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TW EDITORIAL

Anniversary Special

Tech Overkill

Asian Convention

It’s always a thrill to helm the

Hollywood is moving towards movies

TW has been a regular at CineAsia

Anniversary Special of TW. Every

that are high on special effects, which

since 1999, without a break. We, once

edition is a joy but the Annual Edition

is in turn fuelling digital cinema and

again, are very pleased to showcase TW

is an absolute delight! Thirteen

its many advances in technology like

at Asia’s only representative tradeshow

(years) is lucky for us as we survive

3D, IMB, HFR, Auro sound etc.

and convention. Our gratitude to the

the highs and lows of the business to

The top ten grossers of recent times are

organisers for allowing us to become a

emerge triumphant. The low this year

movies that are either entirely animated

part of the CineAsia landscape.

was to miss the Autumn Edition due

or very high on special effects, which is

to our internal restructuring. The

their USP. Storytelling, these days,

high is obvious and visible all through

comes with a lot of bells and whistles!

this edition – over hundred pages in

File sizes are burgeoning with ever

glossy art of news, views, features and

more need for server space and

vibrant advertising. Not only is it our

bandwidth! Everything is hyper,

double edition and anniversary special

over-the-top, right from movie budgets

but also the harbinger of many

to their promotion and finally, the

exciting changes from January 2012.

boxoffice collections. Gone are the days

Due to expectations of the ecosystem –

of simple storytelling, with natural light

readers, contributors, advertisers and

and human interest being the key

the tradeshow community – we are

ingredients of a successful movie.

pleased to announce the ramping up

Yes, natural movies are a dying art.

of our team (as a result of the restructuring) to bring you much more than ever from 2012.

Other movie power centres, like Bollywood, too are latching onto this trend, what with the recent release of

1999

CineAsia 1999 Award Winners

2004

Andrew & Robert Sunshine

Kiran Reddy, Ajjay Bijili & Sandeep Mittal

However, reception to CineAsia has almost always been lukewarm and one of the ways to spice it up would be to host it every alternate year in the two major regions of Asia, Hong Kong for East

In this edition of TW we are pleased to

‘Ra.One’ and others in the wings.

present global news, product

We need to pause and give this a

launches, personal views and the India

thought. Technology must be a means

Pages as a special supplement.

towards the end, which is storytelling.

We continue our focus on the

Technology must not become the

exhibition side of the motion picture

destination. Stories must not be

industry and would think we are one

scripted with an eye on high-tech.

of the few in the world to do so.

For sure the progress of technology is

One change is that Contents of both

inevitable and is best embraced,

CineAsia at Mumbai would attract the

TW and TM are now together on page

not resisted. However, it needs to be

industry right from Turkey in the west to

# 6 and Mindshare on this page

tempered with simplicity and purpose.

South-East Asia and everybody else in

represents a consolidated editorial for

Contouring a movie to show off tech

between. Since Mumbai currently lacks

both TW and TM. Am sure readers

wizardry is not the route to fashioning

the infrastructure to host such a show,

will not only accept the changes but

patron tastes and achieving boxoffice

the organisers could start with Dubai and

rejoice the ramp up. Please do let us

success. Using high-tech to enhance

later shift to Mumbai (the difference is

know.

the storyboard is the way to go!

‘d’ vs ‘m’!). Over to the organisers!

Asia (Asia Pacific) and Mumbai for West Asia. After all, Asia is a huge continent with populous countries and giant landmasses. Plus, both Hong Kong and Mumbai are independently the biggest centres for the industry and represent the two faces of Asian cinema.

Sandeep Mittal

Editor / Publisher


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contents

Value -

This issue of TW has two sets of page numbers - International pages TW-1 to TW-60 for TW, and India pages TM-1 to TM-40 for TM. TM is inserted between pages TW-46 and TW-47 of TW.

TW

TheatreWorld

8 30

TW TheatreWorld

Issue # 51 & 52 October - December 2011

TECHNOLOGY 35

150 (US$ 15)

HFR - The Next Kid On The Block

Sandeep Mittal - Editor sandeep@sandy.in

SPECIAL FEATURE 37

Despite Slowdown, Multiplexing Flourishes

Bobby Chetia - Advertising bobby@sandy.in +9198 9250 4871 Naga Bhanu M - Online Raghavendra T - Circulation

CINEMA SYSTEMS 40

Yashodhara S - Design & Layout

Projection Series-XXXIV

Maintenance of Cinema Air-conditioning

TRADESHOWS 42

Preview -

44

Review -

46

Review -

Published by Sandeep Mittal on behalf of Sandy Media 231, 7th Cross, Indiranagar 1st Stage, Bengaluru 560 038, India Phone +9180 2521 5107 / 2527 2812 Fax +9180 2521 5094 info@sandy.in www.sandy.in

ENTERTAIN WORLD 47 51

TM

TheatreMagic

Regional Offices

Director’s Cut - Luxurious Cinema Destination

F

U T U R E

R E L E A S E S

14 17

SPECIAL FEATURE How Does India Size Up?

INDIAPLEXING 22 24 26 29

DRC Cinemas - Mysore Broadway - Indore S2 - Nellore Inox - Siliguri and Vijaywada

CINEMA SYSTEMS 33

Cinepolis - Ahmedabad

FIRST PERSON 36 38

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October-December 2011

17 Kuky Villa Jagdeep Cottage, 4th Road, Khar (W), Mumbai 400 052 Phone +9122 2604 2917-22 Telefax +9122 2604 2264 67 Masjid Road, Jungpura Bhogal, New Delhi 110 014. Phone +9111 2437 8061 Telefax +9111 2437 4848

4

20

Printing Ramya Reprographic, Bengaluru

JC Mehta, PVR Cinemas - Cinema Sound Abel Garamhegyi, Barco - Cinema Projection

B5, 2nd Floor, Gems Court, 14, Khader Nawaz Khan Road, Nungambakkam, Chennai 600 006 Phone +9144 2833 0906 Telefax +9144 2833 0907

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.


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Christie Expands Rapidly in China Christie Signs Contract With Beijing Film Equipment For 100 Christie Digital Cinema Projectors Christie signed a contract with Beijing Film Equipment Corporation (BFEC) for the purchase of 100 Christie Solaria Digital Cinema projectors. The agreement with BFEC, a subsidiary of the Beijing Film Co. Ltd. is for the Christie CP2210, Christie CP2220 and Christie CP2230 models. “We are proud to be cooperating with an outstanding company like Christie. Christie is a well-recognised brand for digital cinema projectors around the world and its understanding of the Chinese market – and the sales and technical support they have given us so far – is impressive. We are looking forward to witnessing the completion of the installation to our Beijing New Film Association Cinema chain,” said Guangchao Jiang, general manager of Beijing Film. Christie’s Solaria Series sets a new level of performance for digital cinema technology. Designed for exhibitors, the Christie CP Series deliver high performance images for a variety of screen sizes, and come with a flexible design to accommodate future upgrades and reduce the cost of ownership. “Christie is very honoured to be working with the Beijing Film Company and to supply our awardwinning Christie Solaria projectors to the Beijing New Film Association Cinema chain. We believe there will be more opportunities for cooperation between Beijing Film Company and Christie after the

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completion of this installation,” added Frank Xiao, General Manager of Christie China.

China Film Group Chooses Christie’s Solaria Series of Digital Cinema Projectors Christie announced that China Film Group Corporation (CFGC), China’s largest state-owned film company, placed an order for 100 additional Christie CP2000 series Digital Cinema projectors. Working with Christie’s China entertainment solutions partner, ACE Technology Co. Ltd. the order includes Christie 2K and 4K DLP cinema projectors; the world’s most deployed digital cinema projection solution. “Our initial installations of Christie projectors have been successful and, based on this success, we decided to select Christie again. The Christie 2K and 4K digital cinema projectors have performed superbly and the Christie CP2000-ZX digital cinema projector is well suited for the large screen cinemas that we manage – it offers us incomparable brightness with a low operating cost. As well, it is easy to operate,

install and own. We are also very excited to have the Christie CP2000-M projectors in our small cinemas. Displaying 12,000 lumens across a 35-feet wide screen, they will create a whole new experience in digital cinema performance for our cinema-goers,” said Cheng Yang, general manager of CFGC’s digital cinema business unit. “Christie is privileged to have the opportunity to work with the illustrious China Film group. With Christie’s range of digital cinema solutions, we can guarantee our cinema customers far superior picture quality, brightness and reliability. The Christie CP2220 projectors are designed to be fully upgradable to 4K technology and as such, Christie’s 4K upgrade path is the fastest and most cost-effective in the industry today,” commented Lin Yu, vice president, Christie Asia Pacific. Christie’s CP Series sets a new level of performance for digital cinema technology. Designed for exhibitors, the Christie CP Series of digital cinema projectors deliver high performance images for a variety of screen sizes and come with a flexible design to accommodate future upgrades.


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Asia’s Largest Cinema Chain

Christie Begins Phase 2 of

Purchases 350 Christie Digital Cinema Projectors

Digitalization of Shimao Cinema With 150 Digital

Christie announced that Wanda Group has purchased 350 digital cinema projectors. The deal includes the Christie CP4230, Christie CP4220, Christie CP2210, Christie CP2220 and Christie CP2230 models. Wanda Group, the largest cinema operator with 71 premium cinemas and more than 600 screens across China, is planning to add another 120 cinemas by 2012, bringing its screen total to 1,100.

Cinema Projectors

“Christie, as the pioneer of digital cinema projection technology, and also the first to present digital solutions based on 4K, is committed to deliver our customers the best cinema projection solution and service. With the cinema industry experiencing such vigorous growth in China, we are confident we will be able to continue serving film operators here with the same level of commitment and dedication that we always have,” said Lin Yu, vice president, Christie Asia Pacific. The Christie CP4220 and Christie CP4230 are the world’s first superior 4K DLP digital cinema projectors and the latest addition to the Christie Solaria series. Digital Cinema Initiatives (DCI) compliant, they provide the world’s most brilliant 3D images and are the most robust and cost-effective 4K DLP cinema solution available.

Christie announced that Shanghai Shimao Group, a leading Chinese property, retail and entertainment conglomerate, has purchased 150 Christie 2K series and 4K ready digital cinema projectors. According to the terms of the agreement between the Shimao Group and ACE International, one of Christie’s business partners in China, Christie will install the Christie CP2210, Christie CP2220, and Christie CP2230 projectors for the Shimao Group’s 15 cinema chains across China. This strategic win closely follows the successful deployment of 50 Christie Solaria series of CP2000 Digital Cinema projectors during Phase One of Shimao’s digitalization, which ended in December 2010. “Shimao is working with Christie to build the infrastructure for the cinemas we are planning to open in China and, by 2015, with 500 screens across the country, we would be one of the top five cinema players in the industry here,” said Liu Ming, general manager of Shimao Cinema Investment Co., Ltd. “Our experience with Christie digital cinema projectors so far has been a positive one. The projectors produce very high-quality sharp images and they are very reliable in terms of technology – and come with a low cost of operation.” Shimao Group plans to complete the digitalization of at least 75 screens at 10 cinemas by the end of 2011 and increase the number of multi-functional cinemas to 60 – with 500 screens – by 2015. “There is no better way to convey the merits of Christie’s digital cinema projectors than to have an important customer coming back to us for additional orders. We are honored that Shimao recognizes Christie’s

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projectors come with high-powered reliability and are pleased with the premium cinema experience they will soon be offering,” said Lin Yu, vice president, Christie Asia Pacific.

First Chinese Movie in Dolby 7.1 Lee’s Adventure was released on 1 October in China in Dolby Surround 7.1, making it the first Chinese film released in China featuring Dolby’s latest audio format for the cinema. Adapted from a popular Chinese independent internet cartoon, Lee’s Adventure starring Jaycee Chan tells a story about Lee, a man who while suffering from an illness, time travels through his mind to find true love. ”Dolby Surround 7.1 adds a new audio dimension that enlarges filmmakers’ creative space to make more engaging movies. This technology allows us to offer full-featured audio that better matches the visual impact of movies and provides a truly immersive cinematic experience for audiences,” said Peter Pau, Art Director for Lee’s Adventure and Oscar winner of Best Cinematography for Crouching Tiger, Hidden Dragon. Dolby Surround 7.1 enhances the spatial dimension of soundtracks


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and audio definition to provide viewers with an extraordinary cinematic experience. In addition, application of the technology also allows filmmakers to more accurately control where a sound comes from in the cinema, enabling more creative sound design. ”More and more studios are mixing movies in Dolby Surround 7.1. The fact that each of its four surround zones is discrete means that mixers now have greater control over the placement of soundtrack details than with the traditional 5.1 channels,” said Kinson Tsang, Sound Designer for Lee’s Adventure. “Dolby Surround 7.1 maximizes the potential to unify the audio and visual components of a film for maximum impact, taking movies to the next level.” ”We are excited that Lee’s Adventure is the first Chinese film to be released in the cinemas in Mainland China in Dolby Surround 7.1, the cinema audio format with one of the fastest adoption rates in Dolby’s 40 years of history in cinema,” said Mahesh Sundaram, Vice President, Asia Pacific, Dolby Laboratories. “Dolby is pleased to support the creative community, who mix films in the discrete 7.1 format, to unleash the full depth and power of their creative vision which enriches the cinematic experience.” Toy Story 3, released in June 2010, was the world’s first film to feature Dolby Surround 7.1 and the technology has since been used in more than 30 movies all over the world, making it a Dolby cinema audio format that has gained strong adoption. So far, more than 2,100 cinema screens worldwide have been equipped with Dolby Surround 7.1, including approximately 170 cinema screens across more than 35 cities in more than 20 provinces and municipalities in China.

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Harman Signs AR Rahman as Brand Ambassador

Harman India announced AR Rahman, as the India Brand Ambassador for JBL by Harman’s “Hear the truth” - a multi-year campaign featuring an evolving roster of top international musicians who want their fans to listen to music as it was intended to be heard. Described as the world’s most prominent and prolific music composer of recent times, AR Rahman will feature in the campaign highlighting “How AR Rahman listens to AR Rahman”. The campaign is directed toward exciting music lovers across the world, whilst showcasing the fact that the greatest performers in the world trust JBL. AR Rahman joined a legendary assortment of musical icons revered across the world, ranging from USA’s Grammy Award-winning rock band Maroon 5, multi-platinum rock band Styx and rock legends of the 80’s, Night Ranger to China’s ‘King of Pop’ Liu Huan. Harman launched its advertising campaign, social media engagement and more, intended to challenge listeners to “Hear the truth,” a campaign designed to resonate with JBL’s long-time fans and music lovers, through the

artists and songs they adore. Musicians across genres around the world will be inducted throughout this multi-year campaign. During the course of the campaign, JBL will utilize social media channels to share unique behindthe-scenes video content and video shoots with the featured artists. These engaging clips will showcase the commitment, artistry and vision that themusicians bring to their craft so listeners and fans can “hear the truth.” Harman also re-launched the JBL website www.jbl.com featuring the brand tagline and introduce expanded e-commerce and multilingual capabilities. “We are delighted with the fact that awe-inspiring international icon, AR Rahman, is part of JBL’s ‘Hear the truth’ campaign. The campaign is headlined by world-class musicians and AR Rahman brings with him the talent, absolute zeal and love for music and quality sound which we, at Harman, deem a necessity in today’s world. The JBL brand is renowned worldwide by musicians and sound engineers for its quality sound, and our mission is to ensure their musical integrity is faithfully


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MPAA Hosts Screenings of USChina Co-productions

recreated through JBL products,” said Dinesh Paliwal, Chairman, President and CEO of Harman. “The ‘Hear the truth’ message from JBL is what I strive to achieve every day and I am proud to be part of this campaign,” said AR Rahman. “I’m very fortunate to have passionate fans who expect exciting music from me – and I sincerely believe music should be heard the way every musician intends the audience to experience it. For me, that means it should be heard on JBL equipment.” he added. The JBL heritage reaches back more than 60 years and is a leader in developing audio equipment to maximize music for the digital area, developing iPad, iPhone and iPod speakers for the home and office, premium after-market sound systems for car audio enthusiasts and ground-breaking loudspeakers for home theaters and audiophiles. “We welcome AR Rahman into our fold and are indeed ecstatic that he is now part of our JBL by Harman campaign. It is a terrific endorsement to have a great composer join Harman to promote the true meaning of ‘quality sound’. We look forward to encouraging people the world over to hear music the way it was intended to be heard.” said. M. Lakshminarayan, Managing Director, Harman India.

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Eight US-China co-produced films were showcased in a programme jointly sponsored by the Motion Picture Association of America (MPAA) and China Film Co-production Corp. with support from the Film Bureau of China’s State Administration of Radio, Film and TV (SARFT). In addition to two private screenings held at the MPAA Screening Room on November 1 and 2, public screenings were held at Kentlands Stadium 10 cinemas within the greater Washington DC area from November 3 to 10. Films included as part of the US-China Co-Production Film Screenings were Love in Space, Shanghai, Red Cliff (Parts 1 and 2), Waiting in Beijing, as well as a special screening of Snow Flower and the Secret Fan to be attended by the film’s producer, Wendi Murdoch. “In the past decade, as the Chinese film industry has matured, so has the relationship between the American film industry and Chinese filmmakers, Chinese audiences, and even the Chinese government,” said Christopher Dodd, Chairman and CEO of the MPAA. “One of my top priorities as a representative of the American film industry is to build upon that relationship, to help it deepen and blossom, so that it can form the foundation for a world class film and cultural sector. We strongly believe that co-productions are a tremendous opportunity for both our industries to learn and prosper together.” He continued, “In 2009, we hosted the first-ever US-China Co-production Forum in Beijing, following it up last year with a successful event in Los Angeles. I am delighted that this partnership is now being showcased in our nation’s capital area.”

“China’s rich cultural heritage has a great deal to offer the world. Together with Hollywood’s vast experience in both the making and marketing of movies, we can be model collaborators in producing world-class movies that appeal to a global audience.” said Mr. Tong Gang, Director-General of the Film Bureau of the State Administration of Radio, Film and Television (SARFT) and head of the Chinese delegation attending the opening screening. China is currently one of the biggest movie markets globally, and also the one with the greatest potential for growth. The number of films produced in China grew from 82 in 2000 to 526 in 2010. At the same time, the number of cinema screens has increased to 6,200 and is expected to more than double to 16,500 by 2015. Boxoffice, which passed US$ 1.5 billion in 2010, is forecast to reach US$5 billion by 2015.

Scrabble Spells Digital for Middle Eastern Cinemas Mumbai-based Scrabble Entertainment and five major Hollywood movie studios are extending their cooperation into the Middle East to subsidise the digitalisation of more than 400 regional movie theatres over the next two years, Scrabble CEO Ranjit Thakur said. Only about one-fifth of the 150,000 movie screens in the world today are paired with digital projection systems and only about 21,000 are capable of projecting modern stereoscopic 3D movies, according to the Digital Cinema website. Without digital projection, exhibitors can’t charge higher ticket prices for movies such as ‘Avatar’, which became a global blockbuster largely on the strength of its 3D ticket sales. Three-year-old Scrabble, owned by Bollywood producer and Indian


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multiplex movie theatre development leader, Manmohan Shetty, plans to help Middle Eastern movie exhibition companies such as Grand Cinemas in Dubai and the Oman Arab Cinema Company go digital in order, in part, to accommodate the increasing number of 3D movies coming out of Hollywood. Seeking new markets for those films, Hollywood studios, which largely subsidised the conversion to digital of the North American theatre business over the last seven years, now are looking for partners such as Scrabble to help expand their 3D reach overseas, into territories which in aggregate produce more than half of Hollywood’s total box office gross sales these days. “We are following the business model we established with Hollywood in India in 2008,” Thakur said on the sidelines of a three-day CineAsia distributors and exhibitors conference. That business model, which charges cinema owners a “Virtual Print Fee” they pay back to Scrabble over time, has helped the rapid growth of the number of Indian cinemas capable of digital movie projection. Scrabble, India’s first and only digital cinema deployment company, upgraded 220 screens in 23 cities in India over the last three years and has plans to put digital systems into 250 more theaters next year. In early 2011, Scrabble hopes to repeat its Indian success in the United Arab Emirates, Lebanon, Kuwait, Qatar, Bahrain, Oman, Jordan and Syria. In those countries, Scrabble will act as a non-exclusive intermediary between local theatre owners and 20th Century Fox, Walt Disney, Paramount, Universal and Warner Bros. “This model works for the cinema companies because they can pay us back over three to five years as they earn back our investment in their new hardware,” Thakur said.

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The cost to cinema owners in most Middle Eastern countries will be comparable to the costs incurred by Indian cinema owners with one exception, import duties, which typically are around 5% in the Middle East compared with 25% in India, Thakur said. After expansion into the Middle East, Scrabble will look at opportunities in Eastern Europe and Africa, “basically, wherever there’s good business sense in it,” Thakur said, discounting China’s booming market as a nonstarter because “it’s locked up by the China Film Group.”

3D Concert Screens in HK Japanese pop idol Ayumi Hamasaki turned up in person for the 3D screening of the latest concert movie at the MCL Cinema in Hong Kong. Ayumi Hamasaki Rock ’n Roll Circus Tour Final – 7 Days Special 3D concert movie was shown in Japan and Hong Kong. It has also been released in Taiwan. In Hong Kong, MCL Cinema circuit exhibited the concert on its Sony 4K projector at MCL JP Cinema. Hamasaki made a special appearance at the gala premiere in September.

Iraq Gets its First Multiplex A unique event unfolded in Iraq, when for the first time ever a cinema multiplex partially opened in the recently constructed Family Mall in Erbil, the region’s newest shopping and leisure destination. “This is a one of a kind project,” says Gino Haddad, CFO and Business Development Director for Empire Cinemas. The leading cinema circuit and movies distributor in Lebanon and the Gulf has spearheaded the group into Iraq, hosting 14 state-ofthe-art screens, equipped with 3D digital projectors and Datasat digital surround sound systems. Taking a cultural page out of a glorious history of the country, Empire Cinemas designed very spacious theatres with stadium-like architecture, which can boast more than 2500 seats, including an exclusive section for VIPs. The large multiplex lobby is adorned with comfortable lounge couches, as well as a sizable concession area catering to the whim of all movie fans; children and adults; offering a wide array of refreshment and snack categories from flavoured popcorn and sizzling cheese nachos to imported American chocolate delights. Hollywood blockbuster movies are scheduled to be released concurrently with U.S and European launch dates, while Arabic and commercial Indian movies’ enthusiasts can regularly rejoice in the top selections on offer. Empire Cinemas, in collaboration with Jones Lang LaSalle (leasing agents), was able to conclude a long-term leasing agreement with Darin, an Iraqi construction company and owner of Family Mall. Final touches are still being given and the multiplex is scheduled to a fuller opening towards the end of 2011.


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Telford Town Centre to Get New Multiplex Cinema An 11-screen multiplex cinema will be built in Telford town centre after a deal was agreed by developers. Telford & Wrekin Council and developer Citygrove Securities PLC said Cineworld would build a cinema on the new Southwater Square development. The town currently has a 10-screen Odeon cinema in Forgegate. Developers said the cinema was the first in what was expected to be a series of announcements of major leisure operators taking up sites. Earlier this summer, Telford & Wrekin Council appointed Citygrove as its preferred developer for the £250m planned mixed use leisure scheme in Southwater. The development also includes an 80-bedroom hotel and seven bars and restaurants. Telford & Wrekin Council and Citygrove will be submitting a joint planning application for the cinema, hotel, bars, restaurants and a 600space multi-storey car park towards the end of the year. Construction is expected to start in summer 2012. Councillor Charles Smith, cabinet member for housing, regeneration and economic development, said despite the recession the council had confidence in the development.

centre, shopping centre and the fantastic Telford Town Park through the Southwater development. “We are confident that it will be a big success to ensure the future viability of the town centre.” The Southwater development is a partnership between Telford & Wrekin Council and the Homes and Communities Agency, in conjunction with private sector partners including Southwater Event Group.

CinemaxX Denmark Holds World’s First 4K Film Festival CinemaxX’s movie theatres in Copenhagen, Odense and Aarhus held the world’s first 4K Film Festival at the end of September, entitled “Past film classics in future format”. The movies were all true classics, shown using Sony Digital Cinema 4K projection systems.

chosen based on criteria for both technical and artistic quality. Prior to selection, the movies were restored and transferred to 4K digital media. This allows them to appear on today’s big screens using Sony’s Digital Cinema 4K SXRD projectors, with a resolution four times the traditional 2K format, thus providing the optimal modern cinema experience. ”I was very impressed with the nine selected films, which manage to stay relevant in their own ways, despite their age. And I have great respect for CinemaxX, which has taken the initiative to bring together film enthusiasts by combining old movies with the latest technology,” said Oliver Pasch, Head of Professional Digital Cinema at Sony Professional. Pasch, along with RikartKøbke, Head of Films at CinemaxX Denmark and the chain’s Technical Director JesperHelbo, took part in a workshop for the 4K film Festival, held for the Danish media. This enabled the assembled journalists to experience Sony Digital Cinema 4K, compare it to 35 mm film and see examples of the possibilities of the new format. The journalists also got to see stateof-the-art 4K camera footage shot by the recently announced Sony F65 camera – manifesting that Sony can now provide a gapless 4K workflow, from lens to the big screen.

He said: “The Southwater development has already generated significant interest from the commercial sector and the news about Cineworld is just the first of what will be a number of announcements in relation to the leisure complex.

In September 2011, the Danish arm of the European cinema chain CinemaxX held the world’s first film festival in which all the movies were screened exclusively in prestigious Sony Digital Cinema 4K ultra-high resolution at the chain’s cinemas in Copenhagen, Odense and Aarhus.

The European cinema chain CinemaxX and Sony Professional have a close and long-standing relationship. They plan to continue the roll-out of Sony Digital Cinema 4K in CinemaxX cinemas, allowing the format to be experienced in all of the chain’s 292 screens in 31 theatres in Germany, in addition to the three in Denmark.

“These companies want to invest in Telford because we have a growing, vibrant and dynamic town with big plans to bring together the conference

CinemaxX selected nine classic films that continue to thrill and move cinema audiences. The films were

Film classics shown at the world’s first 4K Film Festival in CinemaxX in Denmark:

October-December 2011

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”Gentlemen Prefer Blondes” starring Marilyn Monroe, directed by Howard Hawks

”Bridge over the River Kwai” starring W. Holden & Alec Guinness, directed by David Lean

”North by Northwest” starring Cary Grant, directed by Alfred Hitchcock

”Dr. Strangelove��� starring Peter Sellers, directed by Stanley Kubrick

”The Sound of Music” starring Julia Andrews, directed by Robert Wise

”The Red Shoes” starring Moira Shearer, directed by Michael Powell

”Taxi Driver” starring Robert De Niro and Jodie Foster, directed by Martin Scorsese

”True Grit” starring Jeff Bridges, directed by the Coen brothers

”Inception” starring Leonardo DiCaprio, directed by Christopher Nolan

DLP Cinema Celebrates 15 Years Of Leadership In Digital Displays After 15 years of proven digital deployments all over the world and an unprecedented year of growth and success in 2010, Texas Instruments (TI) DLP has strengthened its leadership to become the leader in installations, brightness and reliability.

DLP Cinema, the worldwide leader in installations: DLP Cinema technology continues to dominate worldwide the 2D/3D digital cinema industry: Over 40,000 screens worldwide rely on DLP Cinema technology to light up screens for millions of moviegoers, with more than 8 out of 10 digital theatre screens worldwide using DLP Cinema technology. In other words, DLP technology has reached

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85% market share worldwide as of June 2011. Europe has one of the highest growth rates regarding the number of DLP Cinema digital screens: From January 2010 to June 2011, the number of screens increased by 187% to reach a total of over 13,550 screens. Among them, over 9,100 are 3D screens, which ranks Europe as the second largest region for 3D screens in the world, representing around 33% of 3D screens worldwide. In Europe, the number of 3D screens increased during this time period to an annual rate of 163%. Drew Kaza, Executive Vice President of Digital Development for Europe’s leading exhibitor chain, Odeon & UCI Cinemas Ltd., shared the following sentiments, “Our conversion to digital cinema is going extremely well with a majority of our screens in the UK, Austria, Germany, Italy, Portugal, and Spain already up and running with digital 3D. We selected digital projectors with TI’s DLP Cinema technology, and since the reliability and support has been excellent, we are ramping installation to have our entire circuit converted by 2013.”

DLP Cinema, the brightest and preferred digital cinema technology: One of the highlights at this year’s CineEurope was James Cameron showing a new screening of Titanic in 3D on a DLP Cinema system, enhanced with Dolby’s 3D technology – one of the five 3D systems available worldwide, which are all compatible with DLP Cinema technology. The industry selects DLP Cinema for its brightness, which is a crucial qualitative element, especially for captivating and immersive 3D projections. Recently, the DLP Cinema-powered Barco DP2K-32B was awarded the Guinness World Book of records as the brightest projector on the planet,

achieving 43,000 lumens. Ultimately, DLP Cinema technology remains the number one choice for illuminating the world’s largest screens.

DLP Cinema, the most reliable digital cinema technology: Touting award-winning colour performance, DLP Cinema is the only imaging technology to receive an Academy Scientific and Engineering Award (Academy Plaque in 2009) for precise color reproduction, and has become the industry standard for color accuracy. In addition, all subcomponents for DLP Cinema’s 2K and 4K platforms were the industry’s first DCI-approved digital cinema projector technology. “DLP Cinema’s continued worldwide leadership in the 2D/3D digital cinema space provides theatre owners, studios, and, most important, moviegoers with an experience that simply cannot be equaled,” said Dave Duncan, Business Manager of DLP Cinema for Texas Instruments. “2010 was clearly an amazing year for DLP Cinema. Although the digital conversion was steady for the first 10 years, 2010 will be noted as a milestone in digital cinema history, as the number of DLP Cinema projectors nearly doubled in one year. This decade looks extremely bright for DLP Cinema and its licensees. Together with our partners, nearly one-half of the world’s theatre screens will be converted to DLP Cinema by the end of 2011.”

Doremi to Supply to Odeon UK and Arts Alliance Media Doremi Cinema, the leading manufacturer and developer of Digital Cinema server technology, has reached agreement with Odeon UK, the country’s largest cinema chain, for the exclusive supply of digital cinema servers and


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integrated media blocks (IMB). This involves the full implementation of Doremi’s products as an integral part of the Odeon UK’s Digital Cinema Programme. This agreement is a continuation of business between the two companies as Odeon UK has already widely adopted Doremi Cinema servers. This latest phase will take the chain’s total to over 900 digital screens. Hervé Baujard, Doremi Cinema Business Development and Sales Director, “We are delighted that Odeon UK is continuing its business with us, and that they have identified DCI compliance as a requirement for digital cinema servers. This is a great reward for our efforts in passing the CTP, and recognition of its importance for this forward-looking and innovative chain.” The CTP, established in May 2009 by the Digital Cinema Initiatives, LLC

(DCI) provides a uniform test procedure for the DCI standards. These were produced by DCI to maintain specific criteria for the digital cinema industry, such as the high quality of images, interoperability and content security. Compliance with these standards is essential for the operation of the virtual print fee (VPF) agreements that are widely used to help finance digital cinemas. Doremi Cinema is also to supply its Integrated Media Block (IMB) and ShowVault equipment to the London-based Arts Alliance Media. This follows three years of fruitful collaboration between the two companies as AAM has installed more than 1,500 digital cinema screens in Europe. The new equipment is to be provided under the extension of AAM’s supply agreement with Doremi Cinema. The IMB / ShowVault

digital movie player combination adds new features for high picture quality and efficient operation in the latest and upcoming digital cinemas. The IMB / ShowVault combination provides industry-leading performance for playing JPEG2000 movies at up to 4K resolution. The ShowVault server plays the digital cinema package (DCP) from its store to the IMB, located within a Series 2 DLP Cinema projector, for decrypting, decoding and direct delivery to the projector. The power of the Doremi IMB scores several industry firsts. It provides the first IMB 4K available and is also the first equipment, and currently only IMB, to pass the DCI’s Compliance Test Plan. Also, the Doremi IMB design provides a future-proof upgrade path for 2K, 3D at 48/60 fps per eye as demonstrated by James Cameron at CinemaCon 2011.


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Cinepolis selects Doremi, Barco and MasterImage 3D Cinepolis selects Doremi as its Server/IMB provider for 3,000 screens Doremi Cinema, having already shipped over 33,000 units to date, has announced another 3,000 screen commitment from its newest exhibitor partner, Cinepolis. Cinepolis is the fourth largest theatre chain in the world and leading Latin American exhibitor. Doremi Cinema will provide its DCP server platform and IMB / ShowVault for the digital deployment of its remaining film-based screens and newly established sites totaling 3,000 screens. “We are honoured to be Cinepolis’ collaborative partner in providing them with the latest technology in digital cinema. Delivering playback solutions to the leading exhibitor in Latin America is a confirmation to our principal role in supplying the digital cinema industry with reliable products and services.” stated Michael Archer, VP of Digital Cinema-Doremi Cinema. “We are dedicated to ensuring their smooth transition to an all-digital operation and offering them our unparalleled service and support.” ”Our decision of integrating Doremi’s products into our complete deployment follows many months of testing several server options” said Adrian Mijares Elizondo, Director of Purchasing and Supply Chain at Cinepolis. “We are very pleased with our choice and look forward to our long term partnership as we advance with the implementation of new technological innovations including 3D higher frame rates and higher resolutions.” Earlier Doremi Cinema announced the shipment of over 10,000 servers and

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Integrated Media Blocks (IMB) worldwide in just the first eight months of 2011 to take the total shipments to over 30,000. The exponential growth in Doremi server installations confirms Doremi’s standing as one of the market leader in the Digital Cinema arena. “Having passed the CTP, Doremi is the only DCI compliant server and IMB in the market for use with DLP based projectors,” stated Michael Archer, Vice President Digital Cinema. “This, coupled with no required hardware changes to play high frame rates on our IMB are two major determinates that lead exhibitors to Doremi.” As a visionary entity, Doremi has been a leading contributor of advanced technology since its establishment in 1985. A diverse product line encompassing all aspects of Digital Cinema has been introduced over the past several years. With increased requests for accessibility options in theatres, Doremi Cinema has developed several products. The CaptiView,

a personal in-theatre closed captioning system operating on a wireless band frequency has gained much recognition due to its simplistic operative nature. CaptiView has already been installed in over 3,000 screens to date. The Fidelio, a wireless audio system for the visually impaired and hard-ofhearing was also recently introduced. The TMS (Theatre Management System) was launched in early 2008 dedicated to the monitoring, scheduling and construction of show playlists. The StreamIt was commercialised as a server companion enabling live streaming of 2D and 3D alternative programing via satellite to multiple screens. Doremi Cinema has been dedicated to providing the utmost quality and reliability in products intended to better serve the digital cinema industry, and offering theatre owners cost effective and flexible solutions that incorporate future features based on market projections.


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Cinepolis selects Barco as its digital cinema projector supplier for 3,000-screens World’s fourth-largest movie exhibitor will deploy Barco projectors exclusively for the conversion of its remaining filmbased auditoriums, as well as equipping its new theatre sites. Barco announced an agreement with Cinepolis for a widespread deployment of Barco DLP Cinema projectors. The largest cinema chain in Latin America and fourth largest in the world, Cinepolis is operating in Mexico, Latin America, India and the United States, and will ultimately install 3,000 Barco DLP cinema projectors. ”We are very excited about partnering with Barco as we endeavour to become a 100% digital cinema chain,” commented Adrian Mijares Elizondo, Director of Purchasing and Supply Chain. “We’re very impressed with Barco’s impeccable track record of quality, reliability and worldwide deployment experience for major exhibitors. Barco’s investment and commitment to the Latin American market, in and outside of Mexico, the fact that they can provide local parts, technical support and service in all of our locations is of critical importance so we can maximise uptime and revenues. With Barco, we look forward to not only showing movies with the best and brightest projectors in the world, but also taking advantage of new innovations like 3D audio, largescreen cinema, and ultimately laser illuminated projection, to present patrons with the most dynamic and immersive entertainment experience.” ”Barco will ultimately deploy up to 3,000 projectors, converting all currently non-digital auditoriums and installing new screens as Cinepolis grows its organisation,” commented Ivan Cannau, Country

Director for Barco Mexico. “With our company being present locally, we have always been committed to offer the highest level of service. Local certification trainings, in-country parts depots and managed services all over the world are in place and running, so we are ready today to continue delivering the level of support that Cinepolis needs and is used to experience from Barco.” ”We applaud Cinepolis’ forwardthinking approach to their digital cinema footprint and are honored that they have chosen Barco as their partner in offering next-generation movie and alternative content exhibition to their patrons,” added Richard Marples, Regional Sales Director for Entertainment in Latin America for Barco. “We are firmly committed to Cinepolis’ expansion, offering them the widest array of DCI-compliant projectors at the lowest total cost of ownership, and backed with all of the local resources necessary to ensure their success.”

Cinepolis Selects MasterImage 3D to Bring Movie-Goers in Latin America the Highest Quality 3D Experience MasterImage 3D, a provider of pioneering 3D solutions for theatres, announced that its digital 3D cinema systems will be deployed by Cinepolis, the fourth largest exhibitor circuit in the world and the largest outside of the United States. Through the agreement, MasterImage 3D’s new MI-Clarity3D digital 3D system and MI-1000 dual projection 3D glass filters will be used in cinemas throughout Mexico and Brazil. Operating 275 theatres with more than 2,500 screens across Mexico, Guatemala, El Salvador, Costa Rica, Panama, Colombia, Brazil, Peru and India, Cinepolis is an early adopter of digital technology for Latin America and has already rolled out

digital cinema solutions for more than a quarter of its screens across the Latin American region. The MI-Clarity3D digital cinema system is the new flagship offering from MasterImage 3D, designed in three models for varying projection booths. Like its predecessor, it offers high-quality 3D presentation and is available through a compelling ownership-based pricing model. Unique to the MI-Clarity3D is increased light efficiency, full system automation and improved styling. The MasterImage MI-1000 glass filters are universal and work optimally with MasterImage 3D glasses for oversized screen installations. ”MasterImage 3D offers a unique combination of picture quality and color fidelity with a sensible business model,” says Gabriel Morales Becker, Technology Strategy Manager at Cinepolis. “With the MI-Clarity3D, they offer a comprehensive portfolio for various projection room environments.” Over the past year, MasterImage 3D has experienced significant growth now with systems installed in more than 70 countries worldwide. The addition of Cinepolis as a partner continues the company’s momentum in adding leading regional multiplexes around the world. This recent expansion includes but is not limited to relationships with Les Cinémas Gaumont Pathé, the largest circuit in France; Toho - the largest in Japan; and Cinema City International, the largest in Israel. ”Cinepolis is one of the best run and innovative companies in the exhibition business,” says Peter Koplik, President of Digital Cinema at MasterImage 3D. “We are gratified by their confidence in MasterImage 3D and pleased that our technology will enable theatre patrons across Latin America to enjoy great 3D movies.” October-December 2011

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‘Red Tails’ in Barco’s Auro-3D 11.1

Sundance Cinemas Selects Vista as its Cinema Software Provider Vista announced Sundance Cinemas opened their new Sundance Houston location with the Vista suite of software. The 8 screen site opened its doors in November with the leading cinema software in the world. Sundance Cinemas Houston will not only show the best feature films, but will also serve great food and drinks as they do at their San Francisco CA and Madison WI locations.

Barco announced that industry icon Lucasfilm had embraced the Auro3D 11.1 audio format for the commercial release of Lucasfilm’s latest movie ‘Red Tails’, slated for release in January 2012. Auro-3D allows the creative forces behind today’s most successful films to envelop the audience in rich realistic sound for a more compelling motion picture experience. Auro-3D, powered by Barco and Auro Technologies, is a revolutionary sound system designed along three spatial axes (width, depth and height) rather than the two axes as found in traditional surround sound. The full Auro-3D speaker layout is defined for up to 13.1 channels, with 11.1 being the current ideal solution for environments such as commercial movie theatres. As Auro-3D technology is compatible with existing formats, standards and distribution mechanisms, only a minimal hardware and installation investment is required to upgrade from traditional 5.1 to the Auro-3D 11.1 audio format. ”When we first heard demonstrations of what the Auro-3D 11.1 audio format is capable of, it gave us great ideas for new possibilities in

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storytelling,” states Rick McCallum, Producer for ‘Red Tails’. “‘Red Tails’ is about combat pilots, and sound from all around will surely boost the overall movie experience – so it’s an ideal film to be mixed in 11.1 with the most realistic effects ever heard in commercial cinema.” ”We were incredibly excited to have the opportunity and privilege to work with Lucasfilm and Skywalker Sound on the release of ‘Red Tails’ in the Auro-3D 11.1 audio format,” remarks Brian Claypool, Senior Director Strategic Business Development at Barco. “In addition, having Skywalker Sound install Auro-3D in the world’s most utilised mixing facility to support our Auro-3D 11.1 audio format was indeed a great honour and we look forward to engaging more visionary talent in the creation of 11.1 soundtracks at Skywalker Sound.” ’Red Tails’ - produced by Rick McCallum, directed by Anthony Hemingway and executively produced by George Lucas - is an action-drama film based on the Tuskegee Airmen, a group of African-American combat pilots during World War II.

Paul Richardson, President and CEO of Sundance Cinemas stated “We are thrilled to join the global family of Vista customers. We spent a lot of time reviewing what we as a company were looking for. Vista’s superior level of function, innovation, and service made them the stand-out choice. Their reputation and commitment to the cinema industry is without parallel.” Richardson continued “Sundance Cinemas prides itself on customer service and being in touch with our local community. The Vista software enables us to enhance the needs of our patrons while retaining the ‘personal touch’ that the company works so hard to build and retain”. Sundance Cinemas is a member of The Sundance Group; founded by Group President Robert Redford. Derek Forbes, Vista President, North America stated “Sundance is a name with worldwide recognition. If you speak with people in the areas local to their cinemas, you will know that it is an organisation that has succeeded in its aim to represent quality and sustainability, and to operate in harmony with the local community. I am thrilled that Sundance chose Vista to operate their distinctive and iconic cinemas, and looked forward to working with


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the team as they launched their new Houston location.” Sundance Cinemas offers a full service bistro and bar, reserved seating, special events and alternative programming. Every effort is made to ensure that theatres are sustainably built and operated. Local resources are used in the design, construction and implementation of their cinemas and this recognition of the surrounding community enables Sundance to be on a personal level with local cinema-goers. With the purchase of Vista’s Internet Ticketing, Mobile POS (Food and Beverage, Ticketing, UsherPoint) Plasma Signage Display, Gift Card & Voucher Management, iPhone applications and more; Sundance Cinemas is making sure that they have the ability to offer their patrons the complete package of both cinema and dining experiences.

Zeus Digital Theatre with JBL ScreenArray Zeus Digital recently completed a new, all-digital 8-theatre multiplex in Waynesboro, Virginia. The 1,106-seat facility offers 7.1 multichannel sound in every theater, along with DCIcompliant fully digital projection and up-to-the-minute amenities. Each theatre features a complete system of Harman’s JBL ScreenArray loudspeakers powered by Crown Audio DSi 2000 and DSi 1000 Series amplifiers, to deliver a spectacular surround sound experience.

The Zeus Digital complex includes large, medium and small theatre rooms. The large theatres are equipped with JBL 4732 ScreenArray cinema loudspeakers for the left, centre and right front channels, along with JBL 8350 cinema surround loudspeakers. The medium-sized theaters feature JBL 3732 L/C/R ScreenArray cinema loudspeakers and 8340A surround loudspeakers. The small theatres include ScreenArray 3732 and 8320 compact surround speakers. JBL 4642A dual18-inch subwoofers are used throughout. “We chose JBL loudspeakers for a number of reasons, the main ones being JBL’s reliability, reputation, sound quality and value,” noted Brett Hayes, Owner of Zeus Digital Theatres. “We wanted loudspeakers we knew would be reliable under continuous everyday use. JBL products have been around a long time and are proven in movie theaters everywhere.” “We’ve all been to movie theatres where the sound suffered because some of the drivers in the system had blown and no one ever bothered to replace them,” Hayes continued. “That isn’t going to happen in our theatres. And in the event we ever need to replace a driver, we know JBL will be there.” “The sound of the ScreenArray loudspeakers and the surround speakers is exceptional,” added Hayes. “They easily fill all of our theaters with clear and powerful sound and really complement the excellence of the digital projection picture quality.

In fact, we found we had to turn the subwoofers down from what we thought would be our baseline level, even though our rooms are a little oversized compared to other multiplex theaters. I should mention that the installation went smoothly, with no issues or unwanted surprises.” Rydt Entertainment Systems, a division of Moving Image Technology, performed the install and furnished all the digital equipment, the JBL/Crown system, seating, screens, side wall treatments, and LED lighting in the theaters. “The value is there also – we looked at other brands of speakers and amplifiers and some of them were more expensive than JBL and Crown, but didn’t seem to offer any added benefit for the added cost,” Hayes said. JBL has been awarded three US patents for its ScreenArray technology, created to provide even coverage to every seat, along with wide dynamic range, extended frequency response, maximum power handling and inaudible levels of distortion. JBL ScreenArray loudspeakers incorporate innovations such as patented SSC Screen Spreading Compensation, which corrects for the high frequency dispersion of a perforated movie screen when the speakers are placed behind the screen, and Focused Coverage Technology that delivers uniform coverage in every seat in either traditional or stadium seating auditoriums.

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James Cameron’s Lightstorm Entertainment Signs Agreement with Christie In a move designed to accelerate the development and adoption of next-generation 3D digital cinema, Christie and James Cameron’s Lightstorm Entertainment, Inc., have signed a milestone, five-year agreement to exchange research, testing, development and technical support on the industry’s most exciting new technology. The cooperation between two of Hollywood’s digital cinema powerhouses heralds a significant shift in how movies will be made and shown in cinemas. “I selected Christie for this ‘journey of discovery’ because the company is fully committed to my vision and shares my dedication to continually push the boundary of digital cinema,” said James Cameron. “Lightstorm is committed to realising the full potential of 3D and high frame rate technology to fully immerse audiences in the world of the movie before them,” said Craig Sholder, vice president, Christie Entertainment Solutions division. “This alliance promises to spark a new wave of excitement, creativity, and innovation in film-making that will provide audiences with an unparalleled sense of total immersion in the movie-viewing experience.”

Expertise, Equipment & Intellectual Capital to be shared by Lightstorm and Christie As part of its agreement with Lightstorm, Christie will supply the latest Solaria Series of 3D-capable projectors, ongoing access to emerging research and development on 3D, and input into Lightstorm’s mission-critical engineering related

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Most importantly, Christie engineers share the same passion for perfection, for continuously raising the standard of excellence that I do. I have full confidence that this collaboration will yield exceptional results.”

to 3D and high frame rate innovation. Christie will also assist in outfitting Cameron’s new production facilities, including two screening rooms that will serve as virtual production sites for the next two installments of Avatar, the most successful film in history using ground-breaking 3D technology from Cameron. In exchange, Lightstorm will share with Christie its findings into 3D, high frame rates and the enhancements, format, and colour space requirements for achieving the optimal viewing experience. This knowledge in turn will be used to enhance Christie’s 3D technology as it relates to desirable projector and server functionality, as well as help Christie create market-leading tool kits for exhibition and postproduction markets and applications. Lightstorm will provide sample content for testing and demonstration of technical enhancements, for the overall promotion of Christie’s 3D technology. Added Cameron: “At CinemaCon, Christie projectors were critical in helping me to demonstrate higher frame rates of up to 60 frames per second (fps) which dramatically improves the viewing experience.

“With the right server technology, our Series 2 projectors are already fully capable of being upgraded to deliver higher frame rates. Further collaboration will provide us with a wealth of information from Cameron’s award-winning production studio that will allow us to rapidly advance our pace of innovation in the development of 3D,” added Sholder. “Cameron demands – and delivers – nothing less than perfection in all of his movies, which do more than break global box office records. They are true cultural phenomena that mark new milestones in visual entertainment.” The Lightstorm and Christie agreement also provides Lightstorm with 24/7 access to the Christie Network Operations Centre (NOC), call centre support, and replacement parts that are included in all of Christie’s warranty services to all exhibitors.

Barco Teams Up with Datasat and THX for Commercial Roll-out of Auro-3D Cinema Sound Barco announced that it is partnering with THX and Datasat Digital Entertainment to bring Auro-3D sound technology to commercial theatres. Datasat is Barco’s partner for the manufacturing of the audio processor and THX collaborates with Barco on enhancements to optimize performance of the Auro-3D system for commercial cinemas. Together, they apply vast experience and


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proficiency in digital cinema sound to the Auro-3D roll-out. “By partnering with THX and Datasat, we bring unique cinema audio expertise to the table that complements our suite of revolutionary solutions from Auro Technologies allowing 3D sound to be experienced for the first time in cinemas worldwide,” says Brian Claypool, Senior Director Strategic Business Development at Barco. “The result is the most sophisticated and natural audio experience available.” Auro-3D, powered by Barco and Auro Technologies, elevates the cinema sound experience to an amazing level of auditory acuity, enabling movie-goers to hear sounds from their relative origination point in the theatre, and it does so in a simple and cost-effective way. To achieve this truly enveloping experience, the system incorporates additional speakers deployed in the upper portions of the auditorium that add an extra dimension to the sound experience. The solution is 100% backwards and forwards compatible with existing sound systems, requiring minimal hardware investment and installation time. ”We are proud to be selected by Barco as OEM partner and supplier for the new Auro-3D audio processing package,” comments Robert McKinley, COO of Datasat Digital Entertainment. “We have an extensive history in audio processing for feature films. The revolutionary 3D sound technology is a new chapter for us, and we’re very happy to be part of this development.” By qualifying Auro-3D technology from a design and technology perspective, THX recognizes Barco as developing a premium quality audio offering to already being a superior brand in digital cinema projection. “For nearly 30 years, THX has been passionate about improving the

cinematic experience with its innovative THX Cinema certification program, which has been instrumental in providing audiences worldwide optimized picture and sound in designated THX Certified Cinemas,” says Rick Dean, Senior Vice President, THX Ltd. “This is a groundbreaking, yet logical next step for THX and we are excited to be a part of this nextgeneration theater audio technology.” Auro-3D is quickly gaining traction with leading exhibitors on three continents. The system has already been installed at Jam Hall Cinemas (St. Petersburg, Russia); Regal Cinemas (Los Angeles, US); and Wangfujing Cinema (Changsha, China) with additional installations in progress around the globe.

Harman at Historic Lerner Theatre In a major overhaul of the 87-yearold Lerner Theatre in Elkhart, Indiana, audio integrator Vista AV recently completed a sound upgrade featuring components from Harman’s AKG, Crown, JBL and Soundcraft. The renovation added 6,000 square feet of meeting space, seating capacity and an expanded moveable stage. The main theatre area is outfitted with 20 JBL Vertec VT4887ADP-DA compact powered line array elements outfitted with JBL DrivePack technology Crown-designed amplifier

modules, as well as four SRX712M and six VRX915M stage monitors powered by Crown amplifiers. The existing theatre system was also supplemented with two JBL SRX718 powered subwoofers and three JBL AC18/26 compact loudspeakers. A host of AKG microphones including the D5, D40, P5, and P6 have also been added to the upgraded house system, while a Soundcraft Vi4 digital console was installed to handle both front of house and monitor mixing. ”This was a challenging installation because we were dealing with an existing historic structure that was not at all accommodating to modern technology,” stated Cyril Oake, Project Manager for Vista AV. ”Using the built-in Crown amplifier modules with the VT4887ADP-DA speakers allowed for fast rigging of the arrays and combination of the DP module and the JBL speakers not only provided a clean professional look for the install, but sonically met the needs of the facility,” added David Glass, Systems Designer for Vista AV. The multipurpose room at Lerner Theatre includes 36 Control 26CT small-format ceiling speakers powered by Crown CTs 4200 series amplifiers as well as a dedicated AKG WMS450 wireless microphone system. ”Quite a few of the other digital consoles have a long learning curve to get to know even the simplest of functions. With the Vi4’s Vistonics control interface, anyone who is familiar with an analog console can make adjustments. For a venue like the Lerner Theater this is a must because of the variety of acts that will be coming and going all the time. Sometimes even the simplest of things makes a difference. The smaller footprint of the Vi4 takes up less room in the auditorium so less seating area needs to be given up for the production location,” stated Glass.

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Barco and Dolby Present First SingleProjector High Frame Rate digital cinema Barco and Dolby executed a series of demonstrations to show content in a variety of frame rates and resolutions, including •

2D 2K high frame rate at 48 frames per second (fps)

2D 4K at 24 fps

2K HFR at 48 and 60 fps per eye for 3D

All demonstrations utilized a single Barco DP2K-20C projector with a prototype 2K/4K Dolby Integrated Media Block (IMB) and Dolby DSS200 cinema server.

”As industry leaders in immersive cinema, Barco and Dolby are in a unique position to leverage our mutual technologies to create stunning, true-to-life movie presentation projected at high frame rates,” commented Patrick Lee, VP Digital Cinema for Barco North America. “This event is a fantastic opportunity to showcase how high frame rates can elevate the realism of cinema to create a premium experience that exhibitors can bank on.”

These demonstrations represented for the first time the diversity of content played back at a high frame rate via a standard digital cinema package (DCP) and showcased how the combined capabilities of Barco’s and Dolby’s digital cinema solutions are capable of achieving higher frame rates for 2D, 3D and 4K movie presentation. The solution – with Barco’s Series 2 projectors and Dolby’s prototype IMB – demonstrates how Barco and Dolby continue to drive cutting-edge cinema imaging technology.

”Dolby’s rich heritage in working with content creators and partners like Barco gives us the experience and perspective to anticipate future market needs for the cinema industry,” said Ramzi Haidamus, Executive Vice President of Sales & Marketing, Dolby Laboratories. “Dolby and Barco’s technical demonstration of high frame rate in different formats reinforces our goal to provide filmmakers a choice that matches their creative vision while delivering audiences the highest quality presentation possible in emerging digital cinema environments.”

The ultra-high brightness and technical superiority of Barco’s DLP Cinema projectors, combined with Dolby’s 3D digital cinema system and IMB, show that a single projector can playback at nearly three times the frame rate of traditional movie exhibition rates of 24 fps. This high frame rate 3D presentation is another in a long line of industry firsts achieved by Barco, including the first sealed optical engine, first full-panel triple flash 3D technology, first dual4K projection, and only true modularity to create the highest performing digital cinema projector with the lowest total cost of ownership.

In a related opportunity at ShowEast, Barco presented on the topic “Business Implications of High Frame Rates in Exhibition” at the International Cinema Technology Association (ICTA) seminar, focusing on the impact of high frame rates to exhibitors; high frame rates and the image quality puzzle; and the role of high frame rates in the “Cinema of the Future.” As Joe DeMeo, Vice President of ICTA and Sales Director for Barco, explained, “Exhibitors need to know that high frame rate is only one piece of the image quality puzzle, and image quality is key to a premium, immersive cinema experience.”

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Big Cinemas to Open Large Multiplex in Chicago Reliance ADAG’s Big Cinemas, the exhibition division of Adlabs Films Limited, announced the opening its first Big Cinemas branded cinema property in the US with a 5-screen multiplex and a premium lounge. Big Cinemas has a presence in the US with 170 screens and contributes 25% of the box office for Hindi films and over 65 per cent for Tamil and Telugu films released in the US. The company said in a press release that the multiplex is digitally connected to Adlabs India, enabling the films to be transported on fibre optic cables within 4-6 hours making the physical film prints usage history. The multiplex, called Big CinemasGolf Glen in Niles in Chicago has seating for 950 along with the 60-seater premium lounge, with topof-the-line, high-end seats – all spread across 26,549 square feet. The multiplex screens a mix of Hollywood, Indian, Polish and Korean films and has stadium seating to enable live telecasts of cricket matches and other events. In addition the multiplex has a fully equipped kitchen serving South Asian cuisine and bar, which is managed by one of Chicago’s top award winning restaurants – India House. Commenting on this, Anil Arjun, CEO, Adlabs Films said, ‘’The Chicago launch is in keeping with our vision to establish a strong foothold for Big Cinemas worldwide in markets which have an appetite for Indian cinema. This multiplex at Niles, Chicago is part of Big Cinema’s strategy to actively promote and ensure better reach of Indian movies.’’


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Christie Provides Single Source for all Digital Cinema and Signage Products High Frame Rate (HFR), New Product, and Operational Management Announcements Future-Proof Customer Investments Christie pulled out all the stops to help the exhibitor community “Make the Move” to digital cinema excellence through a range of product introductions, technology previews and a five-zone booth providing one-stop shopping for exhibitors at ShowEast held in October at Miami, Florida.

Leading the HFR Charge To support exhibitors wanting to future-proof their investments in anticipation of showing high frame rate (HFR) movies – which are currently being developed by Hollywood’s most powerful directors – Christie has announced a major software upgrade for its Christie Solaria Series of digital cinema projectors. Supporting the industry’s efforts to have the most engaging, entertaining content possible and enabling the best delivery system for this HFR content are Christie’s two main goals.

Helping Customers Improve Their Bottom Lines In addition to adding HFR capabilities that will deliver audience-attracting cinema content delivery, HFR will also provide exhibitors with new business opportunities that include projection of alternative content such as live sporting events, as well as artistic and cultural presentations, such as concerts and operas. This contribution to an exhibitor’s bottom line will be enhanced by Christie’s recently announced Virtual Print Fee (VPF) Program, which is unique in its scale and flexibility, and through improved

operations provided by the Christie Avias-TMS and Christie’s Previsto HFR technology, embedded in Christie’s Solaria V.2.2 software.

The Five Zones in Christie’s Booth Showcase Choices for Exhibitors Zone 1 – High Frame Rate Support: Christie’s Solaria V.2.2 software application will be available soon and includes Christie Previsto High Frame Rate (HFR) technology, among other firmware upgrades, which will allow Christie Solaria Series 2 projectors to accept video content at frame rates as high as 48 and 60 frames per second (fps) per eye in 3D and up to 120 fps in 2D. The current industry standard is 24 fps. HFR technology renders fast-moving objects in exceptional detail, boosting the clarity and smoothness of the image. Christie is once again partnering with International Datacasting to show a state-of-theart demonstration of HFR, utilizing IDC’s Pro Cinema Event Player. Zone 2 – Projectors, Lamps and Virtual Print Fees (VPF): One size doesn’t fit all, and in this zone Christie experts will guide exhibitors through the range of Christie Solaria digital cinema projectors, Christie Xenolite lamp options and the details of Christie’s Virtual Print Fee (VPF) Program, which offers unprecedented financing options. Zone 3 – Network Operations Centre: Christie remote monitoring was showcased on an awardwinning Christie MicroTiles display. Visitors experienced a video demonstration of Christie’s state-ofthe-art Network Operations Centre (NOC) for remote monitoring, maintenance and troubleshooting of digital cinema projection and digital displays. Christie safeguards visual technology displays, keeping

them running 24/7/365. The Christie NOC is remotely monitoring more than 50,000 devices at customer locations across North America while also providing the latest in predictive analytics to anticipate and resolve potential technical issues – minimizing theater and lobby downtime. Zone 4 – Christie Integrated Media Block (IMB) Tech Preview: Advancing its leadership position in addressing the exhibition industry’s transition to 4K and high frame rate (HFR) projection standards, Christie previewed a fully integrated media block (IMB) solution with 4K and HFR capabilities at ShowEast. Physically integrated into the projector, Christie’s IMB becomes an integral part of the display device, creating a secure, high bandwidth connection that can manage HFR and 4K content without compromising image quality. Zone 5 – In-Lobby Digital Displays: Visitors experienced what a theatre lobby could be with digital signage such as box office, menu boards and engaging interactive video wall displays. This zone, centered on Christie FHD551-X tiled LCD flat panel displays, will showcase how Christie Managed Services will design, build and deploy a digital signage network that’s right for you. Allure Global Solutions, a valued enterprise software solutions partner, was at hand to demonstrate how Christie and Allure Global support every digital signage project stage, from strategy and content requirements to equipment selection and PoS software integration, as well as a synchronized deployment and post deployment strategy. The firms also provide ongoing hardware and software support, maintenance, monitoring and business impact analytics.

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AMERICAS

Barco Completes First US Auro-3D Installation Barco, Guinness World Record holder for the brightest digital cinema projector, has successfully completed the first Auro-3D installations in the United States at commercial theaters for the world’s largest movie exhibitors: Cinemark (Dallas), Regal Entertainment Group (Los Angeles) and AMC Entertainment (Miami). These latest Auro-3D installations follow on the heels of deployments in Russia and China, now elevating the sensory experience at movie theaters on three continents. Auro-3D is an audio system that allows for true three dimensional sound production, distribution and reproduction, turning a conventional cinema into a fully immersive environment to provide a truly unique experience. Auro-3D is gaining traction as the next logical step in the ongoing quest to create the most life-like cinematic presentation. “We’re ecstatic about the creative opportunities made possible by Auro-3D as we continually strive to provide our customers with the ultimate cinema experience,” commented Damian Wardle, VP of Worldwide Theatre Technology & Presentation at Cinemark. “Auro-3D’s unique capabilities launch the audience right into the center of the motion picture experience!” “The Auro-3D system installed at Edwards Calabasas Stadium 6 on September 22, 2011 delivers an incredibly realistic cinema experience,” commented Rob Del Moro, Chief Purchasing Officer for Regal Entertainment Group, the largest motion picture exhibitor in the U.S. “The combination of ultrabright, high-resolution projection with 3D audio has the potential ability to deliver a true-to-life reproduction of the drama onscreen. As we continue to evaluate this technology on performance and

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cost, we are intrigued by its possibilities.” While previously the movie experience has been limited to sound coming from in front and beside a patron, Auro-3D creates a uniquely immersive audio experience by adding “height” to the mix to create a more immersive experience. Auro-3D is the most cost-effective solution for 3D audio reproduction, using three layers (surround, height and top layer) to create a true 3D soundfield around and above the listener with the minimum number of speakers. The total combined effect results in a truly 3D aural experience. Barco co-developed Auro-3D with Auro Technologies’ CEO Wilfried Van Baelen, and is licensing the solution for use in commercial theaters. Auro-3D is easily installed and fully compatible with today’s main standards: Stereo and 5.1 Surround. The full Auro-3D speaker layout is defined for up to 13.1, with 11.1 being the ideal solution for environments such as a commercial movie theaters. In addition, the Auro-3D codec enables single inventory distribution, which allows for the content to be transported using the market’s current standards while maintaining future compatibility. “AMC Entertainment has historically been a first adopter of competitive new audio technologies that enhance the cinema experience,” stated Dan Huerta VP Technology of AMC Entertainment. “We were honored to be able to provide this new experience to audiences for the first time at ShowEast 2011.” “We’re committed to continually elevating the cinema experience by providing groundbreaking technologies that allow our exhibition partners to flourish in an ever-growing competitive entertainment market,”

commented Brian Claypool, Senior Director, Strategic Business Development at Barco. “Auro-3D provides a whole new dimension to the movie-going experience, reproducing the most realistic, spatially accurate sounds all around and above patrons to enhance the realism and immersive qualities of the story.”

Frank Tees Joins Moving Image Technologies Moving Image Technologies (MiT), a leading manufacturer and integrator of cinema equipment, is pleased to announce that Frank Tees has joined the company as Vice President, Technical Sales Support. Frank spent the last 15 years with Regal Entertainment Group as Southwest Director of Technical Services. He brings over 20 years of experience in cinema exhibition to help expand the service and support offerings of MiT, very important to MiT's growth as the newly appointed Factory Master Distributor of NEC's digital cinema projectors and their full complement of cinema servers, lobby display and software solutions. Frank's diverse technology background includes extensive experience in all aspects of digital, 3D and traditional cinema. During the past 10 years, Frank has been trained by the factories of Barco, Sony, Christie and NEC on all aspects of their digital projectors and has in turn trained numerous Regal technicians in installation and service, and managed the installation and servicing of over 1000 35mm and digital screens, including Sony, Barco, Christie and NEC projectors in an integrated and networked environment. Previously he had served in most aspects of cinema exhibition on a field level, as an usher, projectionist, manager and projection and sound technician.


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AMERICAS

QubeMasterXport Delivers Digital Cinema for Fancy Film Santa Monica-based Fancy Film is using QubeMasterXport to generate DCI-compliant Digital Cinema Packages (DCPs) for filmmakers. QubeMasterXport is a plug-in which works within Apple Compressor, simplifying the process of mastering digital cinema content. Thanks to QubeMasterXport, facilities like Fancy Film are able to provide high quality digital cinema at rates that are affordable for documentary makers and independent filmcompanies. “We’ve been getting more and more inquiries about DCP mastering,” said Bill Macomber, principal and founder of Fancy Film Post Services. “It used to be that the only people who wanted digital cinema were the big Hollywood films who were releasing to at least 500 or 1,000 screens,” he added. “Now we’re getting calls from people who want to release on just 10 screens, or even just for one film festival. Those filmmakers need a cost-effective solution.” Bill Macomber started out as a documentary editor in 2000. In 2001 he founded Fancy Film. The facility provides complete postproduction services, including grading, assembly and output, along with editing, and caters to the growing market of independent filmmakers and television production companies. “We don’t compete with the people who edit their movies in their own garage, but there is a lot of demand for finishing to the correct specs for the various distribution formats,” said Macomber. “There’s no room for error in this business: the deliverables have to work perfectly wherever they are sent.” “Finishing is a very technical task, and you have to stay in close contact with the different networks and distributors, so that you alway know exactly what they need,” explained Macomber. “I like the engineering

side, so this kind of perfectionism appeals to me.” Most of Fancy Film’s clients have been doing their films with the facility for years. “It’s about building long-term relationships,” noted Macomber. Recent projects includeAmerica’s Wildest Refuge, Underwater Universe for the History Channel, the documentary Undefeated, as well as Part-Time Fabulous, an independent film, for which Fancy Film did the color grading, laid-off to tape, and the DCP mastering with QubeMasterXport.

QubeMaster Pro Packager

AUSTRALIA

Vista Wins NZ Microsoft Software Exporter of the Year

Vista Entertainment has taken home the Supreme award for the NZ Microsoft Software Exporter of the Year for 2011 at a gala dinner held at the Viaduct Events Centre in Auckland.

As the demand for DCPs grows, Fancy Film is now also looking to add QubeMaster Pro Packager, a Windows application which provides quality control, as well as the ability to create alternate versions of a DCP without having to re-encode the whole file. “It will be the last step in our pipeline, said Macomber. “Along with QC, Packager allows us to offer encryption, as well as the ability to add new soundtracks and subtitle options. It’s a complete DCP workflow.” “The Qube software is rock solid and the algorithm they use to generate JPEG 2000s is very powerful,” commented Macomber. “We’re very happy with the output from QubeMasterXport and our customers have been delighted.”

The annual Microsoft New Zealand Partner Awards enables IT companies the opportunity to display their best work, around specific design solutions working in conjunction with Microsoft platforms, while also giving the chance to raise the profile of the company and the occasion to network with peers.

“The world of theatrical distribution will evolve radically over the next few years,” said Eric Bergez, director of sales & marketing for the Americas. “Qube Cinema is helping to drive the change by making digital cinema a lot simpler for everyone.”

“Vista is honoured to be given this prestigious award and recognised as a growing Kiwi business already exporting to over 50 countries. With more than 2000 cinemas worldwide now running Vista, we have become the dominant global market player for cinema management and point of sale software” said CEO Murray Holdaway. “Vista has been a gold business partner for over 6 years and this shows the strength of our strategic relationship with Microsoft.”

QubeMasterXport runs on Mac OS X and is Lion compatible. QubeMasterXport requires Compressor 3.5, part of the Final Cut Pro Suite, or Compressor 4, which is available as a standalone application.

From 4 sub-categories – Solution Awards, Individual Awards, Partner Awards and the Supreme Awards section - 23 winners were honoured for providing outstanding technology innovation, with entries judged on their distinctiveness, market potential, quality of technology, functionality and features, and overall application.

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New Xpand Infinity 3D Cinema Glasses Offer Performance and Comfort

Xpand 3D has introduced a new generation of active 3D cinema glasses that it claims offer lighter weight, greater transparency and higher performance than any other 3D glasses in the industry. The new Xpand Infinity 3D Cinema Glasses offer pristine cinema image quality and long-lasting comfort, making them the ultimate 3D glasses for moviegoers. The Xpand Infinity 3D Cinema Glasses feature greater transparency, which translates to an improved brightness of 37 percent over the previous models. They offer a contrast ratio of 2000:1, the highest in the market. The Glasses are powered with a replaceable CR2032 coin battery, with a life of 300 hours in Triple Flash mode. The Xpand Infinity 3D Cinema Glasses are extremely light, weighing only 56 grams. Combined with a stylish and ergonomic design, the Glasses can be worn comfortably for long periods of time. The Glasses come with three nosepieces and are available in two colors: red and black. They can also be equipped with optional RFID tags for anti-theft, allowing theatre owners to track and monitor each pair of glasses. While other 3D systems perform well in the centre of the screen but suffer from massive decline in performance as the viewer moves to the left or right from centre, the Xpand Infinity 3D Cinema Glasses perform extraordinarily from any viewing angle, ensuring an optimal 3D experience no matter where the viewer is sitting in the cinema.

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”While competitors are simply repackaging older technology, Xpand 3D continues to find new and innovative ways to deliver the best 3D experience to cinemas, and the new Xpand Infinity 3D Cinema Glasses exemplify this commitment to innovation,” says Maria Costeira, CEO, Xpand 3D. “The Infinity 3D Cinema Glasses are very light and designed for long-term wearing, and more importantly, they offer greater performance than any other 3D glasses on the market.”

New Digital Screen Checker by Harkness Harkness Screens, the world’s leading manufacturer of projection screens for cinema and events applications, launched the Digital Screen Checker, a new version of its existing luminance meter, at ShowEast 2011. The low-cost hand-held digitalcinema device accurately measures screen brightness, expressed in foot lamberts. An ideal tool for projection managers, projectionists and service

engineers to monitor screen brightness and lamp life, the Digital Screen Checker helps exhibitors ensure that their presentations remain at optimum levels and meet DCI-compliancy. ”Modern theatre management systems are capable of providing a lot of information about the projector, but they cannot determine the screen brightness,” explained David Harrison, technical director at Harkness Screens. “The industry is more than aware of Xenon lamp light output degradation, and the Digital Screen Checker is a very simple way of confirming this. The battery powered Digital Screen Checker provides instant readings for both 2D and 3D screens and is calibrated to be accurate even in the lower ranges used in 3D projection. The foot-lambert reading is shown on an LED digital display and is expressed to at least one decimal place. ”If an existing screen is not performing to the desired brightness levels, exhibitors are left with several options: to replace the lamp with a new one, to increase the lamp size to a more powerful one or to replace the screen with one which has a higher gain level,” said Harrison. The new Digital Screen Checker ships with a mounting tripod and 3D glasses holder and will be available to view at Booth 214 in CineAsia this December. First units are expected to commence shipping in early 2012. Founded in 1929, Harkness Screens is the world’s largest manufacturer of projection screen surfaces, specializing in the design and production of cinema screens and custom screens of virtually any shape and size. The company’s corporate office is located in Ireland with other offices and factories located in the USA, UK, France and China.


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Christie Introduces Solaria 2.2 Software Upgrade To support exhibitors wanting to future-proof their investments in anticipation of showing high frame rate (HFR) movies – which are currently being developed by Hollywood’s most powerful directors – Christie has announced a powerful software upgrade for its Christie Solaria Series of digital cinema projectors. Christie’s Solaria V.2.2 software application will be available soon and includes Christie Previsto High Frame Rate (HFR) technology, among other firmware upgrades, which will allow Christie Solaria Series 2 projectorsto accept video content at frame rates as high as 48 and 60 frames per second (fps). The current industry standard is 24 fps. HFR technology renders fast-moving objects in exceptional detail, boosting the clarity and smoothness of the image. Hollywood heavyweights supporting higher frame rates include James Cameron and Peter Jackson. Both have indicated that their new movies, including Cameron’s Avatar 2 & 3, and Jackson’s two-film adaption of JRR Tolkien’s The Hobbit, will be produced in HFR format, and exhibitors will require HFR-capable projectors to screen in theatres. Cameron, a vocal proponent of HFR production, has been touring major industry trade shows around the world, using Christie projectors to illustrate the benefits of higher frame rates, which he says, “will dramatically improve the viewing experience.”

also provide exhibitors with new business opportunities that include projection of alternative content such as live sporting events, as well as artistic and cultural presentations, such as concerts and operas.” In support of the transition, Christie also recently announced a historic, five-year agreement with James Cameron’s Lightstorm Entertainment, Inc., to drive research, testing, and development of HFR technology. The two companies will do this by sharing expertise, equipment and intellectual capitals. Christie will also outfit Cameron’s new production facilities that include screening rooms for the next two installments of Avatar. In welcoming the agreement, Cameron praised Christie engineers who, “share the same passion for perfection, for continuously raising the standard of excellence that I do.” “Christie recognises the enormous trust exhibitors and partners place in us to provide them with the latest technology, and they also trust Christie to help future-proof their investment,” said Shaw. “The Christie Solaria 2.2 software upgrade reflects our commitment to the exhibition community, to provide our customers and partners with quality products and services that will serve them for the long-term.”

Christie Launches New Avias-TMS Christie introduced the new Christie Avias-TMS, a Theatre Management System (TMS) software application that allows exhibitors to centrally manage and orchestrate all of their projection operations within a cinema multiplex – regardless of the diverse projector, servers or operating systems (OS) in use. Easy to install and simple to use, Christie Avias-TMS can be accessed from any location through a standard Web browser, offering management the ultimate freedom and flexibility to conduct theater operations from an office or home PC, tablet computer or iPad. Its many features reduce the costs and inefficiencies of managing digital projectors separately. For example, the web GUI allows centralised scheduling of all content, devices and Key Delivery Messages (KDMs), including a drag and drop playlist to allow rapid changes based on changing customer demands. “The Christie Avias-TMS is an exceptional overseer of cinema time management,” said Don Shaw, director, product management, Christie Entertainment Solutions. “It is ideal for theatres of all sizes, with multiple digital screens and hardware platforms, because it provides an easy-to-read dashboard interface that highlights in real-time all projector and screen status, as well as the overall progress of each playlist playback. Theatre managers don’t have to move from station to station to manage devices and KDMs.

“The transition to a higher frame rate standard is going to happen sooner rather than later, and Christie‘s Previsto HFR technology will protect exhibitors’ long-term investment in their digital cinema projectors,” said Don Shaw, director, Product Management, Christie Entertainment Solutions. “HFR will

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They can remotely start, stop or pause any show on any screen from a single location.”

Collaboration with Arts Alliance Media Praised In creating Christie Avias-TMS, Shaw emphasised the collaboration with long-term industry partner, Arts Alliance Media (AAM), Europe’s leading supplier of a host of digital cinema technologies and services. “In keeping with Christie’s practice of incorporating tried-and-true third party solutions into some of our products to quickly deliver immediate benefits to our customers, the core of our TMS was built on AAM’s current, strong TMS offering,” noted Shaw. Howard Kiedaisch, CEO of Arts Alliance Media, added, “We have worked with Christie since we first started in digital cinema and have always looked for ways of enhancing our partnership. As a manufacturer of digital cinema projectors, Christie boasts its own impressive engineering and development group, so it was only natural that the two of us as leaders in the industry would collaborate to the benefit of exhibitors across the globe.” Shaw also noted that, while TMS solutions offered by some server manufacturers are often ‘thrown in’ with the deal, “You get what you pay for, because these so-called ‘free’ solutions tend to limit the exhibitor to one brand of server, effectively preventing the exhibitor from using existing or new hardware from other manufacturers.” Christie Avias-TMS is all about choice for the exhibitor; it is OS and hardware neutral and does not mandate the expense of a specific Library Management Server (LMS). Furthermore, it fully supports all DCI-compliant DLP Cinema projectors and servers, so it can be

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integrated seamlessly into any existing theater system. “Like a conductor leading the orchestra, Christie Avias-TMS provides full control of every facet of a theatre’s operation, allowing the freedom to run with the most costeffective hardware for each of the screens that make up the digital cinema system,” said Shaw. “No matter how many screens you are managing, the Christie AviasTMS is the perfect solution for getting the job done with a minimal amount of effort.”

Christie Previews Integrated Media Block (IMB) Advancing its leadership position in addressing the exhibition industry’s transition to 4K and high frame rate (HFR) projection standards, Christie previewed a fully integrated media block (IMB) solution with 4K and HFR capabilities at ShowEast. Designed and manufactured by Christie, the world’s leading provider of digital cinema projectors, the Christie IMB works with all of Christie’s Solaria Series 2 projectors to provide an integrated solution from a single, trusted equipment supplier. A key feature of the Christie IMB is that it utilizes industry-standard, off-the-shelf storage devices, unlike other media blocks that typically require expensive, proprietary storage solutions. Also, featuring complete MPEG2 and H.264 support, the Christie IMB allows exhibitors to display a larger

variety of alternative and advertising content, fully streamed from the same storage device that holds the packaged cinema content. The complete, all-in-one projection systemthat results will provide unparalleled value, will be more reliable than third party solutions, and will give exhibitors ultimate confidence in their long-term investment decision. “Most current digital projector installations utilise a media block in an external server that is linked by cables to the projector. This creates bandwidth limitations that impact picture quality and inhibit the overall system’s ability to maintain and display video at higher frame rates and increased pixel resolution,” observed Don Shaw, Director, Product Management, Christie Entertainment Solutions. “The Christie IMB overcomes this challenge by physically operating within the projector. It becomes an integral part of the display device, creating a secure connection that can manage the high bandwidth required for HFR and 4K content without compromising image quality.” Shaw noted that the IMB design reduces complexity because it eliminates the need for an exhibitor to support varied servers and IMBs currently on the market from different manufacturers, on their different screens. Christie achieves further integration by embedding its Screen Management System – the control interface for the projection system – directly into the IMB. Christie has also announced its new Christie Avias-TMS Theatre Management System – a software


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application that manages content, playlists, security keys, and all of the projection equipment – that seamlessly interacts with the SMS running on the IMB. “Christie now offers a groundbreaking, single projection solution that converts and delivers packaged feature film content within a secure, DCI-compliant environment, while providing the option to upgrade to full HFR capabilities. And because we also manufacture the projector that forms the keystone of our advanced digital cinema solution, we eliminate compatibility issues that could potentially occur in media blocks from third party suppliers, especially following regular software upgrade cycles” observed Shaw.

Designed for Exhibitors by the Engineers That Know Projectors Best The design of Christie’s IMB is grounded in a solid understanding of a projector’s software, thermals, vibrations and internal power supply; the type of knowledge one would expect from the world’s largest solesource supplier of digital cinema projectors. It comes in three versions to suit your particular needs – a 2K/ 2D/3D standard frame rate model, that can be easily upgraded to support 2K/2D/3D high frame rates and, beyond that, an all inclusive upgrade that adds 4K support. The Christie IMB, designed to work with all Christie Solaria Series 2K and 4K projectors, plays perfectly with Christie Previsto HFR, a technology that enables the upcoming Lord of the Rings prequels and Avatar sequels to be played by exhibitors on single projector systems, exactly as intended by the filmmakers. Choosing a Christie IMB ensures that, with a simple licence key upgrade, an exhibitor is ready when the first HFR feature film, The Hobbit, is released in December, 2012.

New Kinoton Service Tool Kinoton GmbH has once again added to its already extensive D-Cinema service and support. If cinema operators have chosen to use the Kinoton Remote Service (KRS), they can now view the status of the connected digital cinema devices in their projection rooms online. The new “MyCinemas” monitoring tool lets authorized users monitor the most important parameters of their units over the Internet, such as lamp operating hours, the temperature of critical components of the D-Cinema projector, and the status of the DCinema server’s hard drives. Even basic device information such as the latest firmware and software versions of the devices is displayed. To get their personal password for accessing this information data online, all that cinema owners have to do is register at the “MyKinoton” online portal to obtain their personal password. The KRS boxes at the respective theatres also have to be reconfigured once by a Kinoton service engineer. The users can then decide which of their auditoriums they want to be displayed online and who should have access privileges for this status information. The customers can change these access rights for projectionists or the theatre’s technical staff whenever they like.

“MyCinemas” is always up to date, displaying the momentary technical situation in each projection room. The monitoring tool periodically checks the values of all connected units and transmits almost in realtime to the Kinoton Remote Service server for display on “MyKinoton”. The connected devices also report any potential technical problems to the monitoring tool. In the event of a failure, the cinema operator can then immediately alert the local Kinoton service partner, who also initiates troubleshooting via the KRS box. The new online service lets Kinoton customers detect and nip budding problems, such as an aging lamp or a soiled fan that is causing an excessive rise in temperature. “MyCinemas” users can access the monitoring tool via a standard web browser on virtually any Webenabled device and additionally via the Web interface of the KRS box in the local theatre network. As a result, theatre operators and their technical staff can check the status of the projection equipment anytime from anywhere. “MyCinemas” supports projectors of the DCP and DP series, as well as many established D-Cinema server models such as those from Dolby and Doremi. Kinoton is constantly extending the range of devices that can be checked via the online monitoring tool. On request, the new service can even be adapted to include clientspecific devices in the projection booth. Kinoton is also planning to launch an automatic warning message service that reports possible problems to a technical service contact.

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NEC Display Solutions Earns DCI Compliance

MasterImage 3D Introduces Next Generation 3D Digital Cinema System MasterImage 3D one of the fastest growing 3D solutions provider in the world, announced it is continuing its pioneering efforts in global 3D entertainment with the introduction of the MI-Clarity3D digital cinema system. A successor to its MI-2100 system, the MI-Clarity3D enables premium 3D image quality with improved lighting efficiency, precise color accuracy and fidelity and full system automation. Available in three models, theatre owners can select the MI-Clarity3D system that meets their specific projection needs – Stand Alone (SA), Mezzanine Free (MX), or Remote Sliding Head (RH). All models feature MasterImage 3D’s unique Circular Polarized Filter Disc, which provides a balance of clarity and brightness with 3D filtering precision that is unequalled in the marketplace. In an industry first, MasterImage 3D is also introducing a financing ownership program for theatre owners worldwide with little or nomoney-down to help drive expansion of high quality 3D digital cinema experience.

”We listened to our customers and the marketplace and responded with a compelling combination of business and product enhancements,” said Peter Koplik, President of Digital Cinema at MasterImage 3D. “Exhibitors evaluating different offerings and VPF models have a high quality digital 3D deployment solution that includes the latest technological innovation from a reliable company and a low cost of ownership business model.” The MI-Clarity3D comes with improved design and style elements. Three models provide for every theatre projection need. MI-Clarity3D SA (Stand Alone) Smaller, lighter, and more versatile. Easy to install and operational in 30 minutes. MI-Clarity3D MX (Mezzanine-Free) For boothless projection, filter head mounts onto rack with control console, rack- or wall- mounted within 5m of filter assembly. MI-Clarity3D RH (Remote Sliding Head) - Filter disc can fit into tight spaces for smaller projection booths. Free-mounting frame allows filter head to move in-and-out of position of 3D/2D projection in horizontal and vertical motion. Other advanced product features include an automated 3D/2D filter position with built-in memory and compatibility with high frame rate speeds. The MasterImage 3D Eyewear circular polarising lenses are matched to the optics of the projection filtering system. Available in a variety of styles and sizes for onetime use or re-usable. The MI-Clarity3D in all models and financing programs are available immediately throughout the globe.

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NEC Display Solutions of America, a leading provider of commercial LCD display and projector solutions, announced that its NC3240S digital cinema projector has reached full Digital Cinema Initiatives (DCI) Compliance for usage with 2K legacy third party servers. The new projector offers 31,000 lumens of brightness with precise 4K (4096 x 2160) resolution and 3D capabilities for the largest cinema screen sizes of upto 105feet wide. The test was completed by the Research Institute for Digital Media and Content at Keio University (hereafter, DMC) in Japan, which is one of two entities licensed by Digital Cinema Initiatives, LLC to perform the Compliance Test Plan (CTP) tests. NEC’s digital cinema projectors were certified •

Digital Cinema System Specification (DCSS) Version 1.2 as of March 7, 2008

DCSS CTP Version 1.1 as of May 8, 2009

“Introducing DCI compliance to this 4K model is a significant achievement,” said Pierre Richer, President and COO of NEC Display Solutions. “The full line of NEC digital cinema projectors, including the NC1200C, NC2000C and NC3200S models, offers this certification, which is mandatory for exhibitors utilizing digital technology. Compatibility with the demanding industry requirements is something on which NEC prides itself. Our ability to provide customers with exactly what is needed for current installations is crucial to our success.”


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• TECHNOLOGY •

HFR

- The Next Kid On The Block – Sandeep Mittal

HFR means Higher Frame Rates. Frame rates are the number of images displayed by a projector in one second. 24 frames per second (fps) has been the standard in cinema so far. It is also the minimum speed of moving images at which the human eye cannot detect individual frames. As a result we see movies as one unbroken image, or so we think! HFR means that movies are recorded and played at twice or more, than 24 fps. Movies, especially fast-action movies, show up jittering during a fast-moving camera pan of action/motion sequences. Movies captured and projected in today’s cinemastandard 24 fps have blurring, flickering and stuttering visuals as problems though patrons, engrossed in the story, may not be

fully aware. Till you get the next best thing you do not realise what you were missing! Films for the last 90 years have been shot and shown at 24 fps. In the 1920s when the sound era began, 24 fps was chosen on the basis of the technical requirements of that era. It was probably the minimum speed required to get some audio fidelity out of the optical sound tracks. Remember the cost of film has always been high, and projection, mechanical. Hence it would not have been practical to go for HFR with film. In fact, in the 1980s, Doug Trumbell developed 60 fps called Showscan that looked great but did not find use past theme parks and speciality venues. Star Tours at Disneyland and King Kong at Universal uses 60 fps. Now with

both capture and projection going digital, 48 or 60 fps can go mainstream. Its like improving fidelity, this time of picture, by going from vinyl to compact disc. Of what use would CD have been, apart from ease of use, if the audio fidelity had remained the same as vinyl. Hifi comes to video, finally! Moreover, since the world has accepted digital 3D cinema as an ultimate moviegoing experience, the next improvement, HFR, cannot be far behind. 3D movies are likely to be more pristine in their visuals, creating a more realistic moviegoing experience than what is currently available. Some big movies that are coming in 2012 – “Lord of the Rings” prequels and “Avatar” sequels – will be using digital 3D HFR.

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• TECHNOLOGY •

Left: Peter Jackson on the sets of ‘The Hobbit’ being shot in 48 fps. Below: James Cameron plugs ‘Avatar’ sequels for 60 fps.

In theatres, a 3D movie though projected at 24 fps is actually flashed thrice. Called triple flashing, each frame is flashed thrice per eye to result in 144 fps overall. So native is 24 fps but electronically it is enhanced to 144 fps. This gives standard frame rate the best possible motion rendition which means a smoother look to the viewer. However, it also accentuates the inherent flaws. HFR is being pushed by directors who are planning 3D big-time. Peter Jackson, George Lucas, James Cameron. Peter Jackson is plugging for 48 fps. He is currently shooting ‘The Hobbit’ in 3D HFR, targeting for Christmas 2012 release. James Cameron is supporting 60 fps and industry watchers are speculating that ‘Avatar’ sequels will be shot in 3D HFR at 60 fps. Even HFR will still require 3D movies to be double flashed to remove any traces of flickering. Hence ‘The Hobbit’ shot at 48 fps will be double flashed at 96 fps to each eye to result in an overall 192 fps. Whereas Cameron’s ‘Avatar’ will be double flashed to result in 120 fps for each eye or an overall 240 fps! This is as smooth as it can get

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and would compare with latest in television technology. HD televisions already follow the HFR principle. High-end televisions advertise 240 Hz motion flow rate which again is not native but electronically derived from 60 Hz. So cinema would be playing catchup to television in what has essentially been a cat-and-mouse game since both got invented. Right from black+white to colour, aspect ratios to screen sizes, it has been a fascinating journey of oneupmanship. For exhibitors, adopting HFR, which essentially means both a software and hardware upgrade, for digital projectors, will result in delighted patrons and hence direct contributions to profits and expanded business opportunities for alternative content which is already coming at HFR. As of now, exhibitors are not able to leverage alternative content in HFR due to the bottlenecks. The investment for exhibitors would be in the software which is quite easily done via firmware but more tricky is the hardware which consists of essentially three components – media storage and

player in server linked via cable to the projector that displays the images on screen. With HFR, the data is going to more than double which the HD-SDI cable is just not going to be able to handle. The cable will become the bottleneck. The server block will have to be integrated with the projector so that full bandwidth is passed and nothing gets lost via cable. Heavy content with lossless, full bandwidth transmission would be the key. Already companies have commercially introduced Integrated Media Block (IMB) for the next generation of digital cinemas. Digital cinema is getting better and better for a more comfortable and lifelike viewing experience. From 2k we are going to 4k, digital 3D and now HFR, in a matter of few years. On the horizon is 3D viewing without glasses which will really be a major breakthrough and result in a rapid rollout of digital 3D and perhaps lead onto holographic cinema. While on the audio front, we are still evaluating height channels and hence 9.1 or upto13.1 could be deployed in the future. Watch this technology space for more such exciting news!


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• S P E C I A L F E AT U R E •

Despite Slowdown, Multiplexing Flourishes While the economies of North America and West Europe stagnate or go negative, multiplexing continues to flourish thanks to a strong boxoffice. Perhaps, recession blues drive patrons to the plexes for entertainment! TW showcases three examples.

DC’s first multiplex Imax Experience at AMC Georgetown AMC Theatres (AMC), a leading theatrical exhibition and entertainment company, informed that guests visiting AMC Georgetown 14 now enjoy The Imax Experience from Imax Corporation. The first screening was Contagion: The Imax Experience in September. The movie has been digitally re-mastered into Imax’s format exclusively for presentation in the Imax auditorium. The Imax Experience combines crystalclear images, powerful digital sound and customised theatre geometry to create a uniquely immersive movie experience. The Imax theatre at this location has been custom-designed for use in a multiplex theatre. To maximize the field of view in the modified auditorium, the screen was replaced with a larger, slightly curved and specially treated Imax screen positioned closer to the audience.

provides a sound quality that feels more immersive, especially with the added acoustic paneling that absorbs sound and removes echo.

with Imax’s proprietary image enhancer and custom lenses to create an image with greater clarity, brightness and contrast. The images on screen are complemented by Imax’s latest sound system, which features its proprietary loudspeaker technology and uncompressed digital sound. This sound system has ten times more dynamic range, cuts down on distortion and

The addition of Imax at AMC Georgetown 14 continues AMC’s dedication to offering the best and broadest menu of entertainment choices for guests seeking an unparalleled experience. The Imax theatre at AMC Georgetown 14 features Hollywood’s biggest movies that have been digitally re-mastered into Imax’s format. Other upcoming Hollywood movies released in Imax format include: Reel Steel, Puss In Boots, Happy Feet 2. The to-be-released list includes Mission Impossible: Ghost Protocol and The Adventures of Tintin.

Imax’s digital projection system combines two digital projectors

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• S P E C I A L F E AT U R E • Combining Imax’s revolutionary digital projection system, customised theatre geometry, specially designed screen and powerful digital audio system with AMC’s innovative products and amenities makes

AMC Georgetown 14 a premier destination for entertainment. The new Imax theatre maximises the experience for guests so they feel as if they are IN the movie they are watching.

The opening of the Imax theatre at AMC Georgetown 14 is part of a joint-venture agreement by AMC and Imax to install 125 Imax digital projection systems at AMC locations in major markets of North America.

Grand Cinema Digiplex Opens in Bucharest Grand Cinema Digiplex, opened this September in Bãneasa Shopping City in Bucharest, bringing the widest flat screen in Romania (22m wide). The multiplex has 13 screens and over 2,600 seats. The ultra large audiorium will provide 3D audio based on Iosono technology unique in Eastern Europe. The system is based on a sound processor which reproduces accurate sounds using 64 loudspeakers! Iosono sound system is the most complex and advanced sound system in Europe. It has a network of special speakers, controlled by a dedicated software able to recreate the acoustic multidimensional or environment multidimensional of the reality. In addition, Grand Cinema Digiplex has more than 380 recliner seats found in the best positions of each auditorium. The area is 14,000 square metres. The total investment is 19m. It has VIP halls as well as a Grand Ultra hall, with 500 seats and the largest screen in the country, according to the mall owners,and the concept of “black box”: ceiling, walls and chairs are black and dark grey for a complete isolation of the screen. The “silver screen” has a

special texture that offers great quality of the image. Ultra Grand Hall offers a unique level of comfort, viewers being able to choose between the two types of seats, standard or premium. Special attention was paid to finishing and design for an impressive cinematic experience, truly unique. A second 500-seat hall, Grand Epika, has a large screen and adjustable seating, catering to the needs of fashion shows, concerts and conferences. Bãneasa Developments, which operates Grand Cinema Digiplex, opened the first drive-in cinema in Bucharest in July 2009. In April last year, Baneasa Developments said it would expand the existing Baneasa commercial area north of Bucharest with three new facilities, which will require a total investment of 22m.

A multiplex cinema, a family entertainment centre with a gas station and car wash added, some 25,000 square metres in total, the developer announced at that time. The investment will be carried out in three phases. So far, the shopping center had a Drive-In Cinema, to cover the missing link in the entertainment mix. The Baneasa commercial area, which includes Baneasa Shopping City mall, as well as big box stores, among which an Ikea unit, is part of a larger project. The Baneasa project also includes offices and housing, all on 221 hectares of land. The entire project was estimated to require an investment of 1.8b and was inaugurated in 2008.

Vue Launches New Multiplex at Westfield Stratford City Cinema chain Vue Entertainment’s multiplex cinema in Westfield Stratford City - dubbed the gateway to the Olympic site - opened. The new cinema offers 17 screens, each with Sony 4K projection. The site also boasts two super-sized VueXtreme screens, which are 18x10 metres in size and seat up to 500 people - the biggest screens in London save for the BFI Imax, which measures 26x20 metres.

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There are five screens equipped with Incre3Dible Vue Digital 3D (Real D 3D) and 14 screens offering Vue Profound Sound (Dolby 7:1).


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• S P E C I A L F E AT U R E • Tim Richards, CEO of Vue Entertainment, explained: “Vue Westfield Stratford City sets new standards with a stunning stateof-the-art cinema set in a wonderful location and the installation of Sony 4K digital cinema projectors form part of the potential roll out of Sony’s amazing new projection technology systems across all Vue cinemas over the next couple of years.” The cinema is the newest addition to Stratford’s Westfield centre, the largest shopping centre in Europe, and follows the rollout of Vue’s Westfield multiplex in Shepherd’s Bush. At Westfield Stratford City Vue will open another cinema with 12 screens and 2,750 seats, above the planned restaurant and cafe court area currently under construction.

Westfield’s £1.45bn Stratford City project is adjacent to the site for the 2012 Olympic and Paralympic Games.

The scheme will include around 300 shops and is anchored by John Lewis, Waitrose and Marks & Spencer.


DOUBLE EDITION

• CINEMA SYSTEMS • Projection Series-XXXIV

Maintenance of Cinema Air-conditioning Fresh air is drawn into the cinema building via an external weather louvre, normally mounted high enough where the air is less polluted from traffic etc. The air is then filtered prior to passing it through the chiller banks, where it is cooled according to the settings of the control system. A centrifugal fan is used to draw the air in and pass it through a silence rinto a range of duct work to finally be discharged into the various areas of the building. As its name suggests, it works by centrifugal action. The fan consists of two discs joined together by curved blades at the outer edges. As the rotor spins, air is expelled and is replaced by air drawn in through the centre. Air is thus discharged on the outside of the casing and the inlet is at the centre. Before any work is carried out with air handling systems the unit must be manually isolated from the electrical supply. In many cases because of the size of the unit it may be necessary to enter the unit itself, so protective clothing, fact masks etc., must be worn as specified and supplied. Check the electric motors at least once a month and check if any overheating has occurred, otherwise the motor will run noisily. Check also that the fixing bolts are tight. If there

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are signs of overheating, check the alignment of the belts and pulleys and their tension. While applying grease, ensure the grease funnel fitting is clean and wipe away any old grease and dirt from the valve on the motor. Apply new grease until the older grease is forced out through the opening in the bearing cover. Check also the plumber block type bearings on the fan shaft and lubricate as required. Any belts should be checked for wear. Remember - if one belt of a matched set is worn, the whole set must be changed for even tension. Never change just one belt. If wear persists look for any misalignment of the pulleys or any signs of damage. Should damage be evident then the pulley must be changed and alignment re-done. The fan scrolls should be cleaned out annually. The majority of dirt will collect at the ends of the scrolls where they are fastened to the sides. Be sure to get even the slightest bit of dirt out of these corners or the air velocity will be greatly reduced making the whole conditioning system inefficient. Filters must be properly maintained in order to

ensure proper air cleaning efficiency. Dirty filters will reduce the air flow and the system will become inefficient. A six week cycle for cleaning is about average but a lot depends on the air quality in your particular situation. Washable filter pads can be cleaned by gently tapping them and removing loose dust with a vacuum cleaner. The pad once removed can be immersed in warm soapy water and agitated until all the contaminants have been removed. Rinse and replace after being allowed to dry off for a few minutes. Refit them in the reverse sequence in which you removed them, making sure they are securely fitted so that no unwanted noise will be generated. Disposable panel filters should be replaced about every three months, though again in dusty locations this

Air heating banks


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• CINEMA SYSTEMS • may be more frequent. Replacing them is usually a matter of unclipping and sliding out the old filters and sliding in the new ones. Bag filters can be expected to have a life of about twelve months, but again local conditions can change this. Servicing these is merely a matter of replacement. The cooling coils through which the filtered air passes should be inspected every three months to check if any solids or foreign matter has accumulated between the fins and that there are no water leaks. Any matter found can be removed with a soft brush or a vacuum cleaner. Great care should be taken no to damage the fins; never use any metal probes to clear debris. Should the fins become contaminated too frequently check that the air filters are performing correctly. The chillers are self-contained units mounted on the roof of the cinema. A chiller plant works on the same principle as a domestic refrigerator in that a coolant is compressed and as it is allowed to expand there is reduction in temperature. Depending on the size of the unit there may be several compressors working in tandem, as the outside temperature rises, more compressors are called upon on demand. It is important to check all fans, motors and airways in the chiller unit on a

routine basis as any reduction of air may not be immediately obvious until the unit is called upon to give its maximum and it fails to do so. The oil in the compressors should be checked daily, but note that at startup the oil level may appear high because it has absorbed coolant during its shutdown cycle. Once running the refrigerant will be boiled off and the oil levels appear normal. Since chillers vary from manufacturer to manufacture it is important to know the operating pressure and temperature of your particular unit and ensure that it is operating within those limitations.

Finally check that the CO2 monitoring sensors placed inside the auditorium are in good working condition as they determine the quality of indoor air (IAQ). The correct ratio of fresh air blended with the return air and the bleeding out of exhaust air is important to ensure a high IAQ which is most important for patron comfort.

Every week the units should be checked for leaks and if any are discovered they should be reported. Check also each refrigerant circuit view-glass for moisture. If the indicator shows moisture then the drier cores require replacement. Finally check that the compressor oil is its normal colour, any lighter or darker indicates that the oil has become contaminated and requires a change.

One last word. To save on power, multiplex operators are known to switch off the airconditioning approximately twenty minutes before a movie ends. Patrons do not get fooled. They do not appreciate the discomfort towards the end of the movie which may be the most important part of the story. A higher admission rate is more acceptable than a stuffy auditorium!

Roof-mounted chiller units

Chiller principle

Chiller unit compressor

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PREVIEW

6-8 December 2011

Hong Kong CineAsia 2011 - the 20th edition of Asia's premier event for the continental motion picture exhibition industry - will be held 6-8 December at the Honk Kong Convention and Exhibition Centre in Hong Kong. CineAsia is the only Pan-Asian event of its kind and Hong Kong is the epicentre of the Asia-Pacific movie industry, presenting a platform to do business with Asia-Pacific cinema exhibitors. The event - being held in an upbeat atmosphere of market recovery and digitally rejuvenated cinema building expansion across the continent - promises to be more constructive and interactive than it had been in the recent years. As theatre-going continues to rise, more multiplexes emerge, and the roll-out of digital cinema continues to increase, cinema owners and operators will come to CineAsia looking for products and services to serve all of their growing needs.

The Programming Attractive and informative programming has been the mainstay of CineAsia, and this year promises to be even better! With seminars covering aspects of cinema marketing, growth markets in SE Asia, curbing piracy and film thefts, the thought provoking sessions will have panelists and presenters drawn from different

domains of the industry. The session on growth markets in SE Asia will explore several exciting markets and discuss important issues of today and the future with a snapshot of country-level industry highlights, development and growth.

Movie Screenings‌ As usual, CineAsia 2011 will have its own dosage of movie entertainment and product reels of forthcoming releases from Hollywood majors woven around the technical programming on all the 3 days.

Awards‌ CineAsia 2011 Awards Night will be held on the evening of 8 December.

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The award categories remaining predominantly similar to the previous years, it is definitely the most awaited evening at CineAsia! This year, leading Chinese exhibitor Naoshi Yoda, T-Joy entertainment is chosen for the prestigious Exhibitor of the Year Award. Other categories includes the DLP Cinema Marketing Achievement Award, Asia-Pacific Copyright Educator Award, Distributor of the Year, Producer of the Decade and Female Star of the Year.

The Tradeshow‌ The all-important tradeshow this year will have all that the region has to showcase in terms of its local strengths and global scales. The dominant show, of course, would be from the global digital equipment players such as Barco, Christie, Sony, Doremi, MasterImage, Ballantyne Strong, Qube, GDC and XpanD. From the digital audio and integrated cinema systems side, Dolby and Datasat are going to be two big players, followed by Qube, QSC, Harman, Meyer Sound. Global Cinema equipment and solutions providers such as USL, Harkness Screens, Vista Entertainment, Jos Schnieder, Ushio and Osram Asia Pacific .

Exhibitors QSC Audio .................................. Ballantyne Strong ...................... Jos Schneider .............................. Ushio ............................................ D-box ........................................... Golden Link ................................ Vista Entertainment ................... Christie Digital ............................ Dolby ........................................... USL ............................................... Sony ............................................. Harkness Screens ........................ Barco ............................................ Osram ........................................... Doremi Cinema .......................... GDC Technology ........................ JBL / Crown ................................. Qube Cinema ............................. Meyer Sound .............................. Xpand .......................................... Digital Magic ............................... Weaver Popcorn ......................... Technicolor .................................. Qingdao Fuyi ............................. Yuyu Electric Light ..................... Star Screen .................................. Leonis Ciniema ........................... Soundking ..................................

100 101 104 107 108 112 115 201 205 206 211 214 301 304 305 311 315 401 405 411 412 414 415 500 501 503 504 505

Then, there will also be global players like Golden Link in cinema branding, Klipsch in loudspeakers, Spectro Screens in cinema screens, and Preferred Popcorn in concessions.

JFH Industrial .............................. MasterImage 3D ......................... Artisan Gateway ......................... Screen Solution .......................... Integ Process ............................... Cinesoft ....................................... Tianjin City Jinsheng Paper ...... TW - TheatreWorld ........................... Pub Quantas Popstar ......................... Getd Tech .................................... Datasat Digital ............................ ICTA .............................................. GXM .............................................. ASPL Technology ....................... Volfoni ......................................... Ferco Seating .............................. TK Architects ............................... Mikrom ........................................ Spectro Screen ............................ Klipsch ......................................... Newvos ........................................ Lightspeed Design ..................... Focux Technology ..................... Gold Medal ................................. Especia ......................................... Blick .............................................. Jubilant Chain ............................ Pirateeye ......................................

506 511 512 513 514 515 600 Bin 601 605 611 612 613 614 802 803 804 805 806 807 808 810 811 812 813 814 815 816

Overall, CineAsia 2011 is going to be an interesting proposition for the Asian exhibition industry. Block the dates to make sure you visit!

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REVIEW

The 2011 edition of Cinema India Expo was held 24-25 June 2011 at the Renaissance Convention Centre Hotel, Mumbai. This year marked the 11th anniversary of the expo bringing together the professionals from the movie making industry. It covered areas like movie production hardware, both in the film and digital formats. Cinema India Expo 2011 strengthened the annual convention bringing in a strong participation of multiplex chains and theatre owners. The dynamics of digital projection with transition to 2K and 3D attracted the industry. The Indian cinema industry is maturing rapidly in terms of revenue, technology and investment. A total of 937 delegates over the two days which included single-screen theatre owners, multiplex owners and senior management, cinematographers, film distributors, manufacturers, directors, post-production studio executives, theatre operation executives etc. As many as 34 companies were on the exhibit floor offering products ranging from 3D cinema & production technologies, digital cinema equipment, ticketing software and cinema speakers. The expo also had several movie screening at the venue.

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Companies like Xpand, Dolby, Qube, UFO Moviez, Prasad Group, Master Image demonstrated their 3D technology both for ECinema and DCinema.

Other companies at the show floor were Christie, Datasat, Doremi Cinema, Harkness Screens, Harman, Master Image, Professional Esolutions, Sony India, Styre,

Session on ‘Key trends and future of sound in cinema’ (L-R) Sandeep Mittal of TheatreWorld, Vikram Joglekar of Dolby, T S Sriram of Harman and Mike Smith of Datasat


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Sony DADC, UFO Moviez, Vision International, Xpand, AJA Video Systems and Big Tree Entertainment. Conference Sessions started with the keynote on Champions of Digital Cinema. Ranjit Thakur of Scrabble Entertainment, Sai Prasad of Prasad Group, Senthil Kumar of Real Image, Vishnu Patel of UFO Moviez discussed and debated the growth of the digital cinema market in India. The session looked at the rollout of e-cinema and the DCI compliant 2K digital cinema. Digital Cinema Transition - The panelists Kristin Petrovich Kennedy of Createasphere, Don Shaw of Christie, Tony Adamson of Texas Instruments, Subhendu Dutta of Sony discussed the opportunities for digital transition in India

AJA Video Systems

Big Tree

Datasat

Harman

Sony

UFO

In Theatre Marketing and Survival of the Single Theatre amidst the growth of multiplexes - The panelists Patrick Frater of Film Business Asia, Amitabh Vardhan of My Cinemas, Prakash Chaphalkar of City Pride, Amit Gowda of Urvashi Cinemas, Deepak Kudale of Arun Talkies Sound - Key trends and future of sound in cinema - Anchored by Sandeep Mittal of TheatreWorld, panelists included Vikram Joglekar of Dolby, T S Sriram of Harman India, and Mike Smith of Datasat 3D Technology - The panelists Mohammed Ahmadi of Xpand, Dan Zheng of Master Image, Prem Tiwari of Cinepolis discussed the latest trends and challenges in creating 3D content and technology. Challenges in creating Indian 3D content - The panelists Merzin Tavaria of Prime Focus, Kireet Khurana of Climb Media, Kristin Petrovich of Createasphere, Ranjit Thakur from Scrabble and Mohammed Ahmadi of Xpand. TheatreWorld

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EVENT CALENDER

REVIEW

WINTER 2011 6-8 DECEMBER CINEASIA, HONG KONG www.cineasia.com

SPRING 2012 14-16 MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com

23-26 APRIL CINEMACON, LAS VEGAS, USA www.cinemacon.com

SUMMER 2012 18-21 JUNE

In line with its practice of over 23 years since its inception, the ShowEast event fare, this time too, included:

CINEEUROPE BARCELONA, SPAIN www.cinemaexpo.com

Screenings of new movies

Product reel presentations of upcoming movies

27-29 JULY

Sponsored food events

Technical sessions on issues concerning issues

Networking Events

Product demonstration Suites

Tradeshow

Awards presentation

CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in

19-23 AUGUST AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au

SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru

AUTUMN 2012 5-8 NOVEMBER SHOWEAST, FLORIDA, USA www.showeast.com

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ShowEast 2011, the 24th annual convention and tradeshow for the motion picture exhibition and distribution community in the East Coast of the Americas was held 24-27 October, 2011, for the very first time at the Westin Diplomat Resort in Miami/ Hollywood, Florida. This year's event assumed significance in that it sought to explore the various aspects of Digital cinema like digital-cinema conversions, digital projection luminance levels, and the business implications of the new High Frame Rate technology being embraced by top filmmakers like James Cameron and Peter Jackson.

October-December 2011

Eagerly anticipated films as the latest Twilight vampire romance, kid attractions Puss in Boots, Happy Feet Two, Arthur Christmas, The Muppets and Alvin and the Chipmunks: Chipwrecked, the return of Sherlock Holmes and a fourth Mission: Impossible, and imaginative tales from Steven Spielberg and Martin Scorsese were screened. Two of the year's most acclaimed festival entries also made the trip to Miami: Fox Searchlight's George Clooney starrer The Descendants and

Sony Pictures Classics' Carnage, directed by Roman Polanski and starring Jodie Foster and Kate Winslet. Attendees got a first look at two of the season's biggest titles, as Disney presents the return of The Muppets and Paramount and Columbia screen Spielberg's The Adventures of Tintin in 3D. Opening-day programming included distribution and marketing presentations from the international divisions of Disney, Paramount, Sony, Twentieth Century Fox, Universal and Warner Bros. The event was preceded by a programme Titled ICTA Technology 101 Expert Speak out: Things You Need To Know When Converting From Film to Digital Projection. Running concurrently with International Day programming, this session focused on topics such as an Digital Projection Luminance Levels, Manage Lamp Performance for Optimised Digital Cinema, High Frame Rates for Digital Cinema and Business Implications Regarding Higher Frame Rates. Along with award presentations to the International Exhibitor and Distributor of the Year, International Day programming featured Warner Bros. Pictures International executive VP Monique Esclavissat's analysis of Latin America and its prospects. The four-day event, as usual, was crested by a grand finale of Awards Ceremony that recognises and honours significant contributions made by the industry professionals in various areas of activism. The annual Show 'E' Award was presented to Sony Pictures veteran Jim Amos. With this year's success, ShowEast, Miami, Florida is surely an event you cannot afford to miss! Block your dates for the 2012 event, 5-8 November!


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entertainworld Director’s Cut - Luxurious Cinema Destination PVR introduced a dazzling new concept in the world of movie watching–luxury entertainment at Director’s Cut (DC), at the Ambience Mall, Vasant Kunj, New Delhi. Conceived by Ajay Bijli, Chairman and Managing Director, PVR Ltd, DC will further cement PVR’s stance in its core proposition-the film exhibition business, a business where the company is the acknowledged pioneer of the multiplex revolution in India. Director’s Cut includes four most luxurious cinema halls, a café, a cutting-edge restaurant, one of the city’s best-stocked bars, a lounge, a patisserie and a never-seen-before book shop devoted to the movies. Director’s Cut, as the name suggests, is the final and definitive word on cinema viewing – the ultimate vision and thought process of an auteur. The concept marries two thrilling ideas, that of luxury and cinema, bringing October-December 2011

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entertainworld

to connoisseurs, four screens

aroma of international coffees

a blanket, an hors d’ouvre or a

made for cosseting viewers in

as patrons walk in to the swish,

drink.

the plushest surroundings that

interiors of the restaurant with

range from a fully recliner

its wooden floor and tufted silk

seating, 2K digital projection,

upholstery, each element of DC

finest surround sound and

is meant to thrill the sensory.

complete 3D capability.

Signatures of cinematic

Director’s Cut has four ultra

legends-Kurosawa, Ray, Godard

plush auditoriums which can

and more are etched on the

seat 282 people in all. The

smoky glass panels of the

largest audi can seat 108

restaurant. The cinemas

people and the smallest one

themselves are an ode to

can accommodate 25 people.

elegance and pampering,

The interiors of Directors’ Cut are soaked in classic and contemporary film-based art in numerous forms, so as to underline the classic quality of the experience. From the TW-48

October-December 2011

ranging from interiors in rich burgundy, gold, carmine and a shimmering ochre. Chic individual lamps sit on consoles besides each seat. A waiter is a button away with a hot towel,

Says Ajay Bijli ,Chief Managing Director, PVR Ltd, “Am happy to launch Director’s Cut. DC brings an unmatched luxury cinema viewing experience, something which has never been seen in the country before. It sets a benchmark of excellence and value to a discerning audience. We bring in the most innovative concept of fine dining to cinemas, with cuisine brought together by renowned chefs from India and abroad, which will cater to every palate. We are positive that the property will be well


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entertainworld

received by discerning movie

banner, showcase vintage and

lovers of the capital.”

classic cinema and landmark

Added Sanjeev Kumar Bijli,

television shows. Film festivals

Joint Managing Director, PVR

will be a vigorous and on-

Ltd. said, “This is a significant

going feature. DC will create a

opening for us. Although

cultural space where cineastes,

Director’s Cut will screen

with a taste for an ambience

popular current cinema, it will

that is refined, will look

also under Director’s Cut ‘Rare’

forward to spending time on a

regular basis, simply because no content will be inaccessible at this scale anywhere else. The plan for DC is unique, and we seek to make it a cultural hub showcasing distinguished speakers, exhibitions, lectures and performances.”

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entertainworld Director’s Cut highly motivated and well trained staff provide exceptionally attentive, personalised service. It also has a cinema related bookshop that will offer signed editions, rare DVD editions, signed memorabilia and upscale cinema related merchandise to round off the total experience. The dining has been put together by renowned worldclass chefs to offer never before dining formats and experiences. To complement the cuisine, one of the finest wine cellars in the business has been put together, to offer patrons an enthralling experience from wine by the glass to a complete wine buffet. Not only this, DC also provides an option of being served the choicest gourmet offerings

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from the fine-dining outlet at

business and PVR plans to

your seat. This winning

further expand the concept to

combination of upscale cinema

other metro cities. Once

and upscale dining ensures

Directors’ Cut gains the

Directors’ Cut becomes a

requisite tipping point, it will

cultural and entertainment

also be offering memberships

landmark.

to a loyalty programme that

Director’s cut is an essential part of PVR’s assiduous strategy to scale up its exhibition

has been already been put in place. The benefits will possibly outclass those offered by any upscale metropolitan club.


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F U T U R E

R E L E A S E S

A glimpse of movies coming to Asia this winter or later… New Year’s Eve

The Woman in Black Production New Line Cinema

Production CBS Films

Director Garry Marshall

Director James Watkins

Starring Halle Berry, Jessica Biel

Starring Daniel Radcliffe, Ciaran Hinds

Genre Comedy, Romance

Genre Horror

Tinker, Tailor, Soldier, Spy

We Bought a Zoo

Production Focus Features

Production 20th Century Fox

Director Tomas Alfredson

Director Cameron Crowe

Starring Gary Oldman, Ciaran Hinds

Starring Matt Damon, Scarlett Johansson

Genre Drama

Genre Drama

Alvin and the Chipmunks Chipwrecked

Mission Impossible: Ghost Protocol

Production 20th Century Fox

Production Paramount Pictures

Director Mike Mitchell

Director Brad Bird

Starring Jason Lee, David Cross

Starring Tom Cruise, Jeremy Renner

Genre Action, Adventure

Genre Action, Adventure

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F U T U R E The Darkest Hour

Production 20th Century Fox

Director Chris Gorak

Director Anthony

Starring Emile Hirsch, Olivia Thirlby

Starring Cuba Gooding Jr., Terrence Howard

Genre Action, Sci-Fi

Genre Action, Drama, War

Beauty and the Beast 3D Production DreamWorks

Production Walt Disney

Director Steven Spielberg

Director Gary Trousdale

Starring Emily Watson, David Thewlis

Starring Paige O’Hara, Robby Benson

Genre Drama

Genre Romance

The Devil Inside

Sherlock Holmes: A Game of Shadows

Production Paramount Pic.

Production Warner Bros.

Director William Brent Bell

Director Guy Ritchie

Starring Fernanda Andrade, Isabella Rossi

Starring Robert Downey Jr., Jude Law

Genre Horror

Genre Action, Adventure

Contraband

Haywire

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Red Tails

Production Summit Entertain.

War Horse

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Production Relativity Media

Production Universal Pictures

Director Steven Soderbergh

Director Baltasar Kormákur

Starring Gina Carano, Channing Tatum

Starring Mark Wahlberg, Kate Beckinsale

Genre Thriller

Genre Action, Thriller


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F U T U R E Underworld Awakening

R E L E A S E S Big Miracle

Production Screen Gems

Production Universal Pictures

Director Måns Mårlind

Director Ken Kwapis

Starring Kate Beckinsale, Stephen Rea

Starring Drew Barrymore, John Krasinski

Genre Action, Horror

Genre Adventure, Family

Chronicle

The Grey Production Open Road Films

Production 20th Century Fox

Director Joe Carnahan

Director Joshua Trank

Starring Liam Neeson, Frank Grillo

Starring Dane DeHaan, Michael B. Jordan

Genre Thriller

Genre Comedy, Sci-Fi

Man on a Ledge

Star Wars: Episode I The Phantom Menace 3D

Production Summit Entertain.

Production 20th Century Fox

Director Asger Leth

Director George Lucas

Starring Sam Worthington, Elizabeth Banks

Starring Liam Neeson, Ewan McGregor

Genre Crime, Thriller

Genre Adventure, Sci-Fi

One for the Money

Ghost Rider: Spirit of Vengeance

Production Lionsgate

Production Columbia Pictures

Director Julie Ann Robinson

Director Mark Neveldine

Starring Katherine Heigl, Jason O’Mara

Starring Nicolas Cage, Fergus Riordan

Genre Action, Comedy

Genre Action, Adventure

October-December 2011

TW-53


DOUBLE EDITION

F U T U R E Agneepath

Don 2 Production Dharma Productions

Production Excel Entertain

Director Karan Malhotra

Director Farhan Akhtar

Starring Hrithik Roshan, Priyanka Chopra

Starring Shahrukh Khan, Priyanka Chopra

Genre Action / Drama

Genre Action / Thriller

The Dirty Picture

Production Eros International

Director Milan Luthria

Director Rohit Dhawan

Starring Vidya Balan, Naseeruddin Shah

Starring Akshay Kumar, John Abraham

Genre Musical / Drama

Genre Action / Comedy

Players Production Nahar & Puneet

Production Viacom 18

Director Puneet Issar

Director Abbas-Mustan

Starring Ranveer Singh, Amelia White

Starring Abhishek Bachchan, Bobby Deol

Genre Drama

Genre Action / Thriller

Ek Main Aur Ekk Tu

October-December 2011

Desi Boyz

Production Balaji Motion

I Am Singh

TW-54

R E L E A S E S

Ladies vs Ricky Bahl

Production Dharma Productions

Production Yash Raj Films

Director Shakun Batra

Director Maneesh Sharma

Starring Imran Khan, Kareena Kapoor

Starring Ranveer Singh, Anushka Sharma

Genre Romance / Comedy

Genre Comedy / Romance


ISSUE 51 & 52

ADVERTISERS’ INDEX Company

Page #

Product

Email

Website

Amar AV

TM-11

Screens

anandb@vsnl.com

Anutone

TM-39

Walls & Ceilings

info@anutone.com

Barco

TM-3

Projectors

eti.gupta@barco.com

www.barco.com

Broadway

TM-9

Exhibition

info@hdilbroadway.com

www.hdilbroadway.com

Christie

TW-13

Projectors

sharon.lee@christiedigital.com

www.christiedigital.com

Datasat

TW-11

Audio Processor

cinemainfo@datasatdigital.com

www.datasatdigital.com

DLP

TW-9,57

Digital Cinema

guns@ti.com

www.dlpcinema.com

Doremi

TW-7,15

Digital Cinema

info@doremicinema.com

www.doremicinema.com

Galalite

TM-15

Screens

info@galalitescreens.com

www.galalitescreens.com

Harkness

TW-19,55

Screens

sales@harkness-screens.com

www.harkness-screens.com

Harman

TW-59

Sound

indiapro@harman.com

www.harman.com

Osram

TM-5

Projection Lamps

p.deshpande@osram.com

www.osram.com

PVR

TW-3

Exhibition

pramod.arora@pvrcinemas.com

www.pvrdirectorscut.com

Qube

TM-7

Server

info@realimage.com

www.qube.in

R&S India

TM-2

Audio

sales@rns.co.in

www.rns.co.in

Sathyam

TW-5

Exhibition

preetha@sathyamcinemas.com

www.sathyamcinemas.com

Scrabble

TW-60

Digital Cinema

ranjit@scrabbleentertainment.com

www.scrabbleentertainment.com

www.anutone.com

Shri Krishnashray TM-40

Signage

info@shrikrishnashray.com

www.shrikrishnashray.com

USL

TW-2

Sound

uslinc@uslinc.com

www.uslinc.com

Vista

TW-39

Ticketing

info@vista.co.nz

www.vista.co.nz

The next issue of TheatreWorld is our Spring Special. It will be promoted at CinemaCon, Las Vegas. The last date for advertising orders is 20 February 2011. Email bobby@sandy.in



TW_CINEASIA