology ..................... 505 Share Dimension B.V. ................ 415 Shenzhen Hengchuangbaolai Technology ................................. 414 Shenzhen Xshock 3D Glasses .................................... 603 Sony Corp (Hong Kong) ........... 211 Spectro Screen ............................ 117 Star Screen .................................. 606 Taiwan Smile Food .................... 816 TK Architects ................................ 804 TheatreWorld ............. Pub Bin Tokiwa ......................................... 500 Universal Cinema Service ......... 813 UshiO ........................................... 107 USL ............................................... 206 Vista Entertainment ................... 115 Volfoni ......................................... 802 Volfoni-rio Asia Company ........ 515 X6D ............................................... 115 Yuyu Electric Light Appliance ........................... 507
F U T U R E
R E L E A S E S
A glimpse of movies coming to Asia this winter or laterâ€Ś Hyde Park on Hudson
Bad Kids Go to Hell
Production Focus Feature
Production Spiderwood Studios
Director Roger Michell
Director Matthew Spradlin
Starring Bill Murray, Laura Linney,
Starring Amanda Alch, Marc Donato
Genre Biography, Drama
Genre Comedy, Mystery
Playing for Keeps
Production Magnolia Pictures
Director Gabriele Muccino
Director Stefan Ruzowitzky
Starring Gerard Butler, Jessica Biel
Starring Eric Bana, Olivia Wilde
Genre Comedy, Romance
The Hobbit: An Unexpected Journey
Production New Line Cinema
Production Clarius Entertain.
Director Peter Jackson
Director Yoon-Suk Choi
Starring Ian McKellen, Martin Freeman,
Starring Rob Schneider, Jane Lynch
Genre Adventure, Fantasy
F U T U R E The Fitzgerald Family Christmas
Director Edward Burns
Director Anne Fletcher
Starring Kerry BishĂŠ, Connie Britton
Starring Barbra Streisand, Seth Rogen
Genre Comedy, Drama
Monsters, Inc. 3D
Production Disney Pixar
Director Stephen Frears
Director Pete Docter
Starring Bruce Willis, Vince Vaughn
Starring Billy Crystal, John Goodman
Genre Animation, Family
Waiting for Lightning
Cirque du Soleil: Worlds Away 3D
Production Samuel Goldwyn
Director Jacob Rosenberg
Director Andrew Adamson
Starring Danny Way, Travis Pastrana
Starring Erica Linz, Igor Zaripov
Genre Adventure, Family
Save the Date
The Guilt Trip
Production Tribeca Film
Lay the Favorite
R E L E A S E S
Jack Reacher Production IFC Films
Director Michael Mohan
Starring Lizzy Caplan, Alison Brie
Starring Tom Cruise, Rosamund Pike
Genre Comedy, Romance
F U T U R E
Not Fade Away
R E L E A S E S
Les Miserables Production Paramount
Production Universal Pictures
Director David Chase
Director Tom Hooper
Starring John Magaro, Jack Huston
Starring Hugh Jackman, Russell Crowe
Genre Musical Epic
On the Road Production Sundance Selects
Production 20th Century Fox
Director Walter Salles
Director Andy Fickman
Starring Garrett Hedlund, Sam Riley
Starring Billy Crystal, Bette Midler
This Is 40
West of Memphis Production Universal Pictures
Production Sony Pictures
Director Judd Apatow
Director Amy Berg
Starring Paul Rudd, Leslie Mann,
Starring Damien Echols, Lorri Davis
Production The Weinstein
Production XLrator Media
Director Quentin Tarantino
Director Michael Connors
Starring Leonardo DiCaprio, Jamie Foxx
Starring Shad “Bow Wow” Moss, Seth Gabel
Genre Action, Western
F U T U R E
R E L E A S E S
Talaash Production Excel Entertainment
Production AK Production
Director Reema Kagti
Director Arbaaz Khan
Starring Aamir Khan, Kareena Kapoor
Starring Salman Khan, Sonakshi Sinha
Genre Action, Social
Khiladi 786 Production Eros International
Production PVP Cinema
Director Ashish R Mohan
Director Kamal Haasan
Starring Akshay Kumar, Asin
Starring Kamal Haasan, Pooja Kumar
Genre Thriller, Action
Amar AV Anutone
Published on Nov 26, 2012