www.cinematech.today The leading magazine for cinema industry professionals > VOL.35
NO.2
>
06/22
THE SCIENCE OF
POPCORN Going behind the scenes of the industry's V E L O P I N favourite I C O N I C snack
R E D E G T H E 1 9 5 P I C C A D I L L Y Comscore, ICTA & A Spotlight On Three new regulars to feast your eyes on
Showtime Analytics Events galore!
A profile of the company UNIC Cinema Days, fast becoming a household UKCA Conference, industry name CinemaCon, CineEurope
I N T E R V I E W
Universal Pictures International is proud to support
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C O N T E N T S C I N E M A T E C H N O L O G Y > VO L . 3 5 N O . 2 > 0 6 / 2 2
26 NEWS
08
Ferco
&
Flexound
are
installed at the Cineum,
Cannes
17
The Ultimate Picture Palace launches its shares offer
delves into exactly this, in
Adrian Pennington's debut CT article
44 whys
Electro-LuminX's
Pendlebury explains the and
wherefores
David Hancock talks tight budgets and reusing older
48
events starts with April's
UKCA Conference, followed by CTC's One Community Day
22
56
Our new regular feature from Comscore dishes up
some box office numbers for Q1 2022 Our second new feature, A Spotlight On, starts with a
focus on Filmhouse Cinemas, Nigeria
31
Showtime
Analytics
has
made a name for itself in a
few short years. We find out how they're doing it...
Motion Picture Solutions Ltd, Mission Hall, 9-11 North End Road, London W14 8ST T: +44 (0)20 3026 1368 MANAGING EDITOR: HELEN BUDGE E: helen.budge@cinema.technology ART DIRECTOR: DEAN CHILLMAID E: dean.chillmaid@cinema.technology
www.cinematech.today
of
A smorgasbord of real-life
equipment
26
Steve
electroluminscent vs LED lighting
FEATURES
18
36
The Science of Popcorn
The UNIC team tantalises your CineEurope
tastebuds in this Barcelona teaser
58
Celluloid Junkie's
As the ECA turns 10, Melissa Cogavin goes
back to the beginning and Grainne Clarke looks to the future
COMMISSIONING EDITOR: PETER KNIGHT E: peter.knight@cinema.technology ADVERTISING: BOB CAVANAGH Caixa Postal 2011, Vale da Telha, 8670-156 Aljezur, Portugal T: +351 282 997 050
64
ICTA shares their latest developments and
activities in their first-ever column
Executive Editor, J.
Sperling Reich, reviews CinemaCon
60
22
CT Q&A
70
Deluxe's
Marie-Laure
Barrau
answers
our
questions on her career so far, in cinema tech services
M: +351 962 415 172 E: bob.cavanagh@cinema.technology SUBSCRIPTIONS Cinema Technology is mailed to IMIS Members. For subscription details and to read the magazine online, visit www.cinematech.today or email peter.knight@cinema.technology
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Tapas and sangria, anybody?
www.cinematech.today The leading magazine for cinema industry professionals > VOL.35
NO.2
>
06/22
THE SCIENCE OF
Eight months after the last CineEurope we’re back on the Barcelona beach to celebrate. The resilience of the industry has shone through, the first quarter of 2022 has considerably lifted spirits and the summer slate is a-sizzling...
POPCORN Going behind the scenes of the industry's V E L O P I N favourite I C O N I C snack
R E D E G T H E 1 9 5 P I C C A D I L L Y Comscore, ICTA & A Spotlight On
W
Three new regulars to feast your eyes on
Showtime Analytics Events galore!
A profile of the company UNIC Cinema Days, fast becoming a household UKCA Conference, industry name CinemaCon, CineEurope
001_JUN22_COVERv2hb.indd 1
hile you’re reading this on the beach
multipage feature on popcorn could be. But Adrian
with a glass of vino tinto in hand, let’s
produced such an informative article that tells the story
start with a huge thank you to our
with such clarity that we decided to give it the space it
contributors for getting content to us
deserves. Thank you as well to experts-in-corn Preferred
in a much shorter timeframe than
Popcorn’s Thomas Peace, Cretors and AK Acres, who all
normal (due to me going off to get married followed by
gave Adrian their time and knowledge to explain the
going on honeymoon, which is, I confess, disgraceful
behind-the-scenes mechanics of those tiny bites of sweet
behaviour). The next edition in September will be far more
or salty goodness. (It should always be a mixture if you
leisurely… she says. But boy, do we have a host of goodies for
ask me.)
you in this June edition.
18/05/2022 10:19
Our next magazine edition in September is already in
We’ve got three new regular columns: one from our
the works, with a focus on boutique and mini-theatre
friends at Comscore providing an overview of recent box
cinemas so if this perks your ears up do get in touch with
office figures, and a second looking at lesser-known
our Commissioning Editor, Peter Knight. But before then
exhibitors around the world in a new series called “A
we have a summer of screen goodies and sunshine to enjoy.
Spotlight On…”, starting with Filmhouse Cinemas in Nigeria.
And, more importantly, plenty of data showing us the
And, of course, the ICTA’s first column for us.
cinema recovery is underway. Huzzah!
Who’da Thunk? And while we’re talking editorial we have to mention our cover feature from freelance journalist, Adrian Pennington. In his debut CT Magazine piece Adrian writes about the science behind the industry’s favourite grain - popcorn, what else - and the incredibly detailed process that goes on behind the scenes. From designing the type of popcorn according to a customer’s needs, to growing, picking and handling it, the whole journey is fascinating. I’ll confess to
Helen
initially being slightly skeptical about how “meaty” a whole
Managing Editor
www.cinematech.today
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e ve n t s
CT NEWSREEL
n e w S ,
v i e w s
&
i n d u s t r y
r o u n d - u p
g l o b a l t h e o f
U p - to - d a te
Ferco Seating and Flexound Audio Installed in Iconic Cineum F e r co
a n d
i n te g r a te d C i n e u m
i n
F l e xo u n d
h a ve
m u l t i s e n s o r y Ca n n e s ,
i n s ta l l e d s o u n d ,
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a t
a n d
t h e
i co n i c
Cannes
Cineum, Cannes
FERCO Seating, the design-to-manufacture
Ferco’s premium motorised seating incorporates
luxury seating specialist, has installed Premium
performance, practicality and style allowing
Verona recliners at the Cineum, Cannes. And
visitors to the Cineum to lie back, relax and
complementing the installed DTS:X sound
escape during their visit to the big screen.
system, Finnish audio innovation company,
The Cineum Cannes will be utilised for
Flexound Augmented Audio, has installed their
screenings at future Cannes Film Festivals. The
integrated audio technology in all the seats of
festival, a world-famous celebration of new and
the
established filmmakers, actors and writing, truly
Lodge
auditorium,
providing
personal
immersive audio and natural vibration.
celebrates the cinema-going experience.
Traumpalast and IMAX Leonberg Presented with ICTA Presentation THE International Cinema Technology Association
and continuously strive towards celebrating the cinema
(ICTA) has announced the presentation of a new award,
theatre as a social and experiential meeting space, to the
the ICTA Presentation Excellence Award, at German
benefit of their audiences. Creativity, digital excellence
cinema convention Kino 2022 in Baden-Baden. The award
and an above-average focus on audiences were further
was presented to Heinz Lochmann and Marius Lochmann,
selection criteria.
the owners and operators of Traumpalast and IMAX Leonberg, on 18th May at 11:30am. With the new award ICTA intends to honor cinema
>
s e a t i n g
F r a n ce .
operators in Germany who embrace cinema technology 8
l u x u r y
r e s p e c t i ve l y ,
>
The winner, Traumpalast and IMAX Leonberg, had been nominated amongst 15 further candidates by members of the ICTA, which counts 240 members around the world. www.cinematech.today
High-Power Digital Xenon Projector Lamps
So Bright. So Vivid. So . Fin Cin d Ush em io Cin a Star ’s e s Sta Europ at nd e 400
Ushio Europe Group presents A Digital Xenon Projector lamp Job van der Heijden Pierre-Olivier Bancal Graham Shute Witali Heinle “That’s So DXL” Screenplay By Japanese Engineering Based on the true brightness of the Ushio DXL Series Director of Photography Agata Michalak Production Design Sam Rogers Music By Xenon Directed by Job van der Heijden
C T
N E W S R E E L
Showtime Analytics Announces an Agreement to Integrate Its Platform with Ready Theatre Systems SHOWTIME Analytics has announced an agreement to integrate its data analytics platform with major US point-of-sale provider Ready
Ōma Cinema Announces India Rollout Plan with PVR Cinemas ŌMA Cinema and PVR Cinemas, India’s largest cinema
Theatre Systems (RTS). Since 1993, Ready Theatre Systems has set the standard for a
company, have entered into an exclusive agreement at
quick and easy point of sale system. Their software is fast, feature-
CinemaCon 2022, the industry’s largest international
rich, and economical and serves theatres both big and small across
exhibition show. Ōma Cinema was created by Pierre Chican,
the USA.
a renowned French architect, who has designed some of
Under this new agreement RTS customers
the most cutting-edge cinemas in France over the last 30
will have the ability to utilize the Showtime
years. Inspired by the design of the great theatres and
Analytics product suite including their operational
opera houses, Ōma Cinema’s unique tiered balconies, or
tool,
“pods”, enable viewers to enjoy a unique, sociable, cinema
Showtime
Insights,
marketing
solution
Showtime Engage and newly launched Customer
experience whilst enjoying a perfect view of the screen.
Analytics tool.
PVR has always been on the forefront of technology
Their cloud-based system brings POS and customer
and has undoubtedly created one of the finest luxury
data to life through real-time, user-friendly visual
cinema chains, with their bespoke experiences and a
analytics via a standard web browser or mobile device.
place
where guests can
get lost in
a world
of
make-believe.
CineEurope Gold Awards Recipients Announced THE International Union of Cinemas (UNIC) and the Film Expo Group have announced the recipients of the 2022 CineEurope Gold Awards, given to cinema professionals in recognition of their outstanding dedication and service to the sector. The Gold Awards will be presented as part of the CineEurope Awards Ceremony on Thursday 23 June at the CCIB conference centre in Barcelona, Spain. The Gold Awards, introduced at CineEurope 2018, recognise cinema professionals – often in roles that do not necessarily
CineEurope’s Gold Awards 2022 will be presented in Barcelona
> Suzanna Holmqvist, CMO, Svenska Bio > Eric Meyniel, International Content Director, Kinepolis > Jon Nutton, Marketing Director, Empire Cinemas > Eva Rekettyei, Programming Director, Yelmo Cines
command the spotlight – who have made an exceptional contribution both to the ongoing success of their company or organisation, and to the wider European cinema industry.
UNIC President Phil Clapp said, “I would like to congratulate each of the CineEurope Gold Awardees for their great achievement and for the hard work, passion and
The recipients of the 2022 Gold Awards are as follows:
dedication they have each brought to the European cinema
> Sylviane Amata, Head of Construction Department, UGC
industry.”
> Mike Bradbury, Group Head of Cinema Technology, ODEON Cinemas Group
Andrew Sunshine, President of The Film Expo Group, added, “Our entire team would like to congratulate all of those
> Kiril Enikov, Head of Technical (UK), Cineworld
being recognized with a Gold Award this year and thank
> Thomas Erler, Operations Manager, Kinopolis
them for their continued support and dedication”.
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AMC Theatres Introduces Laser at AMC, Powered by Cinionic, Ushering in the Next Evolution of On-Screen Presentation
GDC Announces Immersive Audio Bitstream Support for Its Media Servers GDC Technology has announced that DTS, Inc. has successfully tested and approved the company’s solution for its media servers to support DTS:X for the new SMPTE’s ST 2098-2 immersive audio bitstream (IAB) standard. The IAB standard delivers a single interoperable audio format for theatrical distribution. To demonstrate the company’s long-term commitment to enhancing the DTS:X immersive sound installations in cinemas worldwide, all existing DTS:X screens in Hong Kong and Singapore have been upgraded to support DTS:X for IAB. The existing DTS:X screens worldwide will be transitioned to DTS:X for IAB over the next
AMC Theatres has announced its first
environmentally-friendly way to present
major broadscale projector upgrade
movies with less waste, including the
since the transition to digital with the
elimination of replacing xenon bulbs,
introduced new media servers
launch
and a significant reduction in energy
with the built-in cinema audio
usage.
processor option based on the
of
Laser
at
AMC.
The
announcement is the result of an
AMC Thousand Oaks
several months. In August 2021, GDC
exclusive agreement between AMC and
Later this year, AMC and Cinionic will
Cinionic, the Barco cinema joint venture
begin installing laser projectors in AMC
certified SR-1000 IMB. SR-1000
and global leader in laser-powered
auditoriums around the US on a market-
offers the audio processor
cinema
significantly
by-market basis, with the full initiative
designed for 5.1/7.1 PCM
upgrade the on-screen presentation at
expected to be completed by the end of
uncompressed surround
3,500
2026. The laser projection equipment
sound, and the 15.1 audio
United States, with cutting-edge laser
and
auditorium
processor for immersive sound
projectors. Laser at AMC reinforces AMC
enhancements powering Laser at AMC
system such as IAB. The license
as the leader in premium theatrical
in the 3,500 auditoriums is valued at
that unlocks the optional
exhibition experiences and signals a
around a quarter of a billion dollars.
built-in cinema audio
significant AMC commitment to the
Cinionic’s Cinema-as-a-Service program
processors can be procured
future
enables
remotely from GDC.
solutions, auditoriums
of
presentation,
to
throughout
movie-going, and
the
the
on-screen
associated
minimal
upfront
capital
company’s
investment required by AMC to bring
dedication to Make Movies Better. The
Laser at AMC to moviegoers around the
move to laser projection offers a more
country.
www.cinematech.today
architecture of the SGS
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Géke Roelink to Receive 2022 UNIC Achievement Award
Filmhuis Den Haag’s Géke Roelink
N E W S R E E L
>
Cinionic Expands Laser Solution Portfolio at CinemaCon 2022 Cinionic unveiled additions to
Den Haag GÉKE
its laser portfolio with new Barco Series 4 and Laser Light
Roelink,
Managing
Upgrade (LLU) models at the
Director of Filmhuis Den Haag,
annual
has been named as the 2022
CinemaCon 2022. The new
recipient of the UNIC Achievement
Barco Series 4 SP2K-20 and
Award,
given
each
recognition
of
dedication
and
year
cinema
convention,
in
SP2K-25, as well as six fully
outstanding
integrated LLU kits for Series 2,
service
continue
to
the
company’s
European cinema exhibition. The
ongoing mission to offer a
Achievement
will
be
laser solution for every screen.
of
the
Attendees at NATO’s annual
CineEurope Awards Ceremony on
CinemaCon trade show saw
Thursday 23 June at the Centre de
the new Barco Series 4 SP2K
Convencions
25
presented
Award
as
part
Internacional
de
Barcelona (CCIB) in Barcelona.
and
a
laser-upgraded
DP4K-23B+ live at the custombuilt Laser Theater at Cinionic World in the Roman Ballrooms throughout the show.
Barco Series 4
MetaMedia Welcomes Premiere Cinemas and Fridley Theatres M e ta M e d i a
h a s
a n n o u n ce d
P r e m i e r e
C i n e m a s
w i l l
i t s
j o i n
a n d
Th e a t r e s
n e t w o r k .
IN total, the two additional cinema
exclusive partnership with Magic Screen, the world’s first interactive platform for
screens to the MetaMedia network.
animated
Premiere Cinemas, one of the first
groundbreaking technology engages
cinemas to convert to digital projectors
audiences and allows them to have
and the first exhibitor to deploy cinemas
individual,
without traditional projection booths,
with
operates 266 screens across 18 theatres.
characters. It also allows thousands of
Fridley
people in multiple theatres and cities to
an
Iowa-based
and
live
content.
unscripted
live-action
and
experience, which is all controlled from an
www.cinematech.today
laser
more screens and expands the Series 4 2K range from
share
animated
simultaneously
maintains
next-generation
conversations
screens. also
a
The
exhibitor, operates 18 theatres and 98 MetaMedia
family bring the benefits of
6,000 to 23,000 lumens.
circuits will add more than 350 movie
Theatres,
award-winning Barco Series 4
projection platform to even
t h a t
F r i d l e y
The two new 2K models in the
the
same
one centralized location.
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N E W S R E E L
>
Working Title Upgrades Audio with Sound Associates
Laser Light Upgrade
PRODUCTION company Working
The fully integrated Laser Light Upgrade solution transforms Series 2 projectors into laser
London
Title is to upgrade their ageing sound system,
together
with
technology
projectors. The accessible laser
integrator
and
supplier
solution features a full projector
Associates.
After
consultations
warranty for up to five years,
various systems the company chose
extending
the
QSC’s Q-SYS platform which includes
projector
and
immediately
elevates
the
moviegoer
life
of
the
the
capability
to
integrate
Sound on
Dolby
products.
experience. During CinemaCon
The
selection
of
Q-SYS
gave
2021, Cinionic announced its
integrator Sound Associates the option
move to an all-laser portfolio.
to house all the equipment within a
The
further
single sound rack, creating more room
announcement deepens the
in the technical area. The audio has been
company’s
to
upgraded to 7.1 with a quad-amped
company’s
commitment
expanded
screen speaker system using QSC
portfolio to empower exhibitors
Reference monitor speakers, RSC-112 &
with best-in-class projection
RSB212. The speaker system is perfect
solutions
the
for a room of this size, with each screen
moviegoing experience and
channel having its own subwoofer, and
reduce
more flexibility and control of the audio.
laser
with
an
that
elevate
operating
costs.
These speakers combined with the
Cinionic returned to Las Vegas
Barco 4K projector, has created a truly
in 2022.
impressive screening room.
QSC sound system
Christie Purchases Cinergy Software from DCIP and Expands Projector Range
1 4
CHRISTIE has announced the purchase of Cinergy software from
brilliant colour to engage moviegoers, and designed with
Digital Cinema Implementation Partners (DCIP). Cinergy is a
advanced features to meet the needs of cinemas, the new Christie
cloud-based enterprise solution providing tools to help operators
CP2420-Xe, CP4420-Xe, CP4425-RGB and CP4435-RGB projectors
track, monitor and efficiently manage theatre presentation quality
offer reliable, yet affordable, projection solutions.
in one centralized platform. While currently geared towards
The new CP4425-RGB and CP4435-RGB deliver 26,000 DCI
cinema, Cinergy can be tailored to additional markets. Existing
lumens and 35,000 DCI lumens, respectively, for bright content on
Cinergy customers will be unaffected by the purchase, while the
screens up to 89-feet wide. With Real|Laser illumination to engage
deal will complement Christie’s Professional Services offering,
audiences with colorful, detailed and true-to-life images, these
which assists in designing, manufacturing, deploying and
new models offer a premium moviegoing experience for
supporting professional AV display systems.
mainstream and PLF formats. Capable of providing over 50,000
In other Christie news, the company has also announced that
hours of low maintenance performance, these projectors afford
it is expanding its range of solutions for the cinema industry with
years of stable operation for an advanced, yet affordable, cinema
the launch of new RGB pure laser and Xenon projectors. With
solution.
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C T
N E W S R E E L Really Local Group to Start Crowd Investment
Reading
THE Really Local Group (RLG) is a pioneering independent cinema, music
&
hospitality
business
culture
and
to
local
bringing entertainment
communities. RLG has active sites in south east London’s Catford Mews and the Old Biscuit Factory, Reading, and many more are in various stages of development. They
are
launching
a
crowdfunding scheme via the Seedrs platform: https://www. seedrs.com/really-local-group1/ coming-soon.
Arts Alliance Media Agrees Partnership to Become Primary Reseller of HeyLED Technology and Announces Vision for the Future ARTS Alliance Media (AAM) has
space”,
said
Andrew
Chan,
Chief
agreed a strategic partnership with
Executive Officer and Co-Founder of
Shenzhen Timewaying Co. Ltd, a leading
Timewaying. “By partnering with AAM,
technology manufacturer specialising in
we hope to bring this unique experience
3D and LED solutions, to become an
to moviegoers worldwide.”
official reseller of HeyLED Technology. Having
established
And in other AAM news, the
progressive
company has issued a clear vision for the
product portfolio, Timewaying continues
future to act as a benchmark for
to
developing new and existing solutions.
develop
a
innovative
cinematic
technologies, with HeyLED, a brand of new,
DCI
certified
LED
screen
technology, their latest visual solution.
While global cinema focused on post-pandemic recovery, AAM’s team listened to exhibitors’ needs, combining
As an official reseller of the HeyLED
intel with years of industry know-how, to
brand, AAM will become the direct point
not only develop existing solutions, but
of contact for exhibitors in the majority of
establish core values that will support
Asia, Europe, and all of the Americas.
their
“This is a significant deal not just for Timewaying but for LED in the cinema 1 6
>
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long-term
vision
for
future
development, and align their ever-
London
expanding portfolio. www.cinematech.today
>
Oxford
Ultimate Picture Palace Launches Community Shares Scheme Arts Alliance Media is based in west London
The UPP is a local community gem
THE Ultimate Picture Palace (UPP) is a colourful
called the UPP Community Cinema was formed. Launched
independent cinema in Oxford that was built in 1911 by local
on 29th April and running to 1st July, the local community
actor and businessman, Frank Stuart. It was one of the UK’s
has the opportunity to invest by purchasing community
first purpose-built cinemas and its remarkable journey is
shares so the cinema can become community-owned.
shown in the great documentary, “The Ultimate Survivor”
£313,000 (£312,575 to be exact) in shares needs to be raised
(https://vimeo.com/20882173). Now, the historic cinema is
so that the cinema can be purchased, its progressive film
up for sale, and the owners want to give the community the
programming maintained, the current staff retained, and
chance to own it before selling it on the open market to give
its vital role in the community continued. The scheme has
it the very best chance to stay open as an independent
been designed to allow as many members of the
cinema that will thrive for many years to come.
community to buy shares as possible, with each share
The cinema as it is today was bought and restored by
being set at £1 with a minimum of 50 shares. (If you’re 16-29
local resident Becky Hallsmith in 2011, making much-
years of age and live in an OX1, OX3 or OX4 postcode, the
needed improvements to the building and projector room.
minimum is set at 30 shares.)
But Hallsmith understood that the UPP had a reputation
The cinema has been supported by the Co-operative
for being unique and worked hard to retain the cinema’s
Futures, which is part of a workers’ co-op - The People Co-
ethos of adventurous film programming and community
op - a network of ethical, sustainable businesses in the UK
values. Hallsmith sadly passed away in September 2018 and
with a focus on B2B service companies.
since then the staff and volunteers have continued to run
The Co-operative Futures team helped the UPP with
the cinema in her spirit and navigate the business through
various legal options and to ultimately form the CBS. By
the pandemic.
buying community shares, investors will become members
And like many small, single screen independent cinemas the UPP is a real community gem, but it’s always
of the CBS, and can then take part in the democratic control of the business, on a one-member-one-vote basis.
in need of more funding. But it was always Hallsmith’s dream to one day turn the UPP into a community-owned
For further information on the share scheme visit:
cinema and so a new Community Benefit Society (CBS)
https://uppcinema.com/OWNTHEUPP/
www.cinematech.today
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MAKE DO
& MEND
...AS MONEY’S TOO TIGHT TO MENTION David Hancock examines the double whammy of the financial challenges facing exhibitors, combined with the reality of supply chain issues. 1 8
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A N A L Y S I S
David Hancock, Chief Analyst, Media and Entertainment, OMDIA
T
imes of austerity have given rise to
premium cinema. Exhibitors are caught between the need to
several expressions that have stuck
invest to keep the business moving forward and counter the
with us. In the Second World War, the
changes in consumer behaviour. They also have to juggle the
British Government issued a pamphlet
lack of money to invest, as well as (probably more pertinently)
entitled ‘Make Do and Mend’, urging
available credit.
reuse
Two things are exacerbating the problem: one is a
clothing. There is a similar feel to the cinema exhibition sector
reduction in technology investment budgets. And the second
as we come out of the pandemic. Since January 2020 (when
is a component supply chain crisis that is cutting deeply into
cinemas first closed in China) to June 2022, the cinema
lead times.
households
to
mend
and
exhibition and distribution sector has lost around $60bn in
Given the loss of box office income, reduced income is
expected box office. This is a massive blow to the sector and is
self-evident. This is only one side of the equation though:
having an impact in many ways, with the narrative around
some exhibitors made it through the pandemic with the help
cinema technology in particular changing significantly.
of deferred rent deals from landlords, which will become due
The restart of cinema around the globe
in 2022, and/or taking on debt which now needs servicing.
(unhelpfully, in terms of planning purposes, this
The timing of big movies and income flows take on a greater
is occurring at different speeds according to
importance than usual. The pandemic has also made lenders
the situation of the country or region) leads us
cautious, and cinemas will need a track record of recovery in
to ask the question: what is now expected by
order to access credit and loans. All in all, money and credit will
exhibitors of their operations? Has the crisis passed or are we still right in the middle of
be tight for some time.
it? And is the exhibitor view necessarily
Supply Chain Challenges
short term? With ups and downs driven by
There are well-publicised issues in the global supply chain to
a
contend with. Cinema technology is a global business, and
continued lack of film supply, it is
the components used in equipment are often bits of kit that
both
major
movie
releases
and
to
are used by many other applications. Getting hold of these
forecast regular daily factors like
parts when there is a global shortage is not easy - and
staffing levels and supplies of
technology used in cinema is a relatively small area so it won’t
perishables.
necessarily be at the head of the queue for essential parts.
difficult
for
cinema
But
suppliers
it’s
also
a
challenge to predict how and
An example to illustrate this would be the COVID
when equipment can be upgraded
lockdowns in China. As factories shut down this had - and
or old and/or broken projection kit can
continues to have - a knock-on effect around the world,
be replaced.
Tightening the Belt
reducing the supply of essential components while the demand stays the same, effectively meaning delays and higher prices. Add the current inflationary pressure into this
Having lost those billions of dollars in revenue over
potent mix and the problem is clear to see. Manufacturers
two years, you would be forgiven for thinking that
need to show restraint and patience while asking for
money is tight among cinema exhibitors. The
payments where they can.
optimism of two years ago surrounding premium
Supply chain delays make “just-in-time” management of
cinema, experiential cinema, upgrades and the replacement
inventory almost impossible and this requires companies to
cycle for equipment, is more a memory than a current reality.
save and store necessary kit (requiring warehousing space),
The expression ‘Make Do and Mend’ probably best sums up
while needing to find ways to reuse components from older
what many cinema exhibitors are telling their technology
machines. This does fit in well with increasing the circular
teams. The mantra is to use what you have where you can and
economy of machines and their essential components but
prioritise what you need for the most important screens. Any
can be a burdensome requirement if not already planned for.
available money for investment is being used for new sites
Higher costs are being demanded for delivery of both parts
(which may well be subject to an unbreakable contract) or
and equipment, another cost area that manufacturers
new premium screens that build on the need to keep pushing
probably can’t absorb on their own. Longer-term, this may
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well be a beneficial learning curve as sustainability edges higher on the agenda of most companies and governments
A Biz Model Switch Up?
in the coming years. With the supply chain issues, cinema exhibitors need to find workarounds.
Another change to the business
equipment, exhibitors have
prompted by the pandemic,
always preferred to own their
could be the business models
own kit. The shortage of money
Cinemas are having to shut screens and use pieces of kit from
offered to exhibitors for
and limited access to credit in
less important auditoria to benefit more deserving ones.
equipment purchasing or
the market right now, however,
Screens within sites are then closed to the public, not just
leasing. In truth, manufacturers
may well draw cinema owners
because of a lack of audiences or the supply of films but also
have had a wide variety of
into the offer of leasing. And
due to this lack of equipment. One of the responses to the
business and financial models
there is even the option of not
supply chain crisis is to bring both more knowledge and,
on offer for some time. But
leasing a machine at all, but
leasing, for example, was not
rather leasing light itself, the
traditionally favoured by cinema
idea being that a fee is paid for
exhibitors. Looking back to the
delivery of light used, instead of
proposed leasing model for the
buying or leasing a projector
VPF in the mid-2000s, and more
outright - however that may be
recently the ability to lease
delivered in practice.
Swap and Share
previously outsourced, maintenance in-house. For example, keeping and recycling spare parts and machines around the circuit, rather than investing in new equipment with higherthan-normal lead times. Manufacturers are looking to recycle parts where they can, reusing standard components where possible but also building in the potential to recycle in the design process. This creates a circular economy at several levels and one that the industry needs to build on in future.
The Way of Water”, followed by Avatar films 3, 4 and 5 every
Prior to the pandemic, the demand for projectors was
subsequent two years. The excitement generated by the first
already polarised towards either end of the size spectrum, i.e.
iteration, and the push that film gave to the rollout of digital
the need for larger or smaller models, with the middle being
cinema, is still remembered by the industry - and hopefully
squeezed. That trend has continued as exhibitors install larger
the wider public - but can James Cameron do it again by
screens alongside smaller, intimate auditoria. With Sony’s 4K
reviving the fortunes of the original digital premium
solution out of the market the demand is more for 2K than 4K,
experience that was 3D?
even though a third of all content going into cinemas is now
As cinemas start the arduous process of recovery, and the
4K. It is 12 years since Series 1 machines ceased being supplied
hope is there that it will recover, the key question remains the
to cinemas and the end-of-life cycle has now been triggered
one posed above: how do we balance the need to invest with
for them. Keeping these machines going, a necessity for
the reduced ability to do so? Premium cinema takes on a
some at the moment, will require new warranties and access
greater importance to the sector, as the premium window
to some parts that are no longer available, again requiring a
generates more revenue. The de facto premium window is
circular approach to components. Machines are more
the primary revenue generator for many films and is the
modular now, which in turn means that when a breakdown
moment
occurs
complicated
differentiates it from in-the-home entertainment. Finding this
troubleshooting process or a return to the manufacturer. It
balance in the two years ahead will dictate the health of
may just mean a new modular element, which should result
cinema in the decade to come. It will take a coordinated and
in projectors lasting longer and being cheaper to maintain.
sustained effort from all parties to ensure this happens.
this
doesn’t
always
require
a
when
the
cinema’s
experiential
side
most
3D and the Great Recovery A final word for 3D… over half of the world’s cinema screens are equipped with 3D systems, but the revenue earned from a 3D version of a film was in decline even before the pandemic. But the growth of laser illumination helps the 3D cause as it provides a much greater level of brightness.
However,
the
greatest
assistance of all may be coming in December 2022: “Avatar:
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12 A N A L Y S I S
BOX OFFICE REVENUES LOST TO COVID-19 2020 - 2022
38,383.1
GBO ($MN)
40,236.1
38,284.2
LOST REVENUE ($MN)
LOST REVENUE ($MN)
34,328.2
20,806.4
11,605.4
41,684.9
41,417.4
TOTAL SOURCE: OMDIA
50
years since Series 1 machines ceased being supplied
45
11,671.8
23,693.6
31,394.6
40
50%+
35
25
$m
30
20
Over half of the world’s cinema screens are equipped with 3D systems
15 10 5 0
2015
2016
2017
2018
2019
2020
2021
2022
T H E P E N E T R AT I O N O F 3 D S C R E E N S 2012-2021
3D SCREENS
2D SCREENS
3D % FIGURE SOURCE: OMDIA 70
50.1
60
59.4
50
46.5
40 %
39.7
35.5
56.7
53.5
51.1
58.6
58.2
30
20
10
0
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
45,486
52,981
64,959
75,093
82,837
93,261
106,253
116,573
119,918
125,989
43,855
58,347
62,506
66,700
72,483
75,937
75,741
78,968
80,783
81,746
SERIES 1 MARKET PRESENCE 2005-2021
SERIES 1 PROJECTORS
OTHER PROJECTORS
SERIES 1 AS A % OF TOTAL SOURCE: OMDIA
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2011
100%
100%
100%
100%
100%
64.2%
35.2%
25.2%
20.2%
17.6%
15.7%
14.3%
12.9%
11.7%
10.6%
8.6%
6.1%
864
3,020
6,459
8,788
16,379
22,491
22,491
22,491
22,488
22,476
22,286
22,143
21,778
21,299
20,799
17,303
12,716
0
0
0
0
0
12,559
41,334
66,850
88,840
104,989
119,507
133,177
147,420
160,695
174,742
183,398
195,019
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2022 Starts
...as audiences rediscover How fantastic to return to analysing the films and figures rather than tiers and ticketing. In this new regular column, we’ll look back over the previous quarter to review the titles that are attracting audiences and assess UK & Ireland performance in the context of our European neighbours. Lucy Jones, Executive Director, Comscore Movies his year has started well with
feature in this year’s Q1 Top 10, led by documentary “Ennio”
great depth across the UK &
with €2.4m, but none could rival the success of comedy “10
Ireland market, building on the
Giorni Senza Mamma”, which took €7.4m in February 2019. In
success of the final quarter of
a bid to broaden the cinema audience, the Italian government
2021, when two titles broke into
has recently announced a 90-day theatrical window before
the Top 5 films of all time (“No
films are made available on streaming platforms.
Time To Die” and “Spider-Man:
In four of the five European markets, “The Batman” is the
No Way Home”). Year-on-year
top 2022 release, with “Uncharted” recording a slightly higher
comparisons are difficult due to
gross in Spain to push “The Batman” into second place. Across
widespread closures in early
Europe, “Uncharted” found itself in the Top 4 films in all five
2020 and 2021. Looking back to pre-pandemic times in Q1
territories and saw the best result for a video game adaptation.
2019, we see significant variation in comparative 2022
“Uncharted”’s release in mid-February kick-started the
performances across Western Europe. UK & Ireland is the
strongest period at UK & Ireland cinemas this year, with
closest to recording normal box office grosses, just 20% below
several playweeks recording grosses over £20m in February
2019 which was the second-biggest year of all time. At the
and early March. “Sonic the Hedgehog 2” provided another
other end of the spectrum, Italy is over 60% below 2019’s level,
injection of energy in the final week of the quarter. The
with top release “The Batman” recording €9.7m to rank sixth
pipeline of regular Hollywood releases, which was lacking in
in the DC Comics all-time chart. Three local Italian films
2020, has comprehensively resurged since the final reopening
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S T A T S
&
D A T A
Strong...
the cinema habit in May 2021, complemented by some major British releases.
£6.6m of Q1 box office – almost 3% of the total. IMAX market
Interestingly the top two films this year closely echo the
share rose from 2.3% in 2019 to 3.4% in 2021. The current
start of 2019, with a new superhero at No.1 (“The Batman” vs
release schedule has 15 IMAX releases slated for 2022, half the
“Captain Marvel”) and a family animated sequel at No.2 (“Sing
number released in 2021, with more expected to be added as
2” vs “How To Train Your Dragon: The Hidden World”). Box
release plans are finalised. Now more than ever, audiences
office performances for both were stronger in 2022,
need cinema to offer something they can’t get at home. This
particularly for “Sing 2” taking £32.6m against “The Hidden World”’s £20.0m.
Content, Content and More Content The depth and range of titles finding audiences this year has been encouraging, with global blockbusters supplemented by diverse genres including quality local, US and European
€9.7m The amount “The Batman” made at the Italian box office, making it the 6th biggest earner in the DC Comics portfolio
and anime. Older audiences have been attracted by “The Duke”, “Belfast”, “The Phantom Of The Open” and “Cyrano”. Infrequent attendees were most often drawn back by comedies including “Jackass Forever”, “Marry Me” and “The Nan Movie”. We are starting to recapture audiences for South Asian films now cinemas in India have reopened and new titles are flowing in, with “RRR” becoming the first Indian film since mid-2018 to achieve over £1m. Presentation format has also driven the success of the biggest blockbusters, with IMAX screens contributing over www.cinematech.today
The amount “The Batman” took at the UK box office for Q1 of 2022, making it the largestgrossing film of the period in the UK
£38,606,543
drama, female-led and geri-action comedy, event cinema
may be the content itself (via an exclusive theatrical window or a live-streamed event), the social experience (with family, friends or a roomful of like-minded strangers), a chance to disconnect (from people or gadgets) or unrivalled technology (the biggest screen, recliner seats or surround sound). Finding the motivating factors for different audiences and titles will be key in tempting people out of their homes, particularly as the cost-of-living crisis develops.
A Summer of Promise By the time you read this, we’ll know whether “Doctor Strange In The Multiverse Of Madness” is on track to be the biggest release of the summer, and if the combination of innovation and nostalgia in “Top Gun: Maverick” and “Jurassic World: Dominion” can pull in both old and new fans. The summer period promises to deliver weekly results to rival 2019, with three-quarters of the Top 20 films of the year releasing by the end of July. 0 0 36 // 22 0 2
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S T A T S
&
D A T A
T OP 5 WESTERN EUROPEAN TERRITORIES Q1 2022: DATE RANGE: FIRST 13 PLAYWEEKS OF 2022 IN EACH TERRITORY NO. OF TITLES TRACKED
NO. OF NEW TITLES
% CHANGE Q1 2022 VS 2019
445
190
$301,772,546 £224,877,833
£282,173,685
-20.3%
310
214
$251,084,743 €223,200,326 €351,825,999
-36.6%
253
135
$149,958,453 €133,034,545 €234,314,394
-43.2%
707
260
$89,362,105
€79,448,772
€126,417,330
-37.2%
806
203
$73,364,502
€65,111,838
€165,968,871
-60.8%
Q1 22 B.O.: USD $
Q1 22 B.O.: LOCAL CURRENCY
Q1 19 B.O.: LOCAL CURRENCY
U K & I R E L A N D T O P 1 0 F I L M S Q 1 2 0 2 2 : DATE RANGE: 7.1.22 - 7.4.22 40
35
25
20
15
Q1 2022 BOX OFFICE IN £M
30
10
5
0
THE BATMAN
SING 2
UNCHARTED
SPIDER-MAN: NO WAY HOME
BELFAST
DEATH ON THE NILE
SONIC 2
SCREAM
JACKASS FOREVER
THE DUKE
Warner Bros. (Released 4.3.22)
Universal (Released 28.1.22)
Sony (Released 11.2.22)
Sony (Released 17.12.21)
Universal (Released 21.1.22)
Walt Disney (Released 11.2.22
Paramount (Released 1.4.22)
Paramount (Released 14.1.22)
Paramount (Released 4.2.22)
Warner Bros. (Released 25.2.22)
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www.cinematech.today
We’re all familiar with the big names of cinema exhibition. But there are plenty of lesser-known cinema companies around the world with colourful stories. So we enlisted the help of CTC Governor and all-round industry legend, Sandie Caffelle, to take you around the world in our new series…
A
SPOTLIGHT
ON...
Filmhouse Cinemas, Nigeria Filmhouse Landmark
CT: When did Filmhouse open its first-ever site and what
ket: multiple taxations, power issues, high costs of clearing
obstacles did you have to overcome that were specific to
imported equipment and so on. But looking at how far we
Nigeria as a territory?
have come - and what we now have the audacity to dare
Filmhouse began operations in December of 2012 with its
and hope for - we couldn’t be more grateful for the loyalty
first cinema in Lagos, a three-screen cinema located on Ad-
and resilience of our team and our esteemed guests who
eniran Ogunsanya, Surulere. It was one of the pioneering
choose to trust in our ability to build a big brand and de-
cinemas in the country at that time, and the second in the
liver a great service. We still face some of these challenges
mainland area of the city. Being new players in the territory,
today, for example, the national grid collapsed recently and
we had several challenges, ranging from funding to accessi-
the price of diesel skyrocketed. So we have had to regu-
bility of Hollywood content. We were just starting and some
late operational hours in some of our buildings to balance
regional distributors wanted minimum guarantees at prices
the excessive pressure on our overhead costs, but we’re
that were a bit burdensome to manage. We had to set the
pleased to say that the strategy has proven to be effective.
ball rolling with “Nollywood” films (Nigerian film industry Filmhouse’s IMAX Cinema, Lekki, Lagos
content) from independents and at one point, we were even
CT: How many operational sites do you have? Are they all
described as a “Nollywood cinema” by observers.
in Nigeria?
Other challenges were normal for start-ups in our mar-
We currently have 11 operational sites, having lost one to vandalism during the #EndSars protest, but yes, they are all situated in Nigeria. However, there are ongoing conversations about opening cinemas in other west African markets, and as soon as they are confirmed, we will be making announcements. In the meantime, we have another IMAX cinema opening before the end of the year in Lagos. CT: During the growth of the group what did you learn? Did anything surprise you? We would not say that anything, in particular, came as a surprise - we expected to learn as we progressed. The market was new and largely uncharted, so we expected that being one of the pioneers would come with a few uncertainties about how a new product offering in the leisure and entertainment sector would be received. However, our approach was to implement flexible strategies that could accom-
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N E W
Find us here Filmhouse Cinemas
modate reality as we progressed. So far, that has worked
(especially social media challenges), and general buzz, and
tremendously. The major hit that came suddenly was the
we try to tap into that to keep our offerings prioritized.
pandemic, but its effects did not only affect our company.
We are also blessed with committed staff at different
All players in the sector suffered from its devastating impact
levels of management, who have continued to channel so
and are still recovering. However, the pandemic served as
much creativity into ensuring that we are preferred by mov-
the right situation to facilitate evaluation of crucial areas in
ie-goers. Consistently brainstorming to offer innovative solu-
the organization, such as diversification, structure, strategic
tions to challenges in our line of service, is a common culture
communication & crisis response, and our relationship with
at different levels of management and in all departments. So
stakeholders.
yes, we can say that our Filmhouse team across the company
Filmhouse began operations in December of 2012 with its first cinema in Lagos, Nigeria, a three-screen site on Adeniran Ogunsanya, Surulere.
has been crucial to the standards we have built and continue CT: How does Filmhouse differ and stand out from other
to build.
cinemas in Nigeria? By virtue of our premium format offerings (IMAX, MX4D,
CT: During lockdown, what COVID-related procedures
and DBOX), technologically-enhanced customer service,
did you have in place? And how did you approach reopen-
and loyalty offerings. We are considered industry leaders
ing the cinemas?
and preferred by movie-goers in Nigeria. Building the cine-
During the lockdown, we found ways to assist in the
No prizes for guessing which screen this is in Filmhouse Lekki
ma-going culture here has been a demanding responsibility for players in the exhibition sector. Hence, our commitment to enhancing the cinematic experience through technologically-optimized services, engaging in in-cinema marketing campaigns, and building & maintaining a modern, state-ofthe-art environment in each of our cinemas has contributed to many film lovers enjoying the cinema experience itself and therefore the service we provide. Over the years, we have made an event out of movie-going as a strategic approach towards harnessing the communal impact of theatrical releases in our society. The Nigerian cinema market enjoys a unique cinema-going audience that responds communally to the nostalgia created from premieres, digital campaigns www.cinematech.today
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A SPOTLIGHT ON...
welfare of our staff, providing food items and toiletries across all our locations when needed. From the perspective of maintaining our facilities and equipment, our technical and development teams ensured that periodic maintenance continued; powering projectors up and down, updating software used for daily operations, ensuring health and safety measures such as fumigation and fire safety checks. Our communications team kept moviegoers abreast of developments, creating and circulating marketing material that built anticipation for reopening. When it was time to welcome customers back, the health and safety team liaised with the relevant safety commissions, both at federal and state regulation levels. We invested in educational materials placed strategically around the cinemas to advise moviegoers on precautionary measures, such as wall posts, digital and on-screen messaging. The mandatory safety measures communicated by the safety commissions included use of hand sanitizers, reduction in seating capacity to accommodate social distancing, wearing of face masks, floor markings to guide where people 2 8
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What does Filmhouse have planned for the future? We would say a lot. However, it is in our culture not to let the cat out of the bag prematurely. But what we will say is that we are big on expansion of the company, as it is well known that the theatrical potential of our region is largely untapped. Watch this space.
F&B and box office, Filmhouse Lekki
MX4D screen, Filmhouse Landmark
The Cube is a luxury, private screen
should stand in foyers, regular disinfection of auditoriums,
CT: With FilmOne Studios being your sister company, did
contact tracing.
receiving Nollywood content from them give you an ad-
CT: How have you tempted people back to Filmhouse
Despite FilmOne being a sister company, our relation-
Cinemas?
ship with them does not give us different or preferential
Through our Filmhouse+ App loyalty scheme we have provid-
access to titles over other exhibitors. All cinemas are of-
ed discounts to customers for both tickets and cinema food.
fered the same films. So no, we did not have any extra
However, we would say that the solid titles slated for release
advantage.
vantage over other cinemas?
in cinemas, from both Nollywood and Hollywood, have been
However, you would be correct to say that Nolly-
key drivers. We capitalized on the slate to create the needed
wood films played a crucial role in the renaissance of
buzz and make an attractive event out of the cinema-going
the Nigerian cinema industry post-lockdown. At that
experience. People were excited to take pictures on the red
time, Hollywood was yet to resume fully, and even the
carpet at the premieres of their favorite films. We charmed
titles available had day-and-date release clauses tied
film lovers with the nostalgic experience of getting to meet
to them. Consequently, piracy ruined the opportuni-
and greet their favourite stars and created enthusiasm for our
ty we had to fully harness their box office potential.
events and premieres through social media campaigns. We
Meanwhile, Nollywood producers offered solid content
were aware that the lengthy closure of cinemas had empow-
that
ered streaming as an alternative form of entertainment so we
keyed into this and we got fantastic results. The
did not move slowly in our efforts to make movie-goers real-
period
ize what they had missed experientially in cinemas.
ing film of all time, “Omo Ghetto: The Saga”.
www.cinematech.today
was
proficient even
in
driving
produced
patronage.
Africa’s
So,
we
highest-gross-
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We create & cut it We create, adapt and localise promos, trailers, social, TV and DOOH. All markets, and all platforms.
w: www.chinagraph.com
t: 020 7751 7000
e: info@chinagraph.com
O N
S I T E
It’s Showtime (Analytics), folks! Peter Knight talks to the data-driven company taking the industry by storm
A
Peter Knight, Commissioning Editor, Cinema Technology ccording to their website “Showtime
to the cinema industry.
Analytics was founded out of a
Now with a global team of more than 35, the company
combination of a nerdy passion for
has worked with some of the leading exhibitors, studios,
data and a love for cinema”, which is
distributors and advertising agencies around the world.
the
Showtime provides solutions to exhibitors and distributors
perfect
way
to
define
the
company.
in 31 countries, serving 2.5k+ cinema sites, 20k+ cinema
Jolyon Spurling (son of Irish cinema owner-operator
screens with 30m+ customer records securely managed
Graham Spurling), brother-in-law Richie Power and friends
on their platform and 40m+ customer communications
Paul Lynch and Dave Spicer spent a combined 40+ years
sent every month.
working in software development, data analytics and
And at the time of writing, Showtime has recently
C-Level consultancy before setting up the company. Since
announced a new agreement to integrate its data analytics
its launch in 2015, Showtime has grown to become a
platform with Ready Theatre Systems (RTS), a US-based
leading global provider of analytics products and services
point-of-sale provider.
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O N
S I T E
Big Data - and Big Products to Match
that allows cinemas to get to know their movie-goers through
“Big data” has been around as a concept since the 1990s. But
behavioural data analysis and to send digital campaigns
it was only in the last decade that the cinema industry really
targeted specifically to the right segments of people based on
started to understand the value and significance that it can
individual
bring to the business. By using data-based evidence years of
programmes or campaigns and because it’s integrated with
experience and decisions formerly made on gut instinct can
their POS they can track their actual campaign ROI through
be backed up. In short, Showtime has created a suite of data-
audience uplift analytics.
behaviours.
Cinemas
can
promote
specific
powered solutions that facilitate understanding, analysis and
Showtime Customer Analytics is the latest offering
business growth not only for cinema operations, marketing
that gives customers the power to track the composition of
and customer analytics but also for the studios. The company
their entire identifiable customer base. This is in terms of how
makes use of big data and systems integration to create user-
often individuals come to the cinema, when the last time was
friendly, interactive, real-time dashboards and other data
that they came, and what they are spending money on, so
driven tools for cinema teams.
operators can ensure they are shaping their marketing
Showtime Insights provides exhibitors with real-time
strategy accordingly. Having this visual analysis on a dynamic
operational data analysis across ticket sales, concessions, bar
dashboard is the first of its kind in a cinema industry tool and
and F&B sales and employee performance. Optimised for
provides a real time view of how customers are changing over
mobile and desktop experiences, Insights provides the
time, who is coming more or less, who hasn’t returned and so
required information when and where it is needed most. The
on. Understanding the make-up of their customer base gives
product also works with multiple point-of-sale (POS) systems
cinemas the foundation from which to set targets, employ
simultaneously, to create visual, digestible chunks of information. Showtime Engage is a customer marketing platform
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The Showtime Analytics team, based in Dublin, Ireland
marketing strategies, and view if their inputs have a significant effect on customer behaviour. By identifying these trends they can then provide specific campaign content to impact
www.cinematech.today
A Case Study from Down Under
About us
A recent case study of the market in Australia & New
using a combination of the Showtime suite of products to
Zealand focused on innovation in the region. Published
efficiently analyse their data, make informed customer
by Showtime, some of their major exhibition customers
experience decisions and ultimately grow their business.
Launched at
were interviewed, including HOYTS, Event Hospitality
The three companies were all asked for their thoughts on
CinemaCon 2015,
and Reading Cinemas. As market leaders in the area they
how other circuits that are looking to work more efficiently
Showtime
all share a data driven approach to how they operate,
with their data could get started.
Showtime Analytics
Analytics (Showtime) has taken the industry by storm. It’s not often that a completely new company can become quite such an industry household name in such a short time.
HOYTS - 50+ CINEMAS
And we then tie that information back
products to improve our functionality
With 400 screens and 50,000+ seats,
into the customer groups we can
and we’ve done that recently with our
HOYTS is the second biggest exhibitor
communicate with effectively, via
payroll data. The big focus, the key
in Australia & New Zealand.
Showtime Engage. It’s a really visual,
cost for us that we can control is our
Stephanie Mills, Director of Sales,
user-friendly way to interrogate the
payroll and the cinema managers can
Marketing & Content for HOYTS, said
data and make decisions.”
now get live data to compare who
about Showtime’s products:
they’ve got on the staff roster with EVENT HOSPITALITY &
what
don’t need to boil the ocean. If you
ENTERTAINMENT - 70+ CINEMAS
whether they need to increase or
have insights that validate what you’re
Showtime
decrease these figures. Having this
doing, or challenge what you’re doing,
specifically for the cinema industry
capability
suddenly you have a lot more freedom
which
excited.”
to better control your business. If you
Hospitality & Entertainment. With
see an offer that you’ve put out that
over 70 sites throughout Australia &
READING CINEMAS - 39 CINEMAS
no one is taking up, that’s an insight
New Zealand they are the largest
Leveraging the power of data is not
you didn’t have before. Or if you’re
circuit in the region.
limited to just the major exhibitors.
starting to see different customer
Matt Della Vedora, General Manager
Ben
types: some are motivated by price,
Finance & Accounting, said that to
Marketing, Australia & New Zealand
others
bring
for Reading Cinemas - who, by the
“To see meaningful results you
aren’t
and
just
want
products
was
in
were
perfect
a
for
generic
built Event
Business
information on upcoming content.
Intelligence (BI) product you have to
time
Getting
insights
into
how
admissions
is
getting
Deighton,
this
look
like,
them
and
really
General Manager,
magazine
has
been
those
pay a lot to obtain and consolidate the
published, will have appeared on a
customer groups behave allows you
data you want, slice and dice it, to
marketing
to understand your base better and
then put it through a development
CinemaCon 2022 in Las Vegas - shares
determine what it is you want to focus
process - but Showtime already had
how smaller exhibitors can benefit
on. Be it increasing frequency or
the necessary knowledge to make
from using data analytics:
increasing spend at the candy bar,
this so much more efficient:
having that information at hand at
“Showtime
at
“For the indie cinemas the ability
the
to instantly see the actual dollar value
knowledge,
key
against campaigns, which they would
metrics across the cinema industry… it
never have been able to do before,
rather than putting several offers out
just made it so much easier than
would be so beneficial. There has,
to the market and not knowing what’s
starting from scratch.”
historically, been a reluctance to
pull all our data points together in a
the
data
impact of what it is you’re doing,
Showtime Insights allows us to
knew
discussion
least lets you start to measure the
actually driving your results.
they
had
panel
His advice for those starting out
spend on marketing because they
on their data journey is to focus on
can’t see a return but with Showtime
what you can control:
Engage they can see straight away
meaningful way without having to
“We’re always looking at ways we
manually pull them from a database.
can continue to use Showtime’s
www.cinematech.today
that ‘ok, you’re going to sell 200 tickets if you do this, or that.’ ”
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S I T E
A View from the Top Richie Power CEO, Showtime Analytics Solving exhibitor community problems has always been at the heart of every product Showtime builds. With a new set of challenges facing the industry in the wake of the pandemic, our focus over the last two years has shifted to providing solutions to address the long term effects of this period. These effects all come from cinema doors being closed for so long, the shifting slate of content and the narrowing of the theatrical window - and the consequences of these things are becoming very apparent. Typically, new customers account for 25% to 40% of an exhibitor’s
these behaviours by feeding the data seamlessly into Showtime Engage. Showtime
customer base, and with closures spanning up to 18 months in many parts
Collaborate
works
Showtime’s display at CinemaCon 2022 Showtime’s CEO, Richie Power, presents at CinemaCon 2022
of the world, cinemas are dealing with several factors. They’re having to
with exhibition partners to co-brand
compensate not only for the usual organic churn numbers, but for the
and
additional churn associated with the challenges of the pandemic, and for
experiences and offers that grow the
the significant lost time during closures where no new business was
overall market box office. This tool also assists in finding the
generated at all.
audience for a movie, and identifies the audience a cinema
But how do you know who your most valuable customers were before the pandemic, and how do you ensure you’re driving them back through
create
unique
customer
“wants” to speak to, as well as using the data to discover new audiences.
your doors and not to a competitor’s cinema? How do you convert new
Showtime Benchmark is provided by Showtime
customers into loyal cinema goers? And what changes should you start
Analytics in conjunction with Comscore. Benchmark enables
implementing to see the most tangible results?
exhibitors to work more efficiently and to maximise
Having the ability to answer these questions is imperative in an industry
moviegoer attendance and market share. Through a
where the landscape has shifted. That’s why we are delighted to put out our
seamless connection to a cinema’s existing Comscore (I)BOE
new Customer Analytics solution. Customer Analytics is a tool to strategically
subscription, Benchmark allows the cinema to create their
analyse your existing customer and loyalty bases in real time, while having
own user-defined views of the marketplace and analyse their
the mechanism to continuously feed your base with new high-value
competitive
customers - an opportunity that was lost during the pandemic.
visualisation. And all are easily accessible across desktop,
We developed this solution for customers to feed seamlessly into their
performance
with
user-friendly
data
tablet and mobile devices.
existing marketing platform, whether they are using Showtime Engage or any other platform, so that they can analyse what is currently happening in their base. But not only this - they can also analyse which strategies need to be implemented to effect change, and there’s a mechanism to provide specific campaign content to impact those behaviours. And finally, there’s a way to actually see if these inputs are having an effect on the bottom line. Having all of this within a live, real-time view means marketers can easily target the right customers with the right campaigns at the right time. Exhibitors can create specific offers for customers who haven’t visited recently without needing to undergo complex data science projects to retrieve the information. The concept of an identifiable base to work with, rather than just a loyalty programme base, drastically widens the net for exhibitors to drive conversions into significant revenue uplifts. The success we saw in the pilot project we ran with Movies@ in Ireland proves just how effective this new way of working is. The cinema industry has never before had access to such a tool and our customers are thrilled to be able to use it. And we can’t wait to see the rewards this brings to our industry.
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www.cinematech.today
The
Science
of
Adrian Pennington, Freelance journalist
W
We know about every technical advance that enhances the movie-going experience, from digital projectors to multidimensional sound systems. But what about the cutting-edge technology that goes into creating the world’s favourite cinema snack? e’ve been to Dolby to see how they build their range of products and what they achieve is truly incredible. But there is just as much, if not more, technology and R&D in popcorn than in any other aspect of the movie theatre,” says Thomas Peace, International Sales for Nebraska-based farming collective Preferred Popcorn. What would movies be like without this salty, buttery
snack? Americans alone consume 16 billion quarts of the stuff every year. Two thirds of this is consumed at home, and a third in the cinema and at other events like baseball games, according to the Popcorn Board. For cinema owners, the humble puffed snack, whose
popularity grew during the Great Depression when it was an inexpensive meal, is a revenue lifeline. For years, the exhibitor business model has been built on ticket price plus concessions; one without the other means swiftly going out of business. When it comes to popcorn, cinema owners want a seed-
to-snack treat that leaves more snacks than seeds when
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www.cinematech.today
P O P C O R N
P o p c o r n ... popped. This means when the corn is popped at the concession stand, there shouldn’t be many unpopped kernels left in the popper. Very few have the space to store kernels at any volume. The agronomics (the science of soil management and crop production) behind this are incredibly sophisticated. The major factors that influence popcorn quality, and ultimately exhibitor profit, are kernel moisture, expansion ratios, and popping ratios. We talked to Preferred Popcorn about their process and also leaned on another cornbelt supplier, AK Acres (akacres. com), as well as industry veterans, Cretors (cretors.com),
4000
kernels of popcorn over 4000 years old, found in caves in New Mexico, were popped in a test.
inventors of the popcorn machine, to learn more about the field-to-forum process, which all starts in the lab.
The Raw Ingredient Not all corn is popcorn and not all popcorn is created equal. Popcorn is a specific type of corn kernel which expands and puffs up when heated. The fundamental science - which pre-Inca cultures knew the basics of (enough to chuck the seeds in a fire) - is that the kernel’s strong hull (pericarp) contains the seed’s hard, starchy shell with 14-20% moisture. This turns to steam as the kernel is heated. Pressure then builds until the hull ruptures, allowing the kernel to forcefully expand, from 20 to 50 times its original volume. Within the popcorn family there are many different hybrids. These are obtained by cross-breeding different strains of popcorn to emphasise specific characteristics in the corn after it is popped. Such characteristics include the size, www.cinematech.today
300AD The oldest positively identified corn poppers date back to around 300AD along the north east coast of Peru. Early American pioneers cultivated popcorn along with dent corn. Dent corn was used for cornbread, and popcorn was used as a breakfast cereal.
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P O P C O R N
shape and texture of the kernel but the main desired attribute is its expansion rate. Most corn when it pops takes on an irregular shape and is referred to as ‘flake’ or ‘butterfly’ popcorn. Others take on a more rounded shape and are referred to as ‘ball’ or ‘mushroom’ corn. Yellow popcorn is the most commonly used for commercial applications since it is less fragile than the white version mostly consumed in the home. The kernels are rounded in shape and have a medium brown colour. Within this group there are several options available to the buyer.
Years in the Making Preferred Popcorn grows 25 different genetic variations to meet the needs of its customers. “That starts with yields of sampling from which we test over 100 different varieties and narrow it down to make sure we’re growing the best crop,” Peace explains. “If you genetically modify it, you change the genetic code of the popcorn and get the attributes you want in one year,” he says. “We do not do that. We employ doctoratelevel biologists to help us selectively breed over many years to achieve the attributes we want. Each variety has a specific use and a specific customer in mind when we grow it.”
Heavy-duty equipment is needed for the growing process
The theatre owner buys popcorn by weight and sells it by volume (in a box or bag). High expansion translates directly to increased profitability. Each percentage point of increased expansion is a reduction in raw material cost.
Popcorn hybrids with a thicker protective outer seed
“If you’re a cinema owner you want as much volume out
coating have a greater expansion ratio but this is not the only
of that bag as possible because it means you can sell more
important trait. Other variables include grain yield, kernel
servings,” says Peace. “The expansion level is very important.
length, popping expansion, kernel and protective layer
It is written into all the contracts we have for major cinema
thickness, heat transfer ability, and the amount of protein in
owners.” Expansion is measured as a ratio that compares the
the expansion capacity will help processors identify and breed
number of popped popcorn servings produced from a
high quality popcorn. The moisture content of the hybrid will
specific amount of unpopped popcorn. The test is
also determine the expansion of the popcorn. In addition,
performed with a Metric Weight Volumetric Test (devised
cracks and abrasion on the outside of the kernels will reduce
by Cretors - and they also make the MWVT machines) and
popping expansion; which is what both breeding and
the test is recognised as standard by the popcorn industry.
processing is designed to weed out.
Popcorn Expansion This is the heart (kernel?) of the whole popcorn industry. Different varieties will produce different sized and shaped pieces of popcorn when popped, which has an impact on the cinema owner’s profit. This percentage variance can be quite significant which is why processors go to great lengths to grow varieties with the right (pop-for-buck) ratio. Expansion level is the key metric. This is the amount of growth in volume that the corn goes through in the popping process. In general, the more the corn expands the better the product. High expansion corn is desirable for both the consumer and the manufacturer. From a consumer’s point of view high expansion corn is more tender and has fewer partially popped kernels that are hard to chew. 3 8
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13.5%
kernels. Understanding which popcorn traits are related to
For example, an expansion of 42:1 means that 1 gram of
unpopped popcorn will produce approximately 42 cubic centimetres of popped popcorn. The higher the MWVT number, the greater the volume of popped corn per weight of unpopped corn. A typical rate would be 42-44. The customer usually equates high expansion corn with
high quality. For the manufacturer, high expansion will create a physically larger bag for the same weight and may be considered better value by the customer. High expansion corn also usually indicates a low percentage of unpopped kernels or scrap. In this case corn is not only purchased by
Popcorn is usually delivered to the user with moisture content between 13.5-14.5% which is when it pops best.
weight but also sold by weight.
From Field to Customer One of the largest contributors to popcorn quality is the processing that the corn is subjected to after being picked. Much of this is automated. www.cinematech.today
Raw Popcorn Harvesting
food regulations that are required to sell Preferred Popcorn
Popcorn grows on stalks like other types of corn and can be
products in markets like Japan and Germany.
harvested by the same processes. However, to get the top
“We are organically certified, non-GMO, halal and kosher,”
level of quality, several precautions must be taken. The
he says. “All of that plays into how we design our plant.”
popcorn plants and ears are not as large as those of field corn,
Clean corn is then sent to packaging on pallets for shipping, or stored in huge silos.
requiring adjustments and modifications to the machinery to ensure the kernels are not damaged when picking and shelling. The damage to the kernels takes on the form of
A Focus on Sustainability
scratches or cracks in the pericarp. This damage to the
Green farming practices are encouraged, if not universally
pericarp reduces the popping expansion of the kernels during
followed or mandated. Preferred Popcorn says its farmers
popping. Popcorn is harvested in the US between September
deploy crop-rotation, soil- and water-testing and minimal use
and November.
of fertilisers. It employs ‘no-till’ farming which reduces soil compaction (to give next years’ popcorn roots air to breathe)
The Process of Processing
and also reduces the number of passes through a field, thereby reducing carbon emissions and encouraging
The popcorn is processed using advanced milling and cleaning equipment to remove any foreign material such as broken kernels, corncobs, and dirt. There are several stages to this: A screen cleaner uses shaking screens and highpowered blast fans to remove the large pieces of foreign material and field corn as well as smaller containments like weed seeds, immature or broken kernels, and dust. A gravity table or destoner removes impurities on the basis of density. A gravity table uses high volume fans and a
Storage silos
shaking perforated deck to suspend the popcorn above it on a cushion of air. The angle and shape of the deck causes the popcorn to move to different ends of it, depending on the popcorn’s density. Broken, cracked, and immature kernels move towards the back of the machine where they are removed, while all of the good kernels move toward the front of the deck and exit the machine. Some machines have magnets to remove metal. A computerised colour sorter uses advanced highresolution optics to visually inspect each kernel of popcorn as it flows through the machine at a rate of 20 metric tonnes every 45 minutes. That’s every single kernel. Doing that manually would clearly be an impossible task but the most up-to-date machines can identify imperfections such as discoloured kernels using an AI algorithm and infrared light to check inside each seed. Defects are removed by a jet of air. The colour sorter at Preferred Popcorn snaps a picture of each kernel and stores this image. Says Peace, “We can program the machine to look for red kernels, for example, and we can analyse the results to input into our breeding process.” This phase is not just about removing visual defects or physical debris, it is also about removing chemicals like insecticides,
pesticides
or
fertiliser
that
could
have
contaminated the harvest from a neighbouring field. “We are continually testing to make sure these things are not in our process,” says Peace, who emphasises the stringent 4 0
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A combine in action
P O P C O R N
Why Popcorn Pops
microbiological soil development. “We save valuable resources by gathering samples of the soil to more deeply understand which nutrients are missing,”
A popcorn kernel’s very hard hull (pericarp) is capable of withstanding an
Peace says. “With that information, we’re able to use precision
internal pressure of 135 PSI (9.1 atmospheres). The starch in a kernel is a
GPS-monitored applications of fertilisers and use pesticides
hard starch containing about 14% moisture. When heated, the pressure
and herbicides only as needed to control crop issues. We are
and temperature in the kernel rise, cooking or gelatinising the starch. At
also testing new technology with nitrogen uptake enhancing
about 135 PSI (9.1 atmospheres), the pericarp ruptures and the pressure is
microbes
released, the water expands to steam and stretches the starch cells to
enrichment, which results in cleaner air and water for our
many times their original volume so they take on a foam structure.
communities.”
As the steam is vented to the atmosphere, the pressure drops to
to
reduce
or
eliminate
synthetic
nitrogen
atmospheric pressure. As the pressure drops so does the temperature.
Moisture Content
At the lower temperature the starch returns to a solid state but is now in
Popcorn is usually delivered to the user with moisture content
the form of an open-cell foam, giving popped popcorn its crispiness.
between 13.5% and 14.5% - because that’s when it pops best.
The actual popping process requires a delicate balance of heat rate
The actual moisture content will depend on the variety and
and moisture content. If the kernel is heated too quickly the starch at
what the processor determines will give the popcorn
the centre of the kernel is not gelatinized and softened. The starch at the
maximum expansion when popped.
outer edge reaches the required temperature and causes the pericarp
“Popcorn kernels are a little bit like a sponge,” says Peace.
to rupture but the uncooked starch at the centre of the kernel does not
“If the ambient humidity is 60% or higher, the popcorn will
expand. The result is a small hard partially-popped kernel of corn. But if
absorb moisture, possibly causing it to go mouldy over time. If
the heat process is too slow, the build-up of internal pressure cannot
the humidity is 50% or less, the popcorn will dry out, hindering
keep up with loss of moisture as steam vents from the tip of the kernel.
its ability to pop.”
Heating the kernel must be at a slow enough rate to cook the starch
Popcorn is normally harvested with a moisture content of
to its core, before internal pressure ruptures the pericarp; but not so
14% to 17%. According to AK Acres, popcorn harvested below
slowly that the small amount of moisture available leaks out before the
14% moisture may be too dry and may not pop well. But
kernel reaches popping temperature and pressure.
popcorn harvested above 17% may be too wet and may spoil when stored in grain bins.
Storing Popcorn Consequently, monitoring of the moisture in storage is critical. Kernels can be stored almost indefinitely as long as the moisture level does not change. Silos are equipped with computer-controlled aeration systems that continuously monitor air humidity and temperature. AK Acres programs its computers to turn large aeration fans on or off to keep the moisture at the optimum level. Natural air-drying, as opposed to natural gas heat, preserves the seed coat integrity and the appearance of the popcorn for customer satisfaction and maximum expansion potential. Preferred Popcorn keeps all its varieties in separate storage. Storage is incredibly expensive, says Peace, partly because of the constant monitoring, and partly because of the space it needs. “Some companies don’t have the storage so they grow and sell it off in the first couple months after harvest. But storage is expensive for the customer too. We choose not to put the burden on the customer. Our customers tell us how much they need for the next year, we grow that volume and the kernels stay with us until they tell us they need it. That’s when it’s cleaned, packaged and shipped.” 0 6 / 2 2
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P O P C O R N
Butterfly or Mushroom? Butterfly kernels are the most common type of popcorn, tending to be large and fluffy with many ‘wings’ protruding from each kernel. The mushroom kernel is more compact and is shaped like a ball – ideal for processes that require heavy handling of the kernels such as sugar coating.
1492
When Columbus first arrived in the West Indies in 1492, the natives tried to sell popcorn to his crew.
round balls because they want their product to look good in a bag. They don’t care about expansion if it fills a bag. What is selling their popcorn is its visual appeal. “Other customers are catering to
“A high expansion butterfly popcorn has really big
patrons who tend to like sugary
wings which is great as long as it’s not handled a lot. In a
popcorn so it’s important that the popcorn won’t fall apart in
cinema setting that’s perfect since the popcorn is popped and (ideally immediately) scooped into a bag and delivered to the customer,” Peace explains.
The delicious snack, synonymous with cinema
a tumbler as seasoning is added. Mushroom is the key here. The thing about most mushroom popcorn is that it does not even get close to the expansion level of butterfly. It’s at the
“If you take that high expansion butterfly corn, pop and
23-30 levels rather than the 44-45 level. However, one South
season it, put it through a packaging machine, in a box on a
Korean cinema customer of ours wants a mushroom
truck shipped to a store then handled again, those wings
popcorn with a high expansion level. We have bred, and
will break off. That is how you get a bag that’s one third full.
grow, a special variety that just goes to them with a pop level
So, you can use a low expansion popcorn and it’s why we
close to 40. That is a unique variety that will coat well but has
breed it for certain customers. It’s simply much hardier
a high expansion level.”
when handled. “Some customers in retail settings like a grocery store
Sit Back and Enjoy
might have a 1kg bag with their brand name on it. What
Believe it or not we’ve barely touched the sides of the
matters to them is they want the unpopped kernel to look
popcorn industry. Contrast a new 3D 4K digital projector
beautiful, to be big, bright, orange and clean-looking since
which might cost $100,000 with the latest combine used to
this is what they are selling to their customers. So, we breed
harvest fields at over $500,000. Hopefully, we’ve given a
a variety for how the unpopped kernel looks.
greater appreciation for the level of research, innovation
“With mushroom corn there are also customers offering gourmet popcorn who care about the uniformity of large 4 2
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and engineering that goes into getting the perfect popcorn to your cinema seat. www.cinematech.today
LIGHT TAPE: ELIMINATING GLARE POLLUTION IN HD CINEMA DESIGN Steve Pendlebury, President & CEO, Electro-LuminX Lighting Corporation The role of cinema lighting has greatly evolved over the years. It’s needed to highlight hazards, provide soft illumination for egress and for interior design accent lights. But more lumens at a lower energy cost should not be the priority in modern cinema design. Illumination is no longer about visibility. 4 4
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www.cinematech.today
L I G H T I N G
I
n theater illumination, the primary use
that has many benefits and this is the ‘glue’ that holds the
of lighting is not only safety, but to
phosphors and other materials together as one solid state
create a warm and inviting atmosphere
lamp. We employ a roll-to-roll process producing the longest
to enhance the overall experience. The
electroluminescent lamps in the world. E-LLC has a
main challenges of cinema design are
sophisticated line of power supplies that can be remotely
to produce even lighting with no light
dimmed and controlled by DMX512 or 0 – 10 VDC dimming.
pollution, and ideally with zero light on the screen. Casting the appropriate amount of light is where LEDs
Extreme Visibility, No Light Pollution
struggle, as they produce so much light that this must be
The goal of accent lighting in a cinema is the ability to be seen,
diffused. LEDs are better suited for general illumination
i.e. to permit safe movement around the auditorium. There
where total brightness and low energy consumption are
are two ways to measure visibility for lighting: luminance, and
paramount, but not for gentle accent lighting.
illuminance. Luminance is the perceived brightness or ability
Today, the demands of modern cinema design are in
to see something: for example, a laser would be high in
perfect alignment with the attributes of electroluminescent
luminance as the laser beam is highly visible. The second
lighting offers
(EL), the
which perfect
measurement
of
lighting
is
visibility
balance of safety and
illuminance, which is
elegance. The entire
the amount of light
EL lamp is coated with
that is cast onto a
phosphors resulting in
surface - or how much
the
surface
you light up a room,
being a light source,
designed to measure
not a series of single
task lighting. So a laser
point bulbs. It is now
would
possible to have even
illuminance; it’s not
illumination
without
going to light up a
diffusion. EL lamps are
room, despite being
extremely visible but
very visible. For accent
at
lighting,
entire
the
produce
same
time,
very
little
be
low
the
in
most
important attribute is
unwanted light, with
surface visibility, or the
most of the light being contained at the surface - which is the
perceived brightness. This differs from a light with high
principal goal of an accent light.
illuminance, where the intended light from the fixture is
The History of EL Technology Electroluminescence, or the generation of light by the
designed to also illuminate the room. When compared to an LED light source, EL is crisper and can be seen in far worse conditions than an LED.
electrical excitation of light-emitting phosphors, has been
Electroluminescent lights not only reduce glare and light
around for many years. Electroluminescence was first
pollution; they perform better with respect to visibility when
observed in silicon carbide (SiC) by Captain Henry Joseph
called upon for egress applications. Egress wayfinding is an
Round in 1907.
application where more lumens are not better, but the type of
Some companies such as ours - Electro-LuminX Lighting
light source is more valuable. Electroluminescent lights
Corporation (E-LLC), the manufacturer of Light Tape lamps -
outperform LEDs in smoke and fog, being more visible in
have further developed the electroluminescent technology
emergency situations.
platform. We focus on process IP, as well as chemistries and associated electronics. And we’re not only a manufacturer,
A True “Solid-state” Technology
but also a product developer in electroluminescent
Light Tape composition is a series of coatings applied on top
technology.
of each other that are dried into one structure. There is no gas,
E-LLC utilizes a proprietary and patented binder system www.cinematech.today
liquid or filaments to break which would cause Light Tape
One of the screens at Apple Cinemas, Warwick, Rhode Island
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to stop working. The bond between each layer of a Light Tape lamp is indestructible and it’s impossible to separate them as
Apple Cinemas, Rhode Island
they produce heat: energy is passed through the silicon wafer producing this heat. The silicon wafer differs from lot to lot,
they are coated and cured as one, as well as producing no
which is also a sign of their variability. The LED system is more
heat during operation. Once energized, it is impossible to
efficient than other resistive loads - when thousands of
cause the structure to fail and the Smart Driver power
lumens are needed, LEDs are the most efficient in producing
supplies are extremely reliable.
light.
There is nothing “solid state” about LEDs other than the
For applications like step lighting, which are narrow
semiconductor chip itself. LEDs tend to fail by design as there
accent lights by nature, a Light Tape system will consume on
are many points of failure supporting the chip. The heat LEDs
average 0.25 watts per meter for an EL lamp that is 6.35 mm
produce can cause them to break from their heat sink due to
wide and a meter long. An LED strip to fill the same fixture will
epoxy degradation. The thermal stress can also lead to failures
consume 4 watts a meter or more in many cases. The energy
in the circuit caused by mechanical stresses on the
saving is significantly more with Light Tape.
semiconductor and the bonded contact.
The operating cost of a 50-step venue using split electrode EL is $6.50 (USD) per year, compared to $78.50 for
Energy Savings - Light Tape vs LED
most LED systems. Not to mention the environmental impact
An important thing to remember when comparing Light
on the air conditioning system to compensate for the heat
Tape (EL) and LEDs for accent lighting is that most of the light
produced by the LEDs.
produced by the latter is blocked through diffusion, and the light that does go through contributes to light pollution.
Electro-LuminX’s Steve Pendlebury
Is Profile Design Important?
While bright, up to 90% of the light produced by an LED for
Traditionally, many step light profiles are
accent lighting is wasted energy.
made from plastic and are cut on site. They
At the same surface brightness, Light Tape will consume
are usually adhered into place using tubes
10% of the energy that an equivalent LED fixture would
of silicon and generally are not mechanically
consume at the same width. Light Tape energy consumption
fastened. When mechanical fasteners are
is based on the area that is illuminated; it is a capacitive load.
employed, they are done via the top and the
EL lamps only require the energy to fill the load or surface
screw heads are left visible. Over time, the
area, and when switched off they release the energy as a
end caps come off with cleaning as the
photon or packet of light. The larger the area, the more power
silicon will fail.
needed; it is a very linear relationship. On the other hand, LEDs are a resistive load, which is why 4 6
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Electro-LuminX StepGuard profiles are made of aluminium and are very durable. www.cinematech.today
L I G H T I N G
The system is adhered to the step from the top with the use of
movie ticket. As a result, almost every aspect of a cinema has
mechanical fasteners. The screws are then covered with an
been reimagined.
anti-slip rubber insert that not only hides the screw heads, but adds a layer of protection for the pedestrian.
Super bright LEDs do not fit into the new cinemas of today for many reasons. The first and foremost of these is that
StepGuard ends are made through an injection molding
the technology was developed as the next generation task
process and fit the ends of the extrusion perfectly. They are
light, i.e. designed to produce incredible amounts of light
mechanically fastened with small hidden screws, so glue isn’t
while reducing energy costs. As it turns out, as with many
needed. The Light Tape itself sits inside a rubber insert to
new technologies, the drawbacks were not immediately
further protect from moisture and provides an IP65 rating
understood. LEDs did initially lower energy costs, however,
(water resistant). Each step comes with two wires and is ready
the bulbs fail at different rates and are not designed as an
to mount which reduces installation time by 75% compared
accent light. They are unable to provide even illumination
to traditional systems.
without aggressive diffusion, and before long lead to spotty
Accentuating Brightness and Visibility Electroluminescent lamps produce light at nearly a
StepGuard SG45 in Natural Blue (r)
accent lighting at best. A cause of light pollution, their cast light reaches the screens and disturbs patrons with bright lights in their peripheral vision while viewing the movie.
180-degree plane. Light leaves the surface in thousands of
EL has been around for nearly a century with even
directions, making viewing possible at a wide angle.
illumination and zero light pollution, glare or heat production.
Electroluminescent exit signs are better than LEDs for this
In recent years, improvements in the phosphor and
reason; the brightness can be tuned lower to prevent light
manufacturing technologies have significantly improved
pollution on the screen. And at the same time, the viewing
lifetimes with current installations lasting more than a
angle for patrons to see exit signs is very wide, making it ideal
decade. And at Electro-LuminX Lighting Corporation, we
for egress situations.
offer fully dimmable and controllable power systems - their technology can be tied into camera systems utilizing DMX512
In Summary...
or 0-10 vDC dimming control.
The technology shift to 4K high-definition cameras has
As with most things, there is a great variety of both LED
changed the way cinemas are designed and used today.
and EL manufacturers and the resulting quality that comes
From amazing sound systems to luxury seating, designers,
from each. But by doing your homework, the right solution
architects and cinema operators strive to create fully
can be found to meet your needs. And there’s never been a
immersive
better time to evaluate the benefits of electroluminescent
environments
Apple Cinemas, Rhode Island (l)
to
enhance
the
cinematic
experience as customers demand more from the price of a www.cinematech.today
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E V E N T S Helen Budge and Peter Knight report on the UKCA Conference 2022 from Picturehouse Central, London.
UKCA
T
UK Cinema Association Conference 2022
he sold-out UKCA Conference 2022, once again back in
its
calendar
spring position,
took place at Picturehouse Central, round the corner from iconic London hotspots Piccadilly Circus and Leicester Square. With a theme of “Audiences + Content”, the two days truly provided value for money and gave delegates the chance to see and chat to colleagues in person - such a small thing in “normal times” but something we’ve all learned
ALL UKCA IMAGES: JULIE EDWARDS
to greatly appreciate.
And On With the Show…
The agenda was packed full of
said address, and this year was no
presentations, panel sessions and -
exception with none other than the
horrible word - networking opportunities
legendary Sir Kenneth Branagh taking
in what is one of the most important
up the mantle. Live and in-person in the
industry events of the year. And there
auditorium (it didn’t take long for
was an even greater sense of anticipation
delegates to begin referring to him as
of topics covered under the “Audiences
given that the event had completely sold
“Ken” afterwards… Judy Dench does it so
+ Content” umbrella we’ve highlighted
out more than a week in advance, with a
why can’t we?), he gave a passionate,
some key points to give a flavour of the
reserve list of 50+ names.
articulate,
days.
knowledgeable
and
A packed auditorium keenly awaits the keynote speech from Sir Kenneth “Ken” Branagh
It’s always an incredible feat how much the UKCA team can squeeze into a twoday conference and this year was no different. Due to the depth and breadth
It has become a bit of a UKCA
humorous address that engaged and
Unsurprisingly, given the subjects
tradition to sprinkle the opening keynote
energised the audience, setting the
covered, several sessions provided in-
address with a copious amount of
tone - and the bar - for the rest of the
depth
stardust by booking big names to deliver
two days.
showing the way that audiences have,
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data,
analysis
and
graphs
www.cinematech.today
or in some demographic cases have not, returned to the cinema since the ‘end’ of the pandemic. Time and again the data shared showed that younger audiences
Sophie Camp, Universal Pictures, presents a Spotlight Session
stressful, experience of opening a brand
tickets to watch one great film on the big
new cinema before and during a
screen each week, which is brought
pandemic.
about through partnerships with local
Markwick provided a fascinating
cinemas. A discussion between MUBI’s
are returning to the cinema at a faster
and entertaining presentation on taking
Director of Distribution, Natalie Ralph,
rate than older audiences (45+ - kill us
on the much-loved but neglected art
and
now), something that is the focus of an
deco Electric site in Birmingham City
cinemas - Watershed, Bristol and Rio
Centre in November 2021. Detailing the
Cinema, Dalston - followed, exploring and
many challenges and changes that the
extolling the virtues of this collaboration.
ongoing discussion as to why this is and how, specifically, we might encourage
50+
older audiences to come back. Large box office tent pole movies, such as “No Time to Die”, were shown to be some of the big names that really did bring back audiences,
including
these
elusive
site brought with it, the cinema and its This year’s event had a reserve list of over 50 industry names
“older” members.
participating
independent
exciting success and a brilliant response
What’s Next for Event Cinema?
from the local community. There’s clearly
The first day closed with a panel, led by
a lotta love for the Electric.
Grainne Clarke, Managing Director of the
new team have already seen some
Frenemies?
15 Minutes of Fame
two
Event
Cinema
Association
(ECA),
discussing a wide range of upcoming
Very often the media narrative towards
opportunities for event cinema. For
Some panel sessions that required
cinema and streaming is as an either-or
those of you familiar with the Korean boy
lengthier
a
option, but as the pandemic showed a
band sensation, BTS, and their fanbase
longer slot in the programme. But these
working relationship can be formed and
known
sessions were nicely broken up with the
the two can happily work together. MUBI
Representative M.C for Youth) you’ll also
previously
GO is a great example of a partnership
know
between a curated streaming platform
cinemas have seen with BTS event
(MUBI) and the big screen working in
cinema
harmony. MUBI GO subscribers receive
distributor Trafalgar Releasing (who
Sessions
discussions
tried, that
15-minute
popular
allow
look
maintained
at
for a
Spotlight a
briefer,
variety
of
organisations and topics in the industry.
Picturehouse Central
as the
mind
ARMY boggling
screenings.
Event
(Adorable success cinema
Probably two of the most engaging and
partnered with Korean entertainment
entertaining of these sessions were
company HYBE) saw record-breaking
those presented by Claire Beswick,
numbers for the latest “BTS Permission
Founder, The Living Room Cinema,
to Dance on Stage – Seoul: Live Viewing”.
Liphook, and Katie Markwick, Manager
Trafalgar’s CEO, Marc Allenby, joined
of
the
(recently
reopened)
refreshed-and-
the panel to discuss this opportunity.
Cinema,
And it showed the sheer dedication of
Electric
Birmingham. Beswick
the BTS fanbase, with the screenings divulged
her,
rather
www.cinematech.today
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4 9
E V E N T S
UKCA and One Community Day
of $32.6 million. This success also
The Cinema Technology Community took
technology. CTC President Richard Mitchell
the reins for the second half of day two and
discusses
presented “One Community Day” (OCD), a
presented in a separate feature on the next
range of discussions and presentations
page, for readers who would like all the
focusing on, you guessed it, cinema
details.
the
programme
the
CTC
demonstrates how music concerts from various artists receiving an event cinema release (Nick Cave, Coldplay, Westlife,
event itself. To that end Michelle Stevens,
Little Mix to name a few) have exploded
Commercial
in the last few years.
shared some digital assets designed
Director
for
Powster,
But it’s not just music concerts that
and circulated by the digital agency,
have seen incredible event cinema
prior to the BTS event. Fans loved being
growth in recent years. James Dobbin,
part of the community that was created,
Director of Event Cinema for National
through sharing their names and
Amusements, discussed anime titles
locations of where they’d be watching
that have drawn huge crowds, including
via digital “postcards”.
recent huge success “Jujutsu Kaisen 0”. plugging the gap of underserved family
Mia Bays and a Slate of British Goodies
titles, taking GBP £3.5million over five
Day two of the conference was opened
years with 40 titles.
by Mia Bays, Director of the BFI Film
And pre-school content has been
40 Pre-school content took over £3.5m over 5 years with 40 titles
British content designed to remedy this
problem
and,
with
a
wide
repertoire from known and lesserknown names, let’s hope that the effects of the pandemic encourage us into
embracing
these
new
opportunities.
Another Year Over And so, two full days came to an end. It’s
apparent,
particularly
after
a
24-month hiatus, just how important Phil Clapp, UKCA CEO, takes to the stage
the social aspect of the conference is, both from a networking perspective
Taking risks is crucial to the future of
Fund, addressing an issue that came to
event cinema. The panel were keen to
significant prominence during the
schedule is designed with this in mind
communicate that just because an
pandemic: the lack of British content.
and plenty of breaks are incorporated -
exhibitor may not have an immediately
When Hollywood “turned off the
and it can’t be understated how lovely
obvious audience doesn’t mean one
(content)
it was to mingle.
can’t be found if some strategic thinking
countries could rely on - very successful
A very positive tone came out of the
is
- local releases to bring people in when
conference, with plenty of evidence that
they were open.
audiences are returning to cinemas in
implemented.
Trafalgar’s
own
approach to certain projects is to identify an audience prior to taking on a title and their track record speaks volumes. Find the tribe, tap into their interests and build the anticipation - this latter element is almost as important as the
tap”,
other
European
but also from a social point of view. The
encouraging
The same couldn’t be said of the
numbers.
Some
age
UK however, a factor that added
groups are slower at returning, but big
pressure to an already very difficult
films - and targeted marketing for
situation for exhibitors.
specific titles - are helping with this. Some concern was expressed about a
Bays presented a slate of upcoming
lack of titles in certain areas, particularly A chance to chat - one of the networking breaks during the conference
family films for the May holidays that were swiftly approaching. But as Ken said in his keynote, there’s plenty of evidence to instil confidence that we’ll soon be back to the “thrival” of the industry. The next conference will be in early 2023.
More Info 5 0
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w ww.cinemauk.org.uk/the-bigscreen-experience-audiencesand-content/
www.cinematech.today
We build & deliver it At MPS, we’ve been building DCPs for 15 years, whilst creating a delivery network to more than 3,500 cinemas worldwide.
w: www.motionpicturesolutions.com
t: 020 7751 7000
e: info@motionpicturesolutions.com
UNDP & SAWA Put Climate Change Front & Centre in New Cinema Ad Campaign The Global Cinema Medium is honoured to receive the 2022 United Nations Development Programme Global Impact Award - “The Frankie” - for its outstanding contribution to support #ClimateAction. We are helping facilitate change for the good. Our core audience, Gen Z and Millennials, list #ClimateChange as a top priority. #UNSDGs #DontChooseExtinction #HelloBigScreen @SAWA
For more information about the “Don’t Choose Extinction” advertisement and campaign, please visit dontchooseextinction.com. To find out more about the global cinema medium please visit sawa.com
E V E N T S
Richard Mitchell, President, Cinema Technology Community, talks taking over the UKCA Conference stage for One Community Day
CTC’s One Community Day
A
fter a day and a half
focused
around
the
theme ‘Audiences
+
Content’, the UKCA handed over its spring
conference
afternoon matter,
of
stage
for
technology
delivered
an
subject
by
Cinema
Technology Community (CTC). Back in 2020, in the midst of lockdowns
and
restrictions,
CTC
created and hosted an event entitled One Community Day (OCD), designed to bring the industry together for several hours of original content as a vital educational support initiative. around the world attended the event
Prepping the tech for OCD
with very positive feedback. This time CTC went one better, delivering in-person live sessions with a stream to share the afternoon with large audience in London, more than 150 people joined the event online from around
the
world
including
Argentina, Australia, Belgium, Brazil,
Chile,
Denmark,
Budge led a discussion with Ruth Hinton (Group Head of Customer
India, Ireland, Japan, Malaysia, Pakistan,
Experience
Portugal, Spain, South Africa, Sweden,
International) and Raj Khalid (Customer
Thailand and the USA.
Experience Manager, Cineworld) about
A New Membership Scheme
CTC’s global members. As well as a
all
Finland,
France, Germany, Greece, Hong Kong,
(l-r) Raj Khalid, Ruth Hinton and Helen Budge
the
Insight,
industry
might
Vue
engage
audiences with cinema technology with the aim of providing better movie-
The event kicked off with a major
going experiences for guests. There
announcement regarding the new
were a number of key takeaways from
membership structure designed to
the session, not least that there is a
continue
industry
chance later this year to excite new
beyond the end of CTC’s Community
to
support
the
audiences with the 3D experience.
Membership Scheme. After this, the
Product manufacturers need to forge
focus moved onto a fascinating look at
closer relationships with exhibitors to
cyber security. During this session,
help explain how their products add
expert Andy Compton from Cortida
value to the movie-going experience so
(www.cortida.com) took an in-depth
that these can be showcased to
look at some of the specific threats of
consumers.
cyber warfare and how these manifest scenarios that cinema exhibitors may
ECA & CTC Test Materials
face over the next few years.
And if one dose of Helen Budge wasn’t
themselves, providing a number of
Next up, CT Magazine’s own Helen www.cinematech.today
how
and
enough (Editor: it never is!) the third 0 6 / 2 2
>
5 3
IMAGES: JULIE EDWARDS
Canada,
More than 300 cinema executives
E V E N T S
Uckfield
and
Electric
Cinema,
session looked at a piece of work CTC
experience. Next, the audience was
commissioned back in 2020 to help
treated to an exclusive 5.1 DCP version
drive up the quality of event cinema
of the test materials featuring, you
broadcasts.
(Saffron
guessed it, Helen Budge. The six
was joined by cinema industry expert
Screen), Grainne Clarke (Event Cinema
minute clip includes the following tests:
Saul Mahoney from Cineport Media
Association)
Paul
Wilmott
and
David
Pope
CTC VP, Graham Lodge, talks new membership plans
Birmingham) and Toni Purvis (Amblin Partners). In this live session the team
Clapperboard, Lip Sync, Pip & Flash,
where topics covered included “Avatar:
(MusicScreen) gave brief introductions
Loudspeakers,
The Way of Water” and equipment
to the new comprehensive broadcast
Framing and Aspect Ratio. While not
test materials explaining the necessary
yet released, CTC outlined plans to
With an engaged audience and a
requirements,
Focus,
Convergence,
shortages.
of
provide these materials to distributors
live stream that held stable throughout,
testing and the impact these materials
around the world over the coming
the event was heralded as a significant
will
months to drive the adoption of these
success and a blueprint for CTC to
materials throughout the industry.
deliver more hybrid events in the future
have
the
on
importance
the
movie-going
The event concluded with CTC’s
using streaming technology to reach its global members.
acclaimed podcast team delivering another barnstorming “In The Pub” live session hosted by Mike Bradbury (Odeon UK) with regular podcasters Kevin
Markwick
(Picture
House,
More Info
The event can be rewatched by visiting www.cinema-technology.com /one-community-day-2022-portal
A Fresh Look at 3D One particular One Community Day session focused on the upcoming 3D revival. Moderated by Adam MacDonald (GDC Technology), the panel included Mark Kendall (Sharp/NEC), Tony Dilley (Harkness Screens), Bobbie Andrews and Julia Vinokurova (RealD). A discussion followed on preparing for “Avatar: The Way of Water”, the potential options available to those wishing to improve presentation quality (even those with limited budgets and ageing equipment) and the type of technical checks needed to Grainne Clarke, Managing Director, Event Cinema Association (ECA)
5 4
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ensure that projection equipment is operational and functioning correctly.
www.cinematech.today
Congratulations to the 2022 CineEurope Award Winners INTERNATIONAL EXHIBITOR OF THE YEAR STEVE KNIBBS, Vue International INTERNATIONAL DISTRIBUTOR OF THE YEAR ANNA MARSH, Studiocanal UNIC ACHIEVEMENT AWARD GÉKE ROELINK, Filmhuis Den Haag CINEEUROPE GOLD AWARDS SYLVIANE AMATA, UGC MIKE BRADBURY, ODEON Cinemas Group KIRIL ENIKOV, Cineworld THOMAS ERLER, Kinopolis SUZANNA HOLMQVIST, Svenska Bio ERIC MEYNIEL, Kinepolis JON NUTTON, Empire Cinemas EVA REKETTYEI, Yelmo Cines
E V E N T S
CineEurope 2022 Teaser
I
t’s
with
great
pleasure that we welcome everyone
to
beautiful
Barcelona for CineEurope 2022, the official convention of the International Union of Cinemas (UNIC). Over the past two years, we’ve witnessed the resilience of the cinema sector,
its
capacity
to
adapt
to
challenging circumstances and to kick-start its recovery process, thanks to national reopening campaigns and the support of local and European productions.
What to Expect... CineEurope
showcases
everything
that makes the European cinema
technology will be discussed during
industry so unique. Each year in
the ICTA sessions, starting on Sunday
Barcelona, we are fortunate enough to
19 June and continuing throughout the
bear witness to the latest trends and
convention on our cutting-edge trade
developments
show floor.
in
the
big
screen
experience, highlighting the growth
CineEurope 2021 was the event’s 30th edition
Laura Houlgatte, Steve Knibbs and Phil Clapp (l-r)
and prosperity of the sector and its
Awards Galore!
continued value for audiences across
It goes without saying that the success
CineEurope without a series of fantastic
Europe and beyond. We strive to reflect
of our industry depends on the
presentations and exclusive screenings
this, alongside our partners from the
outstanding efforts of those working
from major international and European
Film
within it. To celebrate a few of the most
studios and distribution partners.
Expo
Group,
through
a
programme that keeps up with the
noteworthy
latest developments and opportunities
CineEurope
contributions,
for growth in the sector and builds on
presented
the discussions from the previous year.
Awards Ceremony. We’re delighted
If you’d like to find out more about
Gold during
Awards the
will
the
This year’s edition promises to be
be
four full days of entertainment, insights
CineEurope
and networking.
This year’s edition will feature a
that Géke Roelink - in recognition for
European cinema-going, or the work
series of high-level sessions, delving
her long-standing dedication to both
we
into current developments and future
the Dutch and European cinema
publications or the UNIC Women’s
trends at the heart of the sector’s
sectors
UNIC
Cinema Leadership Programme – our
recovery, including a highly-anticipated
Achievement Award this year, and that
pioneering initiative to address gender
executive
bringing
Steve Knibbs, Group MD & Deputy
imbalance in the industry, this year
together the top leaders from across
CEO, Vue International, has been
sponsored by IMAX and Vista Group –
the cinema landscape to explore the
recognized
please feel free to get in touch.
lessons learned and what comes next
achievements as CineEurope 2022
for our industry. Opportunities and
International Exhibitor of the Year.
roundtable
challenges 5 6
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0 6 / 2 2
to
cinema
-
will
for
receive
his
the
incredible
And, of course, it wouldn’t be
do
at
UNIC,
including
our
We hope to catch up with you during the week and would like to wish you a fantastic CineEurope 2022! www.cinematech.today
ccib barcelona
20-23
june 2022
C O N V E N T I O N A N D T R A D E FA I R CENTRE CONVENCIONS INTERNACIONAL BARCELONA (CCIB) CINEEUROPE.NET
O F F I C A L C O R P O R AT E S P O N S O R
E V E N T S
CinemaCon 2022
I
CinemaCon 2022 Represents An Industry Turning Point, reports J. Sperling Reich
f one is looking
the same time as their theatrical
screening of “Top Gun: Maverick” which
for a sign that
releases, but also acknowledge a reality
thrilled CinemaCon attendees.
movie
theatres
that Charles Rivkin, the CEO of the
Meanwhile, the trade show, which is
are
recovering
Motion Picture Association, had spoken
spread throughout different ballrooms
from the financial
about at length a few minutes earlier.
on two different floors in Caesars
battering suffered during two years of
Rivkin outlined in detail many of the
conference center, was humming with
COVID shutdowns, they need look no
initiatives the MPA is undertaking to
renewed commercial activity. Every
further than this year’s CinemaCon. The
combat piracy around the world in order
concession vendor imaginable was
annual gathering of cinema operators
to
present,
and vendors took place in person, at
members; studios and streamers.
Caesars Palace in Las Vegas at the end
protect
the
copyright
of April, with attendance creeping back
Slates & Stars
towards pre-pandemic levels.
Seven
The positive atmosphere was no
of
their
including
Coca-Cola
and
PepsiCo, Mars, Hershey, Wrigley and many major suppliers whose companies weren’t allowing corporate travel during
product
last year’s CinemaCon. One could put
presentations at this year’s CinemaCon
together a whole meal from samples of
distributors
made
doubt aided by several factors, including
including
streaming giant Netflix announcing just
Paramount Pictures, Sony Pictures,
Lionsgate
Films,
a week before the show that they had
Universal Pictures, Walt Disney Studios
hot
Neon, Floor signage at Caesars Palace, Las Vegas
dogs,
chicken
fingers,
pizza,
popcorn, soda, cocktails and candy collected at trade show booths while
lost subscribers for the first time in ten
reclining in luxury, thanks to the
years. Indeed, David Zaslav, the CEO and
numerous seating companies present.
merged
Manufacturers such as Christie,
Warner Bros. Discovery, told investors
Cinionic, Dolby, DTS, GDC, Sharp/NEC,
during the company’s first quarter
QSC and others used the conference to
earnings call that there was no need “to
announce new deals and even new
really collapse the entire motion picture
products
business on streaming.”
pandemic.
President
of
the
recently
developed But
a
during more
the vexing
This is a complete about-face by the
development affecting all technology
studio that released 18 theatrical titles
providers equally is supply chain issues.
day-and-date on their streaming service,
Exhibitors from the US, flush with funds
HBO Max, just a year before and it
from the Shuttered Venue Operator
couldn’t have come at a more opportune
Grants
(SVOG),
are
purchasing
time for the National Association of
and Warner Bros. Pictures. And, unlike
equipment - however, delivery of that
Theatre Owners (NATO), the trade group
last year, they brought along movie stars
equipment is severely hampered by a
that organizes CinemaCon. The news of
like Jamie Lee Curtis, Robert De Niro,
lack of product components.
Zaslav’s
just
Dwayne Johnson, Rachel McAdams,
In fact the only anxiety expressed by
moments before the organization’s CEO
Helen Mirren, Keanu Reeves and Zoe
attendees at CinemaCon 2022 was over
and President, John Fithian, took to the
Saldana as well as filmmakers like David
Coliseum stage at Caesars to deliver his
Cronenberg, Baz Luhrmann and multi-
State of the Industry address in which he
hyphenate Olivia Wilde.
comments
arrived
declared, “I am pleased to announce
content
the reduced number of films being released by major Hollywood studios and whether the industry upswing
One of the big highlights amid the of
7
that the simultaneous release is dead as
waterfall
came
during
a serious business model and piracy is
Disney’s presentation, in which 30
what killed it.”
minutes of Pixar’s “Lightyear” was
distributors made product presentations at this year’s CinemaCon
would continue once SVOG funds run out later this year. Otherwise, the feeling from CinemaCon attendees of all stripes over whether box office and business
Fithian was alluding not only to the
shown, as was the trailer for “Avatar: The
will return to 2019 pre-pandemic levels
studios’ recent practice of sending film
Way of Water”, which premiered in 3D.
seems to no longer be a question of if,
titles to their own streaming services at
Another was the very first public
but when.
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E C A
V I E W
How It All Began… Melissa Cogavin, Founder, Event Cinema Association
I
n 2009 I began consulting with the
and mainland Europe:
Royal Opera House, who had just
C hris Coulter, Cooley LLC
begun recorded
broadcasting opera
and
live
and
I sabelle Fauchet, Royal Opera House
ballet
into
R ickard Gramfors, Folkets Hus och Parker
cinemas around the country. I helped
J anelle Mason, CinemaLive
set up an internal distribution division, using the expertise
G raham Spurling, Movies@
I’d gained from seven years at Disney followed by three as
A ustin Shaw, Omniverse Vision
Director of Film Operations at Paramount Pictures in
F abrice Testa, XDC Entertainment
London. It was an eye-opener; I was blown away. 10 years of
J ohn Travers, Cineworld
check-printing animation titles in Slovenian had not
M ark Walekuvich, Showcase Cinemas
prepared me for crying my way through Carmen 3D, and I
P eter Wilson, HDDC
was hooked. That experience led to other freelance work in what was
Our Mission was Simple:
tentatively called the “Alternative Content” industry, but it
“The ECA is a non-profit organisation dedicated to supporting
wasn’t really an industry at that point, more a collection of
and promoting event cinema for cinemas, for audiences, for
passionate people all over the world, many from their kitchen this how little we knew about each other, how difficult it was to locate information, screen times, box office data, contact
T EN YEARS OF BOX OFFICE
55 50 45
details, release schedules; all necessary tools for the job of
40
than the sum of our parts, and what we needed was a more
35
centralised voice and a resource to support our growth and
30
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2012
2013
2014
2015
2016
2017
2018
2019
25
£6,730,388
£53,717,730
content providers, exhibition and distribution, and both UK
£41,385,272
members, selected on the basis that they represented
£34,946,998
and by September 2012 I had assembled our founding board
£32,860,088
need for and the potential benefit of a trade body by then,
£37,327,399
their feedback. It was an easy sell; everyone could see the
£36,803,357
then and I approached various friends and colleagues for
£21,591,920
of the Event Cinema Association (ECA) happened around
£7,903,404
promote ourselves. My lightbulb moment for the formation
£12,126,398
distribution. I also realised that collectively we were greater
£ million
tables, working on the fringes. It struck me after a few years of
20 15 10 5 0
2020
2021
www.cinematech.today
1 0
Y E A R
S P E C I A L
creators, for the creative industries.” Support included industry reports; gathering box office data with our partners Screen Digest (now IHS Markit) and
Comscore,
and
encouraging
territories to share their data. Our Technical
Training
Committee
also
produced the first guide to live delivery, from capture in the venue to broadcast in the cinema, and we introduced an event cinema training course at the BFI. Our website offered how-to guides, interviews and a directory of members, as well as a B2B (business-to-business) listings page for upcoming events including rights holders, distributor information and available languages. Promotion took the form of B2C (business-to-consumer) as well as B2B; when we first launched, we worked closely with members to produce a regular in-cinema theatrical trailer with deliberately maddening, ear-worm music, specially written so that audiences would go away and google event cinema and
Clockwise from top left: CineEurope 2017, Melissa Cogavin, ECA Conference, Genesis Cinema
Canada, Australia and all over Europe in order to raise awareness of the term “event cinema”. We also provided networking events in the form of educational trade show seminars at CineEurope and CinemaCon, which featured panellists, screenings and presentations, followed by drinks events on a
book tickets for the upcoming events they saw trailered. Due to
roof-top bar in Barcelona. Every October we hosted the ECA
popular demand the single was even released on iTunes. It was
Conference and Awards, which has since become the ECA
a great example of the industry working closely together all the
Slate Day. This remains a high point in the calendar for
way along the supply chain, sharing a collective vision for
members, for whom the networking, and the opportunity to
something really very new and making it a reality. These trailers
meet in person at a dedicated event, was (and still is) very
were exported worldwide, showing in cinemas in the USA,
important. Event cinema was by then being taken very seriously,
T OP TEN ALL TIME UK&I EVENT CINEMA RELEASES
further to a series of astonishing record-breaking titles, one after another, from 2013-2015: “Dr Who” (BBC), “Billy Elliot”
5
(Universal), “Pompeii” (British Museum/More2Screen), “Richard
4.5
III” (Royal Shakespeare Company), “Monty Python Live (Mostly)”
4
(Picturehouse), “War Horse” (NT Live), “Hamlet” (NT Live),
3.5
“Frankenstein” (NT Live), “One Direction” (Arts Alliance Media). By 2018 I felt I had achieved everything I had set out to do;
2.5
www.cinematech.today
£1,951,562.69 Branagh Theatre Live: The Winter’s Tale 2015 (Theatre) TRAFR
£2,042,440.13 Andre Rieu: 70 Years Young 2020 (Concert) PIECE OF MAGIC
£2,087,616.84 Take That - Greatest Hits Live 2019 (Concert) CINLVE
£2,177,449.20 Billy Elliot The Musical Live 2014 (Theatre) UNIVERSAL
£2,183,440.26 Miss Saigon: 25th Anniversary Performance (Musical) UNIVERSAL
£2,266,147.17 The Audience NT Live 2013 (Theatre) NT/PICT H
£3,261,953.23 Les Miserables: The Staged Concert UNIVERSAL
£3,352,798.03 War Horse - NT Live 2014 (Theatre) NT/PICT H
£3,359,033.34 Hamlet - NT Live 2015 (Theatre) NT/PICT H
Fleabag - NT Live 2019 (Theatre) NT LIVE
£4,426,510.01
2
£ million
3
event cinema as a name was well established and I was ready for new challenges. I was delighted to hand over the reins to Grainne Clarke, whose experience at the UK Cinema Association
1.5
(UKCA) would be instrumental in taking the ECA to the next
1
level. It is very encouraging to see such gender parity on the
0.5 0
ECA board in 2022, and the substantial and detailed box office data that’s now available. I’ll always be grateful for the help and support I had from so many during my time at the ECA. I’m proud that the Event Cinema Association has endured over ten years, and that it has remained relevant and important to the industry despite the challenges it has faced at times, not least two years of COVID-19. I look forward to following its stellar progress over the coming decade. 00 69 // 21 8 2
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...And Where It’s Going Grainne Clarke, Managing Director, Event Cinema Association
I
If the pandemic has taught us anything
terms of box office there needs to be some level of consistency
it is the importance of being able to
or an agreed metric, otherwise the hope of ever achieving a
pivot and evolve in light of challenges.
true global box office figure, for all event cinema content,
The ECA’s mission continues to be to
becomes seemingly unattainable.
promote and elevate event cinema
The change of tack from the ECA is to now compare the
content across all markets. We’re a body that will challenge the
methodology of release alongside genre category to analyse
status-quo, highlight new ways for cinemas to entertain
performance across different territories, which actually in turn
audiences outside the traditional forms and attract new
provides a much richer data set to help us better understand
audiences. As an association we need to remain ahead of
and identify audiences.
emerging trends and be home to the thought leaders of this
Audience Retention and Content Delivery
area of the box office. Event cinema has evolved so much since the ECA was
Audiences’ appetites are certainly evolving, and technology
established 10 years ago. When I started the role at the end of
advances have enabled more opportunities for event cinema.
2018, the mission was to share insights and bring more
We can see new emerging areas, and extra elements for fans to
consistency to box office reporting. Understanding the
experience, for example, across anime and (Korean pop band)
nuances across different territories has been a steep learning
K-Pop titles, ScreenX and D-Box are showing great signs of new
curve and creating consistency was more of a challenge than I
ways to entice younger audiences for a completely unique
anticipated.
experience.
What Qualifies As Event Cinema?
more control over the quality and stability of delivery, content is
Broadly speaking, event cinema content is categorised by the
able to be streamed in 4K and provides the option to improve
type of content and/or the methodology of its release - the
sound quality. Integration of YouTube, Twitch and Zoom is a
latter is by far the most universal metric. Though, when an
great opportunity for exhibitors looking to develop gaming at
event performs well, we see demand for more screenings, so
their sites and provide an alternative solution to offering live
the typical model of a “one night only” release, accompanied by
events without the reliance on satellite delivery. The associated
encores, becomes somewhat diluted.
costs and, indeed, internet connectivity in the cinema are still
IP content delivery is showing promising signs. There’s
We could argue, of course, if this really matters or not. But in
hurdles to overcome, but the ECA is keen to explore and share
T ITLES REPORTED BY GENRE 2011 - 2021 Theatre/ Musicals
Concerts
Ballet/ Dance
Opera
202
213
166
326
91
£103m
£41.2m
£35.6m
£48m
£8.8m
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GENRE
NO. TITLES
B.O. TOTAL
Pre-school
Sporting events
eSports
TV/Other
Comedy
96
55
14
11
25
9
£7m
£3.5m
£328K
£125K
£5.6m
£2.3m
Documentary Exhibition
www.cinematech.today
the emerging possibilities. Event cinema has a proven ability to attract new and niche audiences to the big screen - in 2020 we saw that 23% of audiences attending event cinema content were brand new. The retention of these new audiences is still something cinemas need to capitalise on. Over the last three years, the ECA has
Clockwise from top: ECA Conference 2019, ECA Awards 2015, ECA panel at the recent 2022 UKCA conference
pipeline of content to be announced. And as the cinema industry continues to recover and stabilise, we look forward to bringing new events and opportunities to our global cinema partners. It will be a busy year for the ECA. We’re so grateful for all the support over the last 10 years and the ECA Board of Directors has been pivotal in driving
worked with Movio to acquire a wealth of data around audience
forward the objectives and presence of the ECA. We are so
segmentation and trends. The most significant finding is the
much stronger together and I am very excited to lead the ECA
crossover of event cinema audiences with mainstream releases,
into its next chapter.
with an average of around 70%. As an industry we shouldn’t pigeon-hole people too much
ECA Current Board of Directors
- audiences have broad interests. I’m a good example of this.
A melia
I’m an avid lover of hip-hop, yet my favourite opera is “Madam
Entertainment (Netherlands)
Butterfly”. These are two very polarised genres of music and
B rad LaDouceur Vice President Event Cinema, Cineplex
more often than not, my email notifications from cinemas are
Entertainment (Canada)
based on what I have previously seen, not what else is on offer.
J an Runge Independent Cinema Consultant (Germany)
Cinemas need to move away from just promoting “like for like”
J anelle Mason Founder and Co-director, CinemaLive
to their audiences. The ECA is keen to champion this further
(Australia)
and encourage broader marketing collaborations to promote
J ohnny Carr Group Event Cinema Manager, Vue International
all titles to a wider range of audiences.
(Europe)
10 Years of Achievements & More To Do
Prisacaru
Sales
Director,
Piece
of
Magic
K atrin Mathe International Event Cinema Manager, Kinepolis (France)
As we celebrate 10 years of the ECA, we, as an organisation, still
L aura
recognise there is more to be done. Event cinema is still often
Amusements (USA)
Corriea
siloed from wider industry conversations and activities rather
M arc Allenby CEO, Trafalgar Releasing (UK/USA)
than acknowledged as an important part of cinema audience
S arah Lewthwaite Chief Client Officer, Movio (Europe)
development. The ECA has achieved a lot over the last three
S imon Tandy Managing Director, Omnex (UK)
AVP Film & Event Cinema National
years in regard to giving event cinema a more prominent and integrated voice at industry conventions. We’ve seen a big step forward but there are still many cinema markets that we want
For more information or to become a member,
to engage with and more opportunities to explore.
please contact info@eventcinemaassociation.org
Whilst box office numbers for the last two years are not quite where we would expect them to be, there is a strong www.cinematech.today
or visit the website and complete the member form at www.eventcinemaassociation.org 00 69 // 21 8 2
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6 3
N E W
I C T A
V I E W
A Shiny New ICTA column
T
he first-ever ICTA column for CT
college and vendor-provided courses required to design,
Magazine is here, brought to you
install, service and operate cinema technology.
by the team after a hectic few
We need technical people that have roots in cinema.
months of in-person events and
We need the help to bolster recruitment efforts, and all of
the organisation’s 50th anniversary.
you are the best resource.
A Message from ICTA President Frank Tees
News from ICTA Europe
Hello CT readership, I know all of us are ready to get back to
discussion at KINO 2022, Baden-Baden. The discussion
the movies and a sense of normality, now that the pandemic
centered on the future of cinema technology, and was
is subsiding. But what is the new normal on the technology
chaired by ICTA Directors Till Cussmann and Oliver Pasch.
side of cinema? The pandemic has forced us to consider
The “Presentation Excellence Award” was presented to
new ways to use technology within the walls of the cinema
German exhibitors Heinz Lochmann and Marius Lochmann.
In May, the ICTA’s European branch conducted a panel
complex. Having spent more than 20 years in exhibition as
In June, ICTA conducts our annual Barcelona Seminar
a technician and technical manager, I’m gazing into my
Series at the CineEurope trade show. Participants will
crystal ball and seeing new excitement about what can be
explore current industry trends and state-of-the-art
done with technology, even with some applications that are
technology during our seminar on June 19 in the Cinesa
not traditionally associated with cinema exhibition.
Cinema Diagonal Mar, as well as at our
New ideas are built on our experiences during the time
Focus Sessions on the CineEurope
we couldn’t go to the cinema - ideas based on tech that
trade show floor. And, of course, not
we’ve all been exposed to during the pandemic such as
forgetting the ICTA EMEA Awards
Unified
(UCC),
Party which will take place in the
Streaming Video on Demand (SVoD), and eSports.
evening of June 19 at the Hilton
Exhibition has been forced to eliminate much of the
Diagonal Mar.
Communication
and
Collaboration
technical support backbone that ensured that the show
Finally, ICTA’s annual convention
was on screen, in a time when film engineers that made the
in 2022 takes place in Brussels,
transition to digital were already leaving the workforce. I
Belgium, from July 24 through 27. The
urge those involved in exhibition and the cinema technology
European team, together with ICTA
landscape to engage and mentor young technicians with
Executive Director Bob Sunshine, is
even a glimmer of interest in the inner workings of cinema.
busy preparing an exciting program
Ensure these candidates are educated with the many
for all participants, including a trip to
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ICTA 50th Anniversary Celebration
www.cinematech.today
&
THE GLOBAL CINEMA TECHNOLOGY NETWORK
congratulate ICTA on their 50th anniversary in 2022!
Cinionic in Bruges, and programming with the International
present ICTA presidents, many of whom were in attendance
Union of Cinemas (UNIC) and other guests.
to receive special commemorative medallions. ICTA’s longstanding partnership with the National Association of
2022 ICTA Los Angeles Seminar Series
Theatre Owners (NATO) was evidenced with a presentation
Each winter, the ICTA holds its Los Angeles Seminar Series
of the Inter-Society Ken Mason Award to Jackie Brenneman,
(LASS) at the Universal Hilton, in Universal City, California,
EVP and General Counsel, and Esther Baruh, former
with the goal of “supporting technology in cinema”. The
Director of Government Relations, for their outstanding
2022 Series marked the 50th anniversary of the association,
lifetime work on behalf of exhibitors. Jackie and Esther were
after a two-year hiatus necessitated by the COVID-19
the driving force behind channeling some of the U.S.
pandemic. For those who could not attend LASS, visit
government’s “Shuttered Venue Operators Grant” (SVOG)
https://internationalcinematechnologyassociation.com/
funding to cinema operators, which literally helped to keep
presentations to view many of the technical and panel
many U.S. cinemas in business.
presentations.
The new North American Cinema Awards went to Classic Cinemas Tivoli Theatre in Downers Grove, Illinois, for
ICTA Awards 2022
“Best Cinema Refurbishment”; “Best New-Build Cinema”
Kicking off a special 50th anniversary celebration, ICTA
went to Movie Tavern’s Brookfield Square by Marcus
President Frank Tees congratulated attendees and their
Theatres in Brookfield, Wisconsin; and the “Best Comeback
firms for surviving the pandemic, particularly as cinemas
Exhibitor” award went to the Alamo Drafthouse Cinema in
were “behind the 8-ball” in being declared “non-essential”,
Austin, Texas.
depriving them of traditional government financial support. A special banquet was the occasion for several inaugural awards, including the first ICON Award of Excellence, presented to the Will Rogers Motion Picture Pioneers Foundation. ICTA Vice President Mark Mayfield recognized past and www.cinematech.today
More Info w ww.ictaweb.com.
00 69 // 21 8 2
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U N I C
V I E W
Box Office, Brussels and Barcelona Guillaume Branders, Senior Industry Relations Manager, UNIC
M
any of you will be reading this column
Two Days in Brussels
at CineEurope, the official convention
We discussed these recent trends during the UNIC Cinema
of the International Union of Cinemas
Days which took place from 28-29th March in Brussels, where
(UNIC),
of
more than 150 colleagues from across the cinema industry
colleagues from all around Europe
joined us for two days of insightful panel discussions,
and the world. Cinema operators, distributors, suppliers
interactive workshops and networking. The event included a
and a broad range of industry experts will be together for
keynote debate looking at the main learnings from the past
four days of learning and networking, after facing what has
two years and what comes next for our sector. And two panel
arguably been the most challenging period in any of our
discussions focused on how the industry can ensure a
professional lifetimes. Through a series of keynotes, panels
sustained recovery and what makes the cinema-going
and seminars, we will explore together how best to adapt
experience truly unique, looking into the relevance of content
to the “new normal” and sustain a strong recovery.
and programming, audience behaviours and best practices
alongside
hundreds
As of late March 2022, COVID restrictions have been
from across Europe.
scrapped across most of Europe, with only a handful of
The event also featured a series of quickfire sessions on a
territories – none of which are major markets – still
wide range of topics, ranging from HR to retail and we heard
enforcing occupancy limitations or requiring a COVID
from the UNIC Women’s Cinema Leadership Programme,
certificate from cinema-goers. Although the impact of the
which is launching its sixth edition in Barcelona at CineEurope.
COVID-19 pandemic on the European cinema industry
The two-day Brussels conference provided us with an
remains significant, box office performance over the last 12
opportunity to further express our support to Ukrainian
months - carried by a diverse slate of major tentpoles,
colleagues and share details about initiatives that have been
European and international productions as well as over-
launched across Europe by cinema operators and industry
performing event cinema titles - has demonstrated
partners. Among many other noteworthy initiatives, Polish
audiences’ willingness to return to the big screen.
colleagues have been organising free screenings for Ukrainian
According to Gower Street data, global box office for Q1
children, doing their best to offer them a bit of escapism,
2022 was tracking 56% ahead of 2021 at the same stage,
peace and comfort.
already close to a third of last year’s total. These results should bring us all additional confidence that the cinema
Marketing and Technology Labs
industry is coming back stronger from these difficult
The Cinema Days additionally featured two workshop series,
times, and we are looking forward to hearing more from
one focusing on marketing and the other on technology. The
European and US studios in Barcelona as they present
marketing and retail lab explored all the aspects of the
their upcoming film slates.
cinema-going journey. Among the topics discussed were
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www.cinematech.today
how to ensure a swift return to pre-pandemic admissions levels, looking into new online ticketing trends, the promotion of European non-national titles and how to attract older and younger audience groups, and a host of other considerations.
The sustainabilityfocused marketing session in Brussels
of technology associations such as the European Digital Cinema Forum (EDCF) and the International Cinema Technology Association (ICTA). The ICTA will, as usual, be organising a series of technical seminars exploring the
The technology lab included a series of open debates and
forward-looking nature of the cinema industry throughout
workshops on challenges currently faced by cinema operators
the convention. In addition, our cutting-edge trade show will
and suppliers. In particular, this session looked at the long-
feature all the most recent solutions to help exhibitors and
term impact of supply chain disruptions, access to spare parts,
their partners enhance the cinema-going experience.
limited investment capabilities, as well as rising energy costs.
If you’d like to find out more about European cinema-
Participants of the technical session exchanged insights and
going, UNIC or the work we do, involving our above
best practices on key issues, with a strong focus on
publications or the UNIC Women’s Cinema Leadership
sustainability and energy efficiency, as well as laser projection.
Programme - our pioneering initiative to address gender
The opportunity also arose to discuss the upcoming
imbalance in the industry, this year sponsored by IMAX and
release of “Avatar: The Way of Water” and the accompanying technical challenges and opportunities, represented by its release in higher frame rate and 3D. We’re surely all looking
Vista Group - please do get in touch. We hope to catch up with you during the week and would like to wish you a fantastic CineEurope 2022!
forward to enjoying this title together on the big screen, with the best image and sound possible!
CineEurope in the Sun The UNIC Technology Group will again meet at CineEurope and further explore these areas, with the invaluable support www.cinematech.today
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U K C A
V I E W
Reflections on the UK Cinema Association Conference Phil Clapp, Chief Executive, UKCA
A
fter a long period when the industry was
that despite the distractions of BAFTA and Oscars wins and a
only able to meet online, it seems almost
filming
churlish to complain about the rapid-fire
“Oppenheimer”, was noteworthy in itself. But the passion,
series of cinema events now underway
commitment and heart he brought to his address
across the second quarter of 2022. From
understandably made it for many the highlight of the event
the UNIC Cinema Days to the UK Cinema Association
and - as one attendee said - “worth the admission price alone.”
conference to late April’s CinemaCon in Vegas (and then for a
schedule
including
Christopher
Nolan’s
lucky few the Cannes Film Festival) and finally of course
An Effervescent Two Days
CineEurope in Barcelona, “in real life” is back.
Sir Kenneth’s positive and optimistic take very much chimed
That said, preparing for those events, and for some still
with much of the commentary and discussion across the two
having to navigate residual COVID safeguards and restrictions,
days. Data from a range of sources - in acknowledging the
does mean that the time necessary to reflect on their
challenges we still face in persuading some audiences to
significance (and the challenges on which discussions there
return and (not coincidentally) the fact that the slate still needs
shine a light) could easily be lost.
to strengthen further - also recognised the distance the sector
But it’s important, I think, to ensure that what we have
has travelled even since the last conference in autumn 2021.
learnt about our sector over the last two years is not forgotten
Feedback from those who attended made clear that
in the rush to the next event, or more generally to get back to
there was particular strength drawn from two separate,
whatever represents the ‘new normal’.
but perhaps related, ‘Spotlight Sessions’ focusing on
And it’s certainly worthwhile to reflect on the key talking
cinema openings: that of the revived Electric, Birmingham
points from our April conference, attended over two days by
and preparations for the brand new Living Room Cinema
over 300 cinema colleagues from across the industry.
in Liphook (which has opened since the conference, to
The title of “Re-embracing the Big Screen Experience:
great success).
Audiences + Content” was intended to capture the positive
The two sessions were representative of the huge
progress made by the UK sector in recovering from the
sense of confidence and optimism which ran through
impacts of the pandemic. But also to recognise the challenges
every session across the two days. This was particularly
that remain with regard to some audience segments and the
reflective
content which might encourage them to return.
unprecedented ‘trial by fire’ and not only survived but
of
a
sector
that
has
experienced
an
Any account of the conference can only begin - as the
shows every sign of thriving - with every expectation of
event did itself - with the extraordinary opening keynote from
reaching the ground-breaking levels of success seen in
actor, director and all-round polymath Sir Kenneth Branagh.
the two years before the pandemic, if not by the end of
The very fact that we were able to persuade him to come, and
this year then into 2023.
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More Info cinemauk.org.uk/ the-big-screen experienceaudiences and-content
www.cinematech.today
C T C
U P D A T E
New Beginnings Richard Mitchell, President, Cinema Technology Community (CTC) A RENEWED sense of optimism for a brighter future has
barriers associated with high membership fees. The desire
been the key takeaway from recent cinema events around the
from the CTC board has always been to ensure that everyone in
world. For now at least, it looks for the most part as though the industry can start to move beyond COVID and the last two years, and begin to chart its resurgence. That’s not to say there aren’t still some enormous challenges ahead but the discussion
the global industry can learn and play their part in making the
More Info
movie-going experience the best it can be. So we’ve launched two new membership levels to sit alongside our two existing sponsorship levels. The new
v isit www.
is once again about content and opportunities, rather than
cinema-
Essentials Membership level provides a zero-cost membership
survival.
technology.
option which allows members who can’t afford to pay a
com
membership fee to still benefit from most of our deliverables
Over the past two years through the Community Membership scheme, CTC has supported the industry,
after release. And rather than adopting a fixed membership
keeping cinema professionals connected with learning
fee system of old, we created a new
Join our cause
Supporting Membership level where
across more than 75 countries. At the One Community Day
Behind everything that we
model to decide how much they can
(OCD) in London, taking over the second half of day two at the
do at the Cinema Technology
support
UKCA conference, we brought that scheme to a close,
Community is a passion for
community
acknowledging that there is still significant work to do to
ensuring
generation
support the industry.
have
materials and content. And a small group has grown to become a highly engaged 750+ strong global community stretching
that
the
moviegoers
best
members can utilise a donation-based the
development financially, of
future
of
and
the the
educational
cinema
content. And in return for that donation
And just as we’ve innovated to support the industry
experience possible. If you
(whether it’s £10 or £100), our Supporting
without a revenue stream for three years, we’ve now
share that ambition, please
Members will receive full voting rights,
reimagined our business model so that we can continue to
join our community today by
priority
serve our global community by removing any socio-economic
heading over to our site:
including Cinema Technology Magazine,
cinema-technology.com
discounts on future training courses and
access
to
all
deliverables
seminars and early access to CTC CTC EXECUTIVE TEAM Richard Mitchell (President), Graham Lodge (Vice President), Mike Bradbury, Sandie Caffelle, Grainne Clarke, Michael Denner, John Dowsland, Peter Knight, Sarah Lewthwaite, Adam MacDonald, Saul Mahoney, Andre Mort, David Norris, Markus Overath, Alessandra Pavan Bernacchi, David Pope, Toni Purvis, Simon Tandy, Patrick von Sychowski, and Paul Willmott.
www.cinematech.today
industry events. CTC ADVISORY COUNCIL Tom Bert (Barco), Mark Christiansen (Paramount Pictures), Brian Claypool (Christie Digital), Theresa English (TK Architects), Ruth Hinton (Vue International), Mark de Quervain (Showtime Analytics), Jan Rasmussen (Nordisk Film), Dominic Simmons (BFI), Sriram Sistla (Harkness Screens), Alice Tentori (Digima), Julia Vinokurova (RealD)
The vision of CTC has always been to provide
knowledge
sharing
opportunities for all to create the best movie-going experiences possible, and through this major change we believe we can continue to achieve that. 0 6 / 2 2
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Q
&
A
Marie-Laure Barrau, General Manager Northern Europe, Deluxe Deluxe
and
reopening, freight volume impacts and delays,
AFFIF (Association of Cannes Film Festival) in
localisation services for studios & local
provides
distribution
and a constantly shifting slate, we were able to
2021 as a board member. More recently, I have
indies, OTT platforms and content creators
quickly adapt and continue to provide services
been selected to be part of the Cesar Academy.
worldwide.
to our customers securely and efficiently. Our
I’m pleased to see that diversity in cinema, and
technology enabled us to operate remotely
especially technical services, is not simply a
CT: Please introduce yourself, your role for
when needed, and our global footprint allowed
buzzword, but that concrete actions are being
Deluxe and a bit about your background.
us to balance different workloads - having
taken and results can be seen.
As General Manager, I oversee our cinema
multiple facilities around the world meant we
operations in Northern Europe to ensure the
had the flexibility to pivot and move work
CT: What’s your favourite thing about
success of our customers’ national releases. We
around
working in the industry?
provide mastering and distribution services to
restrictions. This was a huge asset to our
I don’t have one single favourite thing, there are
distributors, ad agencies, sales agents and
customers, particularly when an emergency or
many, but I’d say, in a rough order: great people,
rights holders. With over 6,000 cinemas
a regional COVID-related crisis arose and we
great content, and lots of fun! I am not saying
connected to our global network, we are the
were still able to operate.
that there is no hard work, but we also have
during
the
changing
regional
leader in DCP electronic delivery (e-delivery).
many occasions to celebrate.
Our 13 globally-located facilities provide a
CT: What’s your proudest achievement to
managed service to our customers and local
date and why?
that we are never bored - each week, we have
support to cinemas.
For the past four years, I have been driven by
to prepare and manage dozens of new releases
the will to understand our customers’ needs
in each market. There is no other industry
I have spent most of my career in the audiovisual
industry.
To
sum
up
my
background, I have 20 years of experience in content production and distribution, an entrepreneurial spirit and a passion for cinema, combined with a strong educational
What I find to be unique in this industry is
where you have such short and long life cycles,
“I’m pleased to see that diversity in cinema is not simply a buzzword”
background (HEC Paris). Four years ago, I
where you work on so many different projects and such a variety of content. Working in technical services we are in between the technical and distribution teams and we service distributors with the support of
joined Eclair Theatrical Services (ETS) as the
and make their lives as easy as possible. This
exhibitors. I see ourselves as a hidden but
Vice President of Sales which was my first job
was how I worked with my team on a live
essential link between both.
in the cinema industry. I joined the Deluxe
broadcast solution via IP, and this work we did
family after ETS was acquired by them in
was awarded the Innovation Prize from Cesar &
CT: What goal would you like to achieve in
November 2021.
Technique last January. It has been a long term
the next five years?
team effort to develop the infrastructure and
Cinema is evolving, and COVID has accelerated
CT: COVID brought about big changes to
workflow, and to source the right equipment to
changes in the way people watch movies and
the industry. How did it affect Deluxe’s
set up this service that enables us to stream live
consume content. As with many industries, the
operations?
content, either from a satellite feed or from IP to
business models of our industry are evolving.
IP in multicast.
Looking forward five years is difficult at the
Although
COVID
adversely
affected
the
industry for extended periods of time, it
Along with this great recognition from my
moment, but in this changing universe my
showed that cinema can evolve and it
peers, I joined the FICAM (Fédération des
goal is to stay focused on operational excellence
demonstrated the resilience of our operations
Industries du Cinéma, de l’Audiovisuel et du
and
and technology. With cinemas closing and
Multimédia) in 2020 as VP Feature Film and the
expanding our e-delivery footprint.
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>
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customer
satisfaction,
alongside
www.cinematech.today
mne
We help you screen it Supporting cinemas, we design, sell, install and maintain cinema technologies and seating.
w: www.omnex.co.uk
t: 0161 477 7633
e: info@omnex.co.uk
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