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e g ! n y g e o l v o e n h CINEMA R tec f HACKERS o
MEANWHILE...
RI ME SC EN E
e h :t I I I e
R E T N E T N O fr N OD BEWARE O T a m OF THESCENE EN ine c n E T r e M I d R oE C R m R e E th C g RI n pi a ME sh s i t ten S is D h c O n a
on c er t s bu k c blo
Who's trying ow to steal your data and how to stop them succeeding
H
Netflix & cinema A defining year
Could the streaming David Hancock on giant and exhibitors the dynamic changes be the best of friends? cinema will see in 2019
Studio IMAX: moves big thinking CT CT'sinterviews exclusive Andrew interview Cripps, 20th CenturyCTO Fox's with Brian Bonnick, advocate change at the PLFfor specialists
Planning The kingsfor of victory pop today's cinema How Joe & Seph's are developers arescience helping mixing a little to save street into thethe art high of popcorn
Produced in partnership with:
Thinking of a laser installation? Let Omnex put you in the picture.
mne +44 (0)161 477 7633
Design Cinema Differently. For supply, installation and maintenance of professional cinema technologies
office@omnex.co.uk
omnex.co.uk
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 2 N O . 1 > 0 3 / 1 9
NEWS
08 17
The latest from around the world of cinema exhibition Cinema Tech Community’s regular quarterly update
FEATURES
19 25 29 35 40 45
The new Odeon Luxe: a nod to heritage and modernity David Hancock on the year ahead for the cinema sector China: is the forecast still as sunny for exhibitors? Why venues are changing thanks to smaller projectors Cinema security: don’t let your data go walkabout… Peter Knight takes a look at Christie’s latest line-up
PRODUCTION EDITOR: ALASTAIR BALMAIN Motion Picture Solutions Ltd, Mission Hall, 9-11 North End Road, London W14 8ST T: +44 (0)20 3026 1368 E: alastair.balmain@motionpicturesolutions.com ART DIRECTOR: DEAN CHILLMAID E: dean@spacehopperdesign.co.uk
www.cinematech.today
54 60 66 70 72 76 78 82 84
IMAX’s CTO Brian Bonnick thinks big on projection The modern-day travelling cinema show is in town How Holovis brings theme park flair into the cinema
19 25
Are cinemas losing the 4K resolution revolution? Meet Joe & Seph’s, artisans with popcorn and flavour Mark Lyndon finds a 70mm rhapsody in Bohemia The blurred lines between boutique and hotel cinema You need insight, not just data, says Danny Jeremiah The ECA’s slate day: diverse content shows vitality
COMMISSIONING EDITOR: PETER KNIGHT E: commissioning-editor@cinematech.today ADVERTISING: BOB CAVANAGH Caixa Postal 2011, Vale da Telha, 8670-156 Aljezur, Portugal T: +351 282 997 050
EVENTS
50
Istanbul was the location for a new conference into
Emerging Cinema Markets. CT reports
80
The CTC awards celebrate some of the unsung heroes
in the business. And the winner is…
M: +351 962 415 172 E: bobcavanagh@sapo.pt SUBSCRIPTIONS Cinema Technology is mailed to IMIS Members. For subscription details and to read the magazine online, visit www.cinematech.today or e-mail CT@motionpicturesolutions.com
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#BeTheLite
They can imagine. They can feel. Together, let's make them see too. As we at Galalite celebrate 60 years of innovative cinema screen technologies, We pledge to share our proďŹ ts to aid the visually impaired and spread awareness about preventive blindness. Join our initiative for those who Imagine, See Visit imaginesee.org to know more
In association with info@galalitescreens.com www.galalitescreens.com
c t
v i e w
Modern cinema: immersive, frictionless… or both? We want our audiences to be taken out of this world when they watch the films in our theatres, but as Alastair Balmain argues, the cinema experience isn’t down to projection alone.
www.cinematech.today T g gm m a gaagzai nz ei nf eo r f o c irn e 4 > 01 23 //1 189 T hh ee l leeaaddi ni n cm i nae m a i n d u s ti n r yd upsrt or y fep s sr ioof e n sasliso n>a lVs O> LV .O3L2. 3 N1 ON. O 1 .>
e g n gy! e lo v o e n
CR IM ES CE NE MEANWHILE...
e th I: II
E CRIM TER N E OT BEWARE NOD TO N a OF THESCENE EN em ToEdern cin IME R C R m ER the CR IM ht is shaping c ES n e e t on CE c t er t s NE u ofblockb se hi
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CINEMA R HACKERS
Who's trying ow to steal your data and how to stop them succeeding
H
Netflix & cinema A defining year
Could the streaming David Hancock on giant and exhibitors the dynamic changes be the best of friends? cinema will see in 2019
A
Studio IMAX: moves big thinking CT CT'sinterviews exclusive Andrew interview Cripps, 20th CenturyCTO Fox's with Brian Bonnick, advocate change at the PLFfor specialists
Produced in partnership with:
today's cinema How Joe & Seph's are developers arescience helping mixing a little to save street into thethe art high of popcorn
001_DEC18_COVER.indd 001_MAR19_COVER.indd 11
nyone involved in marketing in the
There’s another word that’s creeping into the cinema
the word “immersive” by now. It seems
marketeer’s lexicon: frictionless. It describes efforts to make
to be the only show in town when it
the overall cinemagoing smoother. Faster F&B service, imperceptible dynamic ad scheduling, better signage in
is nothing if it’s not immersive… While it is heavily used in our
the foyer and seamless algorithms that prompt genuinely
world, we all know what we’re driving at: an experience that
relevant future content to potential customers online, all
is captivating, enveloping, enthralling, engaging, and spell-
these lead the cinemagoer down a path of ease that
binding. Roget’s Thesaurus is a pretty handy reference tool,
ultimately winds up in the immersive auditorium. To quote
but I’m not sure that “immersive” is enough on its own.
Aleksandr Orlov, technology makes things simples.
When we talk about immersion, we’re only describing
On page 66 we look into the launch of a new company
one part of the cinema experience. And there’s that word
— Extended Cinema — whose aim is to transfer knowledge
again… “experience”. The cinema experience doesn’t have to
gained in the theme park world and transfer it to the movie
be improved solely by making it more immersive, though I
theatre. What’s most fascinating about the concept is the
acknowledge it is fundamental to draw the audience into
way in which they and others like them look at the whole
the story on screen.
consumer pipeline from initial audience interest through to
You don’t want to be distracted by the exit lights or poor quality projection. Sharp pictures, greater contrast and
20/11/2018 17:32 10:03 19/02/2019
entertainment experience an enjoyable and repeatable one.
cinema world is probably a little tired of
comes to things cinematic. Technology
1
2
delivery of the experience (in our case the movie), and the subsequent follow-up. Nothing is outside of their scope.
amazing audio all play an enormous part in making the
Whether it’s the poshest popcorn around (see page 72),
cinema experience better, but outside of the auditorium,
luxury hotels moving into the exhibitor sector (see pages 35
there are other technical elements at play, ranging from the
and 76) or the drama of a movie truck’s whistles and bangs
ease and speed of ticketing through to the environmental
as it transforms into a full cinema, the whole experience is
quality of the cinema. All these play their part in making the
about much more than the content that’s up on screen.
Writing in this issue of CT
Planning The kingsfor of victory pop
3
1 Martin Dew
2 David Hancock
3 Patrick von Sychowski
Formerly at Lucasfilm THX, on p.54, Martin interviews in-depth Brian Bonnick, CTO at PLF maestros, IMAX
Research director at IHS Markit, on p.25 David gives his view on the dynamic changes we face in 2019
Editor of Celluloid Junkie, on p.40, Patrick examines this issue’s cover feature: data security in cinemas
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
Finland
Flexound reveals first commercial install for Augmented Audio THE FIRST COMMERCIAL MOVIE theatre booster by
”Our technology is universal and can be used for a wide
Flexound Augmented Audio began delivering the feel of
range of seats. Low maintenance and a long life-span are a
sound to moviegoers in Finland last month. This world
given. We cover the whole audio range and the vibration
pioneer augmented audio cinema is located in Flexound’s
with only one Flexound module per seat”, says Flexound’s
home country of Finland, in Mäntyharju. The company’s
chief of cinema Mika Oesch. The company will be showing
patented technology combines high-quality surround
its products in Las Vegas at Cinemacon.
sound with physical vibration, and offers equal sound quality in every seat, irrespective of the seat’s location in the auditorium. The system is also designed to improve the clarity of dialogue and enables lower sound volumes in the
CJ 4DPLEX recently announced it has deployed
theatre. Augmented audio requires no wearable accessories.
its technology into its 600th 4DX cinema — the
”We give cinema operators a high value competitive
Kinepolis Diversia in Madrid, Spain, a 12-screen
advantage over in-home-entertainment. No remix or
multiplex, at Heron Leisure Centre Diversia. This is
recode work is needed. We are now working on several new
Kinepolis’s sixth 4DX theatre, with feedback in
cinema projects internationally, mainly in the Asian
Antwerp, Brussels, Madrid, Lomme and Valencia
countries, but are very happy that the first Flexound cinema
being highly positive. “Cinema is about experiencing
is in Finland.”, says Flexound’s CEO Mervi Heinaro.
emotions together and 4DX fits in perfectly with
FLEXOUND Augmented Audio™ has ready-to-exploit
>
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the
ongoing
broadening
of
our
offer
with
technology and business model. Results from extensive
experience-driven premium products,” said Eddy
testing at the pilot cinema prove that
Duquenne, CEO of Kinepolis. “Customer satisfaction
augmented audio increases audience
in our current 4DX locations is high.”
Flexound’s first install goes live
8
4DX hits its 600th location
immersion into the movie. www.cinematech.today
>
Tivoli’s boutique cinema format opens in the UK LONDON-BASED consultancy Run
“We’d work by Run For The Hills in
For The Hills — runforthehills.com —
bar and restaurant design and wanted
recently unveiled the result of its
a specialist hospitality design partner
design work for Tivoli, a new breed of
to help us make Tivoli a destination in
boutique cinema opened this year in
its own right that also happens to be a
Bath, south-west UK. The studio has
boutique cinema,” explains Justin
created not only the brand’s visual
Ribbons, CEO of Tivoli Cinema. “We
identity but also the interiors of this
got to work with one design shop to
first debut location which showcases
create a seamless, new brand identity
stylish screening rooms as well as
and in-venue look”
high-end social and dining spaces.
tivolicinemas.com
Sony launches branded premium large-format theater system
Bath
Las Vegas
PITCHED AS A COMPETITOR TO IMAX, Dolby Cinema and theatre-branded PLF auditoriums, the first Sony Digital Cinema theatre is set to open at Galaxy Theatres in Las Vegas this spring. Sony laser projection with support for 4K and high dynamic range images, Dolby Atmos sound, and reclining seats are all part of the new Sony Digital Cinema offering, which together represent a substantial investment to equip an auditorium with
state-of-the-art
projection
and
sound
systems The first Sony Digital Cinema location, which is due to open its doors to audience members this spring is Galaxy Theatres’ Las Vegas Boulevard Mall venue. With a 70ft screen, Sony will be showcasing this venue to exhibitor partners during CinemaCon, from 1-4 April. The primary focus for the initial rollout is reportedly in the US, though the company plans to demonstrate
its way into the Sony Digital Cinema PLF line-up. Though
the setup extensively to international exhibitors. Speaking recently to The Hollywood Reporter, Sony head of cinema, Bob
the new PLF offering will be the company’s primary Cinema: a focus at CinemaCon, it is thought that Sony will later be new choice
Raposo explained that the company’s focus is on very large and
demonstrating a new 32ft LED cinema screen solution market
immersive screens. “Consumers recognize Sony as a premium
at the NAB show in Las Vegas the week after.
brand, and this will give consumers the confidence that this is a premium experience,” he is quoted as saying.
Sony Digital
in the PLF
In common with other PLF offerings that optimise content for playout on their screens — notably IMAX —
There has been much speculation surrounding Sony’s
Bob Raposo also confirmed that Sony is currently
positioning with regard to cinema LED screens. At launch, Sony
looking into options for specifically graded film versions
Digital Cinema will rollout with high-end laser projectors, but
to be shown in Sony Digital Cinema-branded theatres.
the firm has in development an LED solution which could find
https://pro.sony
www.cinematech.today
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ROSETTABRIDGE THEATRE MANAGEMENT SYSTEM - DEPLOYED GLOBALLY -
RB RosettaBridge™ RosettaBridge TMS acts as the intelligent, autonomous management system within the cinema; allowing you to build, schedule and control your playlists and content, while acting as the bridge to a multitude of external services such as content e-delivery, advertising, trailer exhibition, equipment health, TDL and KDM delivery. RosettaBridge is built in partnership with exhibitors and equipment vendors to create the perfect Theatre Management System.
RN RosettaNet™ RosettaNet eTMS centralises, simplifies and reduces your cinema operations by removing the need for task duplication across each site. Replacing your site based operation with a remote and singular estate level management function, for example, allows you to eliminate site based tasks like ShowPlayList creation. In RN build it once centrally for all your sites ensuring continuity of showing across your network and a single SPL build network wide. RosettaNet unlocks your efficiencies.
sales@uniquex.com www.uniquex.com
C T
NEWS IN BRIEF
Hong Kong
N E W S R E E L
>
EDCF launches its guide to laser The European Digital Cinema Forum (EDCF) has launched “The Buyers Guide to Laser Projection”, a free, impartial and accessible guide to the technology behind laser projection and the issues it can bring up in cinemas. Lamp-based projectors still account for the majority of machines in place in the market, but laser as an alternative light source is
GDC introduces its SR-1000 standalone IMB THE SR-1000 IS GDC’S newly introduced sixth-generation digital cinema media server that has been designed specifically to provide exhibitors with nearzero maintenance and ultra storage technology that enables playback of over 1,000 features when combined with the company’s Cinema Automation CA2.0. The SR-1000 can be seamlessly integrated with series 1, 2 and 3 projectors including models from Barco, Christie and NEC.
gaining ground and the Minimal total cost of ownership and support for cinema automation: GDC’s SR-1000
“GDC has been at the forefront of cinema technology development since the
economics are changing rapidly, making publication of the guide timely. The EDCF, in partnership with the International Union of Cinemas (UNIC) drew up this Guide with the four main
advent of digital cinema,” explained a company spokesman, “By introducing first-
projector manufacturers
to-market solutions, GDC is recognized as a leader of integrated media block
(Barco, Christie, NEC and
(IMB) technology. The SR-1000’s innovative features enhance productivity and
Sony) and content is based
efficiency and offer minimal total cost of ownership.”
on questions provided by the
Email marketing@gdc-tech.com or visit gdc-tech.com
exhibitor members of UNIC. David Hancock (IHS Markit and EDCF president) and Matt
Vettri deploy India’s first Christie CP4325-RGB laser
Jahans (Harkness Screens and EDCF board member) are
CHRISTIE HAS announced that
its flagship auditorium. This is a
co-editors of the guide. They
Vettri Theatres has become the first
validation of Christie’s technological
explained “This guide is
cinema in India to be equipped with
leadership in the cinema market and
intended to help exhibitors
the manufacturer’s next-generation
the confidence that exhibitors have in
and others understand the
CP4325-RGB RealLaser projector in its
our direct-coupled RGB pure laser
basics of laser illuminated
flagship auditorium.
projector — it is DCI-compliant and
projection, and to bring the
Located in Chennai, Vettri Theatres
brings low cost of ownership and
industry up to a similar level of
is the most prominent cinema in the
unrivalled cinematic performance to
knowledge. It is structured in
city’s Chengalpet district with two
mainstream auditoriums.”
such a way that it answers
well-appointed auditoriums. The new
christiedigital.com
genuine questions and
CP4325-RGB has been installed in the
addresses some questions we
larger “Vettri” auditorium, which has a
Chennai
capacity of 930 seats. Rajesh Patkar, deputy general
that Vettri Theatres has selected our CP4325-RGB RealLaser projector for www.cinematech.today
The guide is available at www.edcf.net or directly by
manager of cinemas sales at Christie India, commented “We are delighted
don’t yet know the answer to.”
emailing jgedcf@talktalk.net A 930-seat capacity and laser projection: the Chennai Vettri
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NEC appoints Alain Chamaillard as sales lead
>
Cinionic partners CineEurope
Éclair makes key appointments
Cinionic has partnered with the Film Expo Group
ÉCLAIR, A LEADER IN content
to become official projection partner at CineEurope
services has appointed Marie-Laure
Alain Chamaillard, former
for the second year in a row. Projection equipment
Barrau to the newly created position
head of sales at Volfoni, has
in the CCIB auditorium will be supplied by Cinionic,
of sales director for its activities in
been appointed head of NEC
including the laser projectors for all studio product
France and Belgium. She is responsible
Display Solutions’ cinema
presentations and screenings.
for managing the sales teams across
vertical sales team as the
“We’re excited about the opportunity to partner
Eclair’s business divisions in both
company seeks to build on its
again with a technology giant like Cinionic. We are
countries. Meanwhile in Germany, the
strong industry pedigree.
confident this partnership will help development of
company has appointed Andreas
cinematic technologies to expand throughout the
Peltret as its country manager. He is
region,” said FilmExpo’s Andrew Sunshine.
responsible
Alain joins the team after eight years at 3D cinema technology experts Volfoni
for
managing
Eclair’s
“We are committed to bringing cutting-edge
content services including theatrical
where he was managing
technology and services that create exceptional
delivery, distribution, preservation and
director, EMEA. Before that,
experiences and look forward to supporting the
versioning and accessibility through
Alain also spent nine years at
film screenings during CineEurope,” commented
Berlin-based Éclair Studios.
Proyecson (now CinemaNext)
Wim Buyens, CEO of the new cinema joint venture.
as commercial director. Alain’s appointment comes at an exciting time for
Rod Archer joins AV specialist QSC
NEC’s cinema team. At CineEurope in June last year, the company showcased a range of technologies from
QSC HAS ANNOUNCED THE Rod Archer, heading up the cinema business unit at QSC
appointment of Rod Archer as product manager of its cinema business unit. In his new role, Rod
RB laser projectors for the
will be primarily responsible for
cinema itself through to
product strategy and execution
touch monitors, direct-view
for Q-SYS for Cinema, cinema
LED screens and large format
media server, control and the
displays for advertising and
accessibility product categories. “I’m thrilled to have Rod join
entertainment throughout
the cinema team,” said senior vice
the cinema venue.
president, Barry Ferrell, “Rod has
“Like NEC, I’m excited
an
about the future for cinema — in particular, how movie theatres are reinventing
Costa Mesa
extensive
development
and
product engineering
background and brings. He has a wealth of product development
themselves for the Netflix generation by putting digital
expertise, and has a demonstrated history of success — Rod will be instrumental
at the heart of the whole
in enhancing the cinema product category, as our technology offering becomes
experience,” commented
more complex.”
Alain, “NEC has an enviable
Speaking about his appointment, Rod explained “I am very excited to
product portfolio for creating
become a part of the QSC team. The have assembled an impressive team of
stunning impressions all the
talented people, and I am honoured to be able to help them continue their
way from the foyer to the
strong trajectory in the cinema equipment market.”
silver screen.” digital-cinema-nec.com
Archer spent the past few years as an expert consultant for many leading companies in the cinema equipment and services sector and holds a Master of Science in Mechanical Engineering from Stanford University.
1 2
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www.cinematech.today
Y O U R E Y E S O N LY
take off for the smart projection era Let your imagination reach for the stars and start the countdown for lift-off. Discover how you can create memorable movie moments, empower your business performance to overcome gravity, and explore new horizons. Are you ready for the adventure? Be at the heart of the action at CinemaCon. Discover more on www.cinionic.com/takeoff
C T
N E W S R E E L
Galalite celebrates 60 Years with #BeTheLite #BeTheLite
campaign #BeTheLite. As part of this
Harkness encourages cinemagoing to fight depression…
campaign, the company has pledged
Harkness Screens Group, the
to donate a share of its profit to aid the
leading screen technology
IN CELEBRATION OF its 60th
Mumbai
anniversary, the screen manufacturer Galalite has unveiled its marketing
company, has launched an
visually impaired and to help spread awareness about preventive blindness alongside the NGO Sightsavers.
initiative through its social
They can imagine. They can feel. Together, let's make them see too. As we at Galalite celebrate 60 years of innovative cinema screen technologies, We pledge to share our profits to aid the visually impaired and spread awareness about preventive blindness.
industry. We owe these 60 years of Join our initiative for those who Imagine, See Visit imaginesee.org to know more
Having provided over 60 years of
innovation to our partners in growth,
unrivalled visual experiences, Galalite is
from our employees and clients, to our
now endeavouring to touch the lives
competitors, who make us want to be
of those who do not have the privilege
better.” Headquartered in Mumbai,
to see. Yusuf Galabhaiwala, director of
the heartland of the movie Industry in
To celebrate its 60 years in business, Galalite has pledged support to the NGO Sightsavers
In association with
info@galalitescreens.com www.galalitescreens.com
media channels to encourage people in old age to increase trips to the cinema to guard against depression. The firm was prompted by a recent study published in the British
India, Galalite has emerged as one of
Journal of Psychiatry by Daisy
pride in the trust, respect, and position
the largest suppliers of screens to
Fancourt and Urszula
we’ve garnered in the cinema screen
exhibitors worldwide.
Tymoszuk, that highlighted
operations, said, “We at Galalite, take
how regular “cultural engagement” might help
Xenon has a new superhero: Ushio introduces Luminity USHIO, ONE OF THE biggest names
Ushio’s distinctive branding gets the message across for the Luminity series of lamps
lower the risk of developing depression in old age. The research concluded that people who visit museums, theatre and the cinema once a month or more are 48 per
in high-pressure xenon lamps has
cent less likely to develop
introduced the Luminity series, the
depression. Harkness Screens
result of a substantial R&D effort that
has invited its followers on
extends the lifespan of numerous
social media to post selfies
xenon lamps with additional working
whilst at the cinema with their
hours between 100-500 hours. In a
family and friends (over the
market under technological pressure,
age of 50), to stand a chance
Ushio wants to position Luminity (a
to win a £50 voucher for
contraction of lumen and infinity) as
leading UK cinemas.
“the superhero solution that helps
Speaking about the initiative,
theatre owners to optimise their
Hartkness Screen’s global
movie rendering quality and services”.
CEO, Mark Ashcroft said
The company has a long-standing
“Cinema has and is a part our
reputation in the market for its
culture and our society. There
innovation. To build on this, Ushio investigated the needs of its customer base.
is greater awareness of mental
Recognising that its existing xenon lamps had become a market favourite thanks
health issues and the role of
to their long-standing reliability in terms of withstanding high pressure in cinema
technology; this research
projectors, Ushio invested in developing an extended lamp lifetime.
points to the cinema
Koji Naito, managing executive officer of Ushio Inc, commented that “People
experience as a lever to assist
go to the movies to escape reality. Perfect rendition of the director’s vision is
people in staying physically
elementary and Luminity is the superhero that takes outstanding quality to the
and emotionally connected.”
next level. It’s testament to our commitment to match quality and profitability.” movie-luminity.com www.cinematech.today
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1 5
SOUND as good as it looks CUSTOM DESIGN acousticAL solutions FOR CINEMA Refurbishment and new install Highest sound efficiency
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Flexible in design
Meets all fire safety requirements
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f: +44 (0) 1727 855993
C T
N E W S R E E L :
C T C
U P D A T E
Technology’s place in movie-going experiences
THE
TERM
partnership with the UKCA to deliver a range of sessions
have
been
covering various technology topics at the UKCA conference
associated with the auditorium, writes
in London. Being held at Vue Westfield, White City, on
CTC (Cinema Technology Community)
5-6 March, the subjects under discussion will range from
president Richard Mitchell, but today,
e-ticketing, digital signage and lobby
TRADITIONALLY, “technology”
would
technology plays a part in the entire
design right through to the premium
movie-going experience from the
Join our cause
moment the movie-goer makes a
The membership and
conscious decision to head to the
sponsorship scheme launched
are helping exhibitors to create true
cinema right through to the point at
at CineEurope enables CTC
differentiation and to generate their
which they leave the building after
to fund some of the exciting
additional box office revenue. Whilst
seeing a movie.
initiatives, research projects,
premium may, to some, mean better
training courses and events the
quality concessions, in-theatre dining,
enabler, can help cinema operators
organisation has planned over
reclining seats or even beds, it is
to drive big operational efficiencies,
the coming years. As a
important to remember that it is the
add incremental revenue and indeed
not-for-profit organisation,
auditorium technology that creates an
improve their overall profitability all
all of the money raised goes
enormous buzz amongst the movie-
whilst enhancing the movie-going
directly back into supporting
goers. This was highlighted in a recent
experience for the consumer.
the global cinema community
research paper published by National
and therefore creating a better
CineMedia, a US cinema advertising
experience for movie-goers
company. In a similar vein, this month
Technology, far from being just an
This March, CTC will be working in
CTC EXECUTIVE TEAM Richard Mitchell (President), Graham Lodge (Vice President), Denis Kelly (Secretary), Mike Bradbury, Sandie Caffelle, Michael Denner, Danny Jeremiah, Peter Knight, Sarah Lewthwaite, Adam MacDonald, James MacFarlane, Andre Mort, Mark Nice, David Norris, Ngozi Okali, Kevin Phelan, David Pope, Toni Purvis, Steve Rance, Jim Slater, Simon Tandy, Patrick von Sychowski, Paul Willmott.
www.cinematech.today
CTC ADVISORY COUNCIL Tom Bert (Barco), Mark Christiansen (Paramount Pictures), Laurence Claydon (Consultant), Brian Claypool (Christie Digital), Theresa English (TK Architects), Nicolas Hamon (Kinepolis), Roland Jones (Vue International), Dominic Simmons (BFI), Russell Smith (Motion Picture Solutions), Debbie Stanford Kristiansen (Novo Cinemas), Alexey Vinokurov (RealD)
auditorium experiences. It is premium experiences that
around the
CTC will be publishing its new 40-page
world. Please
guide to premium cinema formats
join us today
providing an insight in to the various
by visiting
auditorium formats deployed around
cinema-
the world.
technology.
Find out more about the UKCA’s
com
annual conference at cinemauk.org. uk/u kca-conference-2019 0 3 / 1 9
>
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gofilex.com cinio.gofilex.com
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A return to the golden age Peter Knight steps through the doors of the newly reopened Odeon Luxe Leicester Square and discovers a breath-taking refurbishment that marries technology and heritage.
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The imposing Screen 1, 13.35m wide and ready to screen the major blockbusters of the future
HE GOLDEN AGE OF CINEMA is back” — it’s a bold marketing claim for the reborn Odeon Leicester Square cinema. The site reopened to much fanfare in December 2018 after an 11 month multi-million pound refit, with the promise that the audience will receive the ultimate cinema experience. Whether you remember this flagship site of old or are yet to visit, you can certainly see where the money has been spent — it has been a root and branch transformation.
A door into a new world The first thing any visitor will notice now is that the cinema commissionaire has made a welcome return – yes, a real person on the door, dressed in hat and coat, to welcome every audience member to answer any questions, and to wish them good night as they leave. Such details matter. Speaking of details, many will remember Odeon clocks of old and their specific design. While it may not be a real one, in a nod to the past, there is now a projected version on the wall of the Art Deco-styled foyer. A nice touch and — in a further nod to the past — the doors to the auditoria have engraved into them titles of some of the 700 or so premieres of landmark films of the past that have taken place here over the years. Cinephiles welcome here, clearly.
In come the luxe recliners Step inside the première auditorium and one of the most obvious changes is that the seat count has shrunk from 1,200 to 800 to allow for luxe recliners that have been installed throughout. More than 350 of these are powered recliners that offer impressive legroom and tray tables. It’s a familiar strategy being adopted worldwide. Here it is well-executed — these are highly comfortable, in fact far too comfortable if the film you’re watching is a little slow. There are four more screens, with luxury seating for a further 153 cinemagoers in more intimate surroundings.
Art Deco references serve as a reminder of the site’s heritage
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A new face onto Leicester Square, a great view out for cinemagoers
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Keeping with the Art Deco vibe, the cinema’s famous Compton organ that used to provide a musical backdrop in the era of silent movies still features on special occasions, such as at royal premieres when the national anthem is played. The organ has been on site since 1937, when Oscar Deutsch, Odeon’s founder, insisted the cinema had the largest, most impressive instrument in the UK. Nicknamed “The Duchess”, five keyboards control its 1,400 pipes, and it sits on a rising platform in the centre of the orchestra pit. You wouldn’t throw that kind of heritage out to make way for new technology, no matter how spectacular. Similar details have been retained in the form of the original safety curtain design complete with the famous “Flying Ladies figures”, restored to their former glory by its sides. The interior makeover transforms the cinema into a stunning entertainment venue. A bespoke lift and escalators improve access and enhance the contemporary design. The building’s famous heritage features have been restored and retained and a breath-taking mirror wall created for the digital age. As befits a proper West End venue, the opulent new Oscar’s Bar serves guests champagne and cocktails with views across the razzamatazz of Leicester Square, thanks to a bespoke new glass-enclosed balcony.
Uncompromising technology Often with refurbishments, technology in the background plays second fiddle and remains more or less the same. In the case of the Odeon Leicester Square, all-new projection equipment is as much a part of the experience as everything else. The OLS is the first public cinema in the UK to have a Dolby Cinema installed. This technology has featured in Cinema Technology previously, but it is the first time the public has been able to experience it in the heart of the West End. The Leicester Square site is the first of seven new
A West End icon
Dolby Cinemas Odeon will be opening in the UK. From a technological perspective, what you can’t see is as impressive as what you can. You can’t help but notice that low light reflectivity was the designers’ priority. Dark
Odeon Luxe, Leicester Square
tones are everywhere from the carpets to the ceiling, all of which ensure nothing interferes with images on screen. This isolation is extended to the wall behind Screen 1 separating the hotel next door from the auditorium.
Built on the site
Nothing’s getting through that to disturb the viewing, just
of the old
as you wouldn’t notice 10 miles of cable run in the ceiling
Alhambra
above to supply an array of 400 speakers that deliver ATMOS
theatre, Odeon
sound to every viewer. No fewer than 100 of these are
Leicester Square
behind the screen which is light by Christie dual laser projectors delivering the promise of a
first opened on 2 Novvember 1937.
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“This site combines a fantastic mix of the classic picture palace with the audio and visual punch of today”
A souvenir worth keeping
the glitz of Oscar’s Bar and the impact of the projection, all
In the days of Cinerama, cinemagoers would receive a
make you feel that showmanship is back in town.
programme for films they attended. At more recent special
Odeon Luxe Leicester Square (as it is formally known) is
screenings such as “The Hateful 8” in 70mm there have
the flagship for AMC’s Odeon Cinemas Group. It really does
been programmes too, so it was pleasing to see, during the
feel as if the site has been reborn. It presents a fantastic mix
opening events, a souvenir programme that gave a history
of the classic picture palace combined with the, audio and
of the cinema, of Oscar Deutsch and an explanation of what
visual punch of the latest technology. The team at Odeon
Dolby Cinema brings to the show. Touches like this and the
should be congratulated for the enormous effort that has
commissionaire, the sparkle of refurbished Art Deco details,
gone into this stunning transformation.
Sc F Ra
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6.28
36.02
2.39
1.85
Screen 2
5.00
4.00
2.16
2.16
7.80
2.31
Screen 3
5.33
4.15
2.25
2.25
9.00
2.37
Screen 4
5.00
4.10
2.25
2.25
9.50
2.22
Screen 5
5.07
3.90
2.15
2.15
8.40
2.36
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3D system
Projector
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Projection Equipment 2 2
A centrepiece of the show — the Duchess in all her neon glory, ready to wow audiences once more
Perlux 2.2 gain with screen shakers,
Dolby Vision
Dolby Vision Dual Laser /
IMB+NAS/
curved 668mm deep
Laser Clr Sep.
NC3240 / VIC 8 70MM
Showvault
1.85
1.4 gain mini perf precision white 3D
Real-D
NC1000
IMS2000
1.84
1.0 gain mini perf matt white
None
NC1000
IMS2000
1.82
1.4 gain mini perf precision white 3D
Real-D
NC1000
IMS2000
1.81
1.0 gain mini perf matt white
None
NC1000
IMS2000
Stage speakers
Stage subs
Front four side + ceiling surround
Other ceiling
Rear Ceiling sub bass AD/HOH facility Amps circle filler management
Sound processor
SLS 20 Stack linearray & 4 Stack CS215 x5
CS218XL x16
SLS Line Arrays: Sides: 6x2 Module Ceiling: 8 Modules
MA480s
Proscella
LW
LW
SLS
CS218XL - 4x2
Dolby Fidelio
QSC
CP850/ Qsys Core 510C x2 / CP650 x1
Dolby Fidelio
Outline MA5000
CP750
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©2018 QSC, LLC all rights reserved. QSC, Q-SYS and the QSC logo are registered trademarks in the U.S. Patent and Trademark Office and other countries. Dolby and Dolby Atmos are registered trademarks of Dolby Laboratories. All other trademarks remain the property of their respective owners. 0942-2018
©2018 QSC, LLC all rights reserved. 0942-2018_BlazingFaxt_210x297mm.indd 1 QSC, Q-SYS and the QSC logo are registered trademarks in the U.S. Patent and Trademark Office and other countries. Dolby and Dolby Atmos are registered trademarks of Dolby
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crossroads
Cinema in 2019:
A defining year? More than ever before, the cinema industry is facing a year of fundamental change. David Hancock, research director at IHS Markit, explores the dynamics — from digital file sizes to consolidation.
C
inema is in a state of flux, as is
larger cinema groups and studios, although that movement
the role of film as an entertainment
may well be ‘No change here’. The debate has traditionally
medium. Cinema itself is not under
been between exhibitors and distributors, initially on the
threat — investment in technology,
exclusive theatrical window before VHS/DVD but the arrival
venues, design, service levels, analytics
of VOD and the growth of streaming services accelerated
and other things all push it forward as
the pressure on the industry to find a mutually acceptable
it competes with leisure options and other forms of content.
solution. The window has shortened naturally over time
High-end TV provides a compelling argument to stay at
anyway, as data from IHS Markit has shown.
home, but the number of films being released in cinemas is still rising in most countries, showing its worth as a value
A window into a film’s true value
creator at the beginning of the lifecycle for films. Within that
As I have argued before, with others, attempts to cut the
context, this year could prove to be a defining one for the
period of theatrical exclusivity unilaterally are not in the best
future direction of the cinema sector.
interests of maximising a film’s value, with cinema acting as
During 2019 we should see some movement on the
the best value creator for content. This message seems to be
issue of theatrical windows, which is in discussion amongst
getting through and discussions now seem to be softer in
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CROSSROADS
tone, even if there is a fundamental disconnect between the window’s existence and the public position of Netflix. The issue will not be resolved by unilateral action or imposition, but more by finding a path forward that benefits all parties.
Consolidation of the big hitters
Peeking through French windows… One possible trigger for movement on windows may be adjustments to the chronology that French authorities have just introduced — the result of
For larger exhibitors, one of the key themes in 2019 will be
much discussion there (and in Europe) about where to place streaming, as
consolidation. From 2016 to 2018, market share of the 10
well as the preservation of cinema’s position at the beginning of the chain.
largest cinema operators worldwide has increased from
New legislation in France keeps the theatrical window at four months
25% to 36%, mainly via acquisitions. This is not finished yet,
(shorter for films with low levels of admissions) and allows SVOD services
and while the sector is still relatively fragmented and will
to release films 17 months after theatrical release for operators that accept
never look the same as highly concentrated sectors such as
certain industry agreements and investment targets. It’s 30 or 36 months
aerospace, leading exhibitors could conceivably account for
if those aren’t accepted. This creates a benchmark for a wider industry
50% of screens within two years. Consolidation is driven by
debate, even if it is unlikely to have much bearing on what studios and
the need for exhibitors to save costs, for scale to drive volume
large circuits will end up doing.
deals on technology and other major costs areas. It also mitigates risk across several countries — a bad annual performance in one country will not necessarily drag a easier by cross-country groups, and branding of quality and
group’s financial results down. Marketing of your
concepts is an area in which cinema lags behind TV, for
technology such as PLF
example. Consolidation also leaves an opportunity for
and HDR is made far
25%-36% Market share for the 10 largest cinema operators globally increased 25-36% between 2016-18
smaller and independent circuits to carve out a niche, which is partly behind the move to boutique cinema in the UK and the US. Often this has been through film choice but points of difference will become wider and varied. This process of consolidation is affecting the dynamics of the sector (exhibitor/distributor relationship) as studios are faced with larger and more powerful exhibition entities in negotiations. It is counter-balanced to an extent by a similar process happening in studios. Disney acquiring Fox brings the number down to five (plus Lionsgate as a plausible sixth) and this may be the trigger for more of that this year. The studios as creative hubs are not under pressure in their role of producing global blockbusters; they are the only entities
$230m Experiential brand 4DX generated $230m in box office revenue in 2018
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with the global distribution presence in the theatrical arena
home. Experiential technologies such as immersive motion
to achieve this effectively. However, their role as producers is
seating (D-Box) and 4D (mainly MX4D and 4DX), as well as
under threat more generally — especially from streaming
the multi-screen ScreenX, are being tested by exhibitors and
services pumping money into original programming,
with some success in a younger demographic. For example,
including films. Given these pressures, the strategic response
CJ 4DPLEX brand 4DX has just had its most successful year,
may also be to consolidate down to fewer entities.
ending 2018 with 475 locations and generating $230m in
Studios have had to adjust after the financial crash.
box office. As for ScreenX, a deal with Cineworld for 100
Financial backing changed and reduced, shrinking their
screens sealed a successful year in which multi-screen rival
slates, and the model began to creak. Market share in North
Escape shut down. This interest in experiential technology
America slid, but they have addressed this with fewer, bigger
will continue as more exhibitors test them out.
films that take more money. North America market share,
The range of technologies in the market (image, audio,
and globally, has risen steadily since 2013, driven by franchise
experiential) as well as linguistic versioning is putting some
films which accounted for three-fifths of the Top 50 films in
pressure on the distribution infrastructure that creates DCPs
2017, and two thirds of the box office revenue generated. I
and gets them to cinemas. File sizes are getting bigger, the
expect to see the continued dominance of this type of film;
number of versions required is ballooning to the point where
relatively simple to market by building on success over time.
500+ is not uncommon. This is as a direct result of new
Not forgetting the technology
technologies in the market, unquestionably a positive for the sector. To some extent, the industry self-regulates by
At an image level, HDR should make further progress this
adopting technologies that can be useful, but there’s a need
coming year, both branded HDR ventures, but also HDR-
to avoid obsolescent equipment and wasted investment,
capable projectors. Cinema lags behind TV in consumer
which is the reason why cinema has often gone down a
understanding of HDR as a concept (see “Investing in 4K,
standardisation route. There is a further conversation to be
page 70) and must be addressed in 2019. The expense of
had about the balance between standards and innovation
systems is probably a sticking point, either for laser-based
and the need to simplify workflows.
systems or LED. The latter is still restricted to Samsung’s offer which has widened out to new screen sizes.
Cinema has transformed from an analogue medium to a digital one. Technology, innovation, service and experience
Immersive sound is also on an upward curve, with 6,000
are firmly in the driving seat now. It is now a changed sector
systems in the market now, and that will continue especially
and one that needs to stay ahead of other digital media as
now audio standards (SMPTE ST 2098: 1, 2 and 5) for cinema
well as a refreshed leisure economy. All in all, I look forward
have been published. Continued take-up of object-based
to a busy year ahead in a revitalised cinema sector — and I
sound suggest it makes a difference to consumers and the
am sure there will be some surprises in store as well.
number of films receiving immersive mixes is rising steadily. Experience is the key word now: making the cinema experience more attractive and differentiated from the
David Hancock is Research Director, Cinema at IHS Markit and President of the European Digital Cinema Forum.
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The future of content delivery. Join us on the road ahead.
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CHINESE CINEMAS CHALLENGING
CLIMATE FOR
Having fuelled demand for Hollywood film, IMAX and cinema equipment for years, China’s cinema market is entering a challenging phase. Patrick von Sychowski looks at the forecast in the east.
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N 2018 CHINA’S cinema market grew
continues to outpace the overall box office, meaning that
to CNY60.65bn (£6.97bn) — that’s an
the per-screen average is declining to just CNY925,800
8.6% growth rate year-on-year (or
(£106,467)
7.8% without the service fee), officially
decrease of 6.9%. There were 61,071 cinema screens in
dropping to single digit growth and
China at the end of 2018. Worryingly, average attendance
way down from 13.5% growth in
in a major city like Qingdao dropped 11% from 20 to 18
2017. Domestic films accounted for 62% of BO, up 45%
admissions. The biggest BO growth in 2018 came from
year-on-year, making authorities and domestic film studios
Tier Four and Five cities (14.11% and 15.48% respectively),
happy. Imported films were down -4.9%, though big hits
while Tier One cities grew just +4.30%. Screen growth is
such as “Venom” and “Aquaman” helped to rescue Q4.
still fastest in Tier One and Two cities, compared to Tier
Screen growth declined slightly less to 15.48% and www.cinematech.today
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CHINA’S TIER 1-5 MARKETS
(Scource: Yi En Consulting)
2018 Box Office growth
2018 Number of screens
Tier 1
Tier 2
Tier 3
Tier 4
Tier 5
Tier 1
Tier 2
Tier 3
Tier 4
Tier 5
11.73
23.98
11.58
9.09
4.27
6,972
21,200
13,000
12,600
7,256
YOY
YOY
YOY
YOY
YOY
(in billion yuan)
YOY
YOY
YOY
YOY
YOY
+4.3%
+7.25%
+9.64%
+14.11%
+15.48%
+16.75% +13.68%
Dark clouds on the horizon?
lavish costume dramas such as “The Story of Yanxi Palace”.
Yet there were growing numbers pointing to trouble ahead,
Yet China’s audiences are also demonstrating increasingly
with China cinema closures accelerating. In 2017 that figure
sophisticated tastes, producing surprise hits like “Dying to
rose to 245, an increase of 131% compared to 2016. In the
Survive” (a Chinese “Dallas Buyers Club”) and “A Cool Fish”.
first three-quarters of 2018 alone, cinema closures reached
The top three hits accounted for 17% of the year’s full BO,
380, the highest in 17 years, representing a closure rate of
the Top 20 were 41%, yet of the top 50 film in 2018, only 12
3.8%. While BO growth is set to continue, with single digit
made a profit, six broke even and 32 made a loss.
numbers that would still be the envy of US and European
Producer Zhiyuan Zhang predicts that in 2019 China’s
markets, there is declining optimism about the future
BO will grow to just CNY65bn, a growth of just +6.18%,
prospects for the Chinese cinema industry. Looking ahead
mainly thanks to foreign hits such as “Avengers 4” while
this year, the refrain amongst domestic Chinese industry
domestic films’ takings will be flat. The top 12 films will
watchers is that “2019 may be the worst year in the past
account for half of the total 2019 BO, though it may also be
decade, but will be the best year in the next decade.”
the year that Chinese science fiction films arrive. There will
Authorities are cracking down on ticket subsidies and
be further industry consolidation within film production,
fraudulent efforts by distributors to increase the BO takings
distribution and exhibition. With the 70th anniversary of the
of films artificially (usually to boost share prices). This has a
founding of the People’s Republic of China, we can predict
knock-on effect in a maturing market, where consolidation
that there will also be a great deal of nationalism. All this
has left just two third-party ticketing operators. Meanwhile
against the backdrop of a slowdown in the wider Chinese
consumers are increasingly drawn to short-form videos and
economy and the threat of a trade war with the US.
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+15.91%
131%
3 0
+19.2% +15.79%
Cinema closures in China rose to 245 in 2017, an increase of 131% on the previous year
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Analysts believe the key to future
sense of cultural acquisition and happiness, promote
growth will be to increase the quality
continued prosperity of the film market, and provide solid
of domestic films produced, coupled
support for the realisation of film powers in order to
with better cinema membership
implement urban and rural development requirements. Let
schemes, technology and incentives
the development of Chinese film more benefit the broad
to attract regular visits. Customer ranking of Chinese films were up a little last year to a weighted average of 8.98 for the Top 10 films (up 0.04
80,000 Projected amount of cinema screens across China by the year 2020
masses of the people,” it reads. It envisions that, by 2020, there will be 80,000 cinema screens across China, more evenly spread and better matching levels of urbanisation and population distribution. Several funding, subsidy and
points), though the Top 30 average
grant schemes are proposed to enable this growth. The
of 8.74 was down 0.03 points.
number of county-level and township cinemas will have to
4.9%
This year is also likely to see consolidation of China’s 48 official income less than CNY500m (£58M) cinema licences, many small- and
vision of a ‘balanced’ Chinese cinema market to be realised. A crackdown on piracy and box office fraud is also touted.
cinema operators. Of these, 26 had last year. With tougher anticipated
form the majority of future cinema growth in order for this
Box office for imported films in China dropped by 4.9% in 2018
The magic of milk tea… and more With single-figure box office growth the new normal in
medium-size operators are likely to
China, operators are looking at ancillary revenue streams.
sell out to the majors. There is also a push for diversification
This involves everything from setting up cinemas as logistics
of content in cinemas, rather than 50% of all screens in the
hubs for e-commerce deliveries to VR arcades and mini-
country playing the same Chinese or Hollywood blockbuster
karaoke booths in the lobby. Exhibitors like Wanda, Dadi,
in its opening week. The Year of the Pig is an opportunity
Jinyi and Hengdian Cinema are increasingly putting an
for China’s cinema industry to streamline and adapt better
emphasis on non-box office business for further growth.
for a future without break-neck speed growth.
Wanda alone grew its non-box office business by 118% in the first half of 2018 to CNY2.531bn (£291m). Jinyi Cinemas
Go central and west
is promoting massage chairs, jukeboxes, doll machines, VR
Despite the slowing box office, authorities are promoting
and more. Hengdian Cinemas has created a ‘Feng Teng’
acceleration of cinema building. In December last year,
high-end brand, promoting coffee and cocktail bars, VIP
China’s Film Bureau released “Opinions on Accelerating the
lounges, themed bars, Chinese and Western restaurants.
Construction of Cinemas to Promote the Prosperity and
Yet while US cinemas are increasingly promoting the in-
Development of the Film Market.” This edict, sent to all
theatre dining concept, popularised by chains such as
provinces, autonomous regions and municipalities directly
Alamo Draft House, Chinese cinemas are not able to follow
under the Central Government, as well as to private cinema
the path of offering hot food all the way to the luxury recliner
operators, seeks to “promote Chinese film to a new level in
for various reasons. The concept of branded coffee bars in
the new era,” as part of meeting “people’s growing needs for
cinemas has meanwhile been profitable for the likes of
a better life.” It notes an imbalance in cinema building, with
Cineworld and Odeon in Europe, partnering Starbucks and
central and western regions not keeping pace with more
Costa respectively. So Chinese are cinemas are looking to
populous coastal and northern areas.
tea as a rescue, specifically milk tea.
“Only by accelerating the construction of cinemas and
Since it was launched in 1996, milk tea has surpassed
greatly increasing the number of screens can we adapt to
coffee consumption fivefold in China. What is remarkable is
the new era and new requirements, enhance people’s
that this growth took place in the past 20 years, whereas
3.8%
www.cinematech.today
In 2018 the amount of closures reached 380 at a closure rate of 3.8% — its highest for 17 years
coffee has been in China for 130 years. Milk tea consumption is still growing. Milk tea (and its cousin Bubble tea) is usually produced with milk and added fruit powder and is increasingly an aspirational, affordable luxury item.
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BOX OFFICE DECLINE % of each chain’s cinema sites that saw BO decline in 2017
5x
An affordable luxury item increasingly seen in the cinema lobby, milk tea has outsold coffee fivefold in China since its launch in 1996.
China, which has resulted in different fortunes and outlooks. 80% of Wanda’s saw a decline in box office in 2017, compared to 63%, 70% and 65% for UME, Jinyi and Hengdian Cinemas. Wanda has expanded in parallel with Wanda Properties building malls, with its focus on Tier 1 and 2 cities meaning it’s been the leading exhibitor in China for the past 9 years. But major urban centres like
Wanda
UME
80%
63%
Jinyi
Hengdian
Shanghai and Beijing have reached multiplex saturation. From 2017, Wanda said it would focus increasingly on Tier 3,
70%
65%
4 and 5 cities. Yet Dadi started targeting the Tier 2-and-below market earlier, with its “urban encircling the city” strategy. This was
Most recently, Dadi Cinemas launched its ‘10-step fresh
helped by the acquisition of 76 cinemas and 531 screens
fruit tea drink’ as part of its “Movie+” strategic plan that pulls
belonging to Hong Kong’s Orange Sky Golden Harvest,
together catering, retail and internet to make it a lifestyle
primarily located in Tier 1 and 2 cities. At the end of 2018
destination. Ent Group observes that if IKEA can attract
Dadi had 1,094 theatres with a total 6,366 screens according
consumers just to buy a hot dog, so too can cinemas snare
to Yi En Consulting. In addition, Dadi has focused on
tea drinkers, even if they don’t plan on watching a film.
developing its own movie ticketing system and other core
Wanda vs. Dadi
3 2
technology relating to exhibition, as well as developing partnerships with small and medium sized cinema chains,
With the outlook for the sector toughening, the rivalry
through its sister company Viceta films, as well as large
between the two leading cinema operators, Wanda and
Chinese film studios. This means that Dadi indirectly is
Dadi, is likely to intensify. Last year, Wanda sold its Wanda
responsible for 30% of China’s total BO, on top of the
Cultural Management unit for its hotels and theme parks,
contributions of its own theatres.
including the Qingdao Oriental Movie Metropolis that was
Wanda had a total BO of CNY5bn (£575m) in the first
meant to rival Disneyland. Wanda also sold a 12.7% stake in
half of 2018, compared to CNY3.2bn (£368m) for Dadi. Yet
its film unit to Alibaba and state-owned Cultural Investment
no.1 Wanda only grew 15.8% YOY, compared to 37.7% for
Holdings Co, with proceeds from both sales used to pay
the no.2 Dadi, which is also below the average growth rate
down debt and double down on its cinema empire.
for China’s cinema market. As Wanda sells off non-core
Wanda remains the largest cinema operator both in
assets, Dadi is doubling down on its “Movie+” and “new
China and internationally, where it controls both AMC,
retail” strategy to win loyalty of consumers in smaller towns,
Hoyts and the Odeon Cinemas Group. Yet having incurred
its ‘secret weapon’ against Wanda. As “Mirror Times”
the disapproval of Chinese authorities for its debt-fuelled
observed in comparing the two slugging it out for
overseas expansion, Wanda and its Chairman Wang Jianlin
supremacy in the world’s largest cinema market by screen
are increasingly challenged at home by Dadi Cinemas, led
count, “The tide of the times is rolling forward, and only the
by its visionary General Manager Yu Xin (Donna Yu). Both
trenders can win the world.” Dadi seems confident that it
chains have adopted different approaches for expanding in
will lead that trend.
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bi
gr ow
th
ci n
of
s
th e
t e c h
em a
n e w
g
ling new forms a projectors are enab em cin of n tio ra ne i talks to the The latest ge trick von sychowsk pa . es nu ve ion ct oje of small-scale pr t what this means. major vendors abou bled ojection has ena Digital cinema pr in ues ven ing uality screen the creation of high-q for le ssib po have been im spaces that would er light s. Introduction of las tor 35mm film projec se can particular means the source projectors in ’t as intenance access isn be installed where ma nised ments have revolutio critical. These develop ening n-cinema venues, op both cinema and no ions tat sen pre g vin impro up new possibilities and ard nd sta on ed y have reli that would previousl s. tor jec pro a home cinem LCD or sophisticated rkets: en felt in several ma be has The impact xes; ple niu screens and mi post-production; bijo nd h-e such as hotels; hig in specialised venues e vat finally in so-called pri home theatres and se the cinemas). The last of cinemas (a.k.a. micro ema cin est larg ’s rld the wo is a major trend in
www.cinematech.today
vate nt, China, where pri market by screen cou nds usa run into tens of tho cinema installations ber a Technology, Decem screens [see Cinem wn e traditionally not sho 2017]. While these hav nt, me uip eq e rad I-g ed DC first-run film or requir s thi e hav to as vate cinem there is a push for pri . ina Ch e tsid ou cept is tested capability as the con r fou the to ges, we talk On the following pa e that supply DCI-grad ers tur projector manufac t jus n y of venues other tha projectors to a variet 2K remembering that the cinemas. It is worth een, Onyx Cinema LED scr version of Samsung’s already with projectors, is which does away geles An Los in st-houses installed in two po also can yx On is (Eclair). (Roundabout) and Par a em cin all sm a screen in a work as a 2.5m cinem t. jec ob no only if money is auditorium — though
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n e w t e c h n R e O w G tR eE cS hS P
High-End Home Theatre
Hollywood’s A-list, Russian oligarchs and top football players can now have a high-end cinema with the same spec as your local multiplex. While access to first-run content depends on how well connected you are to distributors (Hollywood stars have the Bel Air Circuit), exclusive services from the likes of Bel Air Cinema and IMAX offer new releases. A more everyday option is to sign up to Netflix and Curzon On Demand for new films with an art-house flavour. For high-end home theatres, Barco Residential offers “a full range of dedicated high-end home theatre projectors, up to and including DCI-compliant and 6P RGB laser models,” says Barco’s senior member of the product management team Tom Bert. “These are delivered through a specialised channel of residential custom integrators,” which can range from general A/V installation companies to more specialist operators like Bel Air Cinema which offers a service for private clients both on land and sea (belaircinema.com). The laser technology that is at the heart of these latest cinema projectors is also filtering down to more regular home cinema projectors, such as the NEC P502HL-2. Cinema
projectors
from
Sony
haven’t just found their way into luxury homes, reveals Oliver Pasch, sales director, digital cinema Europe. “Our standard
DCI
lamp
and
laser
projectors are installed in private home cinemas belonging to high-networth individuals, with a number being installed on superyachts. With
“Some specialist operators like Bel Air Cinema offer a service for private clients on land and sea”
Smaller projection systems are a godsend for production facilities that need the technology
IMAX Private Theatre offers its products to an exclusive ultrahigh-net worth customer base
Jerry Bruckheimer (“Pirates of the Caribbean”) have installed Barco. “I’ve
time at a premium, these customers are looking for the
worked with Barco for 15 years, it’s my one and only
ultimate image quality during precious down time.”
projector,” said Bay, who selected Barco’s DP4K-23B ultra-
At the highest-end there is Sony’s collaboration with
bright 4K DLP® Alchemy Cinema projector, in his words,
IMAX on ultra-high home cinema. “IMAX Private Theatre
because, “It is simply the best.” But down the road in Bel Air
has
systems
“Steven Spielberg has purchased two Christie TrueLaser
(customised to IMAX, non-DCI-compliant model) to provide
RGB projectors for his personal use,” reveals Christie’s senior
4K, high-contrast image quality for 2D and no compromise
product manager Brian Claypool. No doubt they compare
3D free from triple flash artefacts,” Pasch reveals. IMAX has
projectors when they visit each other’s homes.
installed
Sony
SXRD
dual
projection
two showrooms in the US, one in UAE, three in China and one which is under construction in India. That gives an indication of where the demand is. Unsurprisingly, A-list celebrities do
A Barco fan — Michael Bay’s own cinema is fitted with a high-end Alchemy 4K unit
not generally advertise their home
(“Transformers”) and the producer
Smaller units like NEC’s NC1201L laser projector offer quality and convenience in a compact package
3 6
www.cinematech.today
cinemas — unless selling multi-million dollar pads — but there are notable exceptions. Both director Michael Bay
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Post Production
Post houses have needed digital cinema projectors since the roll-out began in 1999, in order to grade, master and QC DCDMs and DCPs to the standards they will be shown in on the big screens. These no longer require their own projection room, but can now be located on small space in the back or even suspended from a box in the ceiling. “For post-production and review room facilities, Barco has long offered a dedicated model, based on the broader DCIcompliant portfolio,” says Tom Bert. “The current model is the DP4K-P and it has both custom hardware and software modules to serve the specific needs of this market.” These feature in installations such as Russia’s Mosfilm, which installed the 4K DP4K-P with the help of integrator Kinofilm. Emphasizing the history and relations Christie has had with Hollywood, Brian Claypool notes that “post-production facilities can be considered specialised screening rooms — and world-leading directors, including James Cameron, Peter Jackson, Ang Lee and Steven Spielberg own or use facilities with Christie projectors.” Recent Christie post-production installations include Canadore College Post Production Theatre in in North Bay, Ontario, which has both CP4220 Digital Cinema projector and Dolby-certified Christie Vive Audio sound system with 41 surround sound speakers delivering 70,000 watts for Dolby Artmos. In New Zealand, the Auckland postproduction house, Department of Post, recently installed Christie’s new CP4325-RGB by HOYTS Cinema Technology Group, which offer service and support to exhibition and post-production industries in Australian and New Zealand. According to Claypool, “Christie has more projectors installed in private screening rooms than any other cinema technology company. We also expect these systems to be some of the first to be replaced during a “refresh” cycle which we expect to be starting in the course of the next 24 months.” www.cinematech.today
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n R e O w G tR eE cS hS P
Boutique Cinemas & Hotels
For purists that despaired at single screens being sub-divided into cramped
Alain sees this as a major impact on the potential for
miniplexes, laser projection has enabled even smaller spaces to host first-
new cinema venues. “The introduction of these models has
run screens. Fortunately this doesn’t just mean repurposed “Screen 9” broom
already enabled exhibitors to open additional small screens
cupboards, but some innovative cinema concepts. In addition, it has seen a
in areas they never believed possible in the past.”
growth in high-end hotels with dedicated cinemas, often in the basement.
Luxury hotels increasingly see a dedicated cinema room as a USP, whether for special screenings for private
Arguably the first new cinema to take advantage of the architectural opportunities a new generation of small projectors offer was the Curzon Victoria [see CT, December 2018]. At the Curzon Bloomsbury (formerly The Renoir), designed by Takero Shimazaki Architects, four screens grew to six, including a dedicated screen for documentaries. More recently the Art Deco Everyman Crystal Palace opened in late 2018, with the two spaces under the former balcony served by NEC projectors mounted in ceiling boxes. NEC claims to offer two of the smallest DCI projectors: the NC1000 and NC1201L. Alain Chamaillard, head of cinema EMEA and CIS for NEC, says that “these models are suitable for very small screens where installation does not allow for air extraction. The longevity of the NC1201L Laser Phosphor system means the exhibitor only needs to access the projector for simple filter cleaning.” 3 8
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parties or for corporate hire. In London, hotels such as the Venues such as the Curzon Victoria are the first in a new wave of smaller sites that maximise the use of smaller projector
Courthouse, the Mayfair, the W London Leicester Square and the Soho Hotel regularly host industry screenings (see “A Boutique Desination, page 76). One Aldwych Hotel has gone further with its Film & Fizz and Live at One screenings open to hotel guests and the public, where £55 buys you a three-course meal and a film - with fizz. The Mondrian London at Sea Containers has partnered
“Luxury hotels increasingly see a dedicated cinema room as a USP, whether for private or corporate hire”
with Curzon for the Curzon Mondrian London, open to the public and guests at weekends. This trend is equally strong in emerging markets, with the Yashan International Resort Hotel in Ganzhou, selecting Christie solutions for its VIP Theater — the first in China to be fitted Christie Vive Audio. www.cinematech.today
Private and micro cinemas
Small cinemas: a market getting bigger?
In China, so-called private cinemas (a.k.a micro cinemas)
The market for small projectors will not overtake regular
are believed to have overtaken regular screens in number
cinema installations either in numbers or revenue any
with over 10,000 venues in operation. While some offer
time soon — but they are certainly becoming increasingly
low-end home-cinema, the high end is sophisticated
important niches for projector manufacturers.
and has the attention of major projector manufacturers. “The potential return is not measured by Christie in terms of Sony has gone after this market hard. “We identified the
revenue. It’s not a large market, but besides being a
rapid growth of micro cinemas in China, but also identified
prestigious market, it is also a knowledgeable one,” say
that smaller projectors in the market were limited to 2K,
Claypool about specialised screening rooms, particularly
HD-equivalent resolution at lower contrast,” notes Oliver
those of Hollywood talent. “So the more relations we have
Pasch, “So, we developed the SRX-R608 specifically to bring
with the studios and their creatives, the more feedback we
4K, ultra-high contrast image quality to the small screens
get into our product-development process, which translates
associated with micro cinema. We have concentrated our
to better products for mainstream exhibitors that can best
launch on China where the micro cinema market is the
present the stories that these creative luminaries weave.”
biggest and have just started shipping the first systems.”
Whether the experience is shared by a dozen or several
According to Pasch, “There are large opportunities for
hundred people, the ‘big screen’ experience is thus defined
micro cinema in China. We are assuming it is spreading to
by the quality of the sound and image presentation, rather
non-China market as well.” Already Emagine Entertainment
than the auditorium metrics. With new projectors opening
in Michigan, US, has set up a type of micro-cinema with a
up the opportunities for a new type of space, so it too
dozen seats where customers can pause the film, adjust the
creates the possibility of showing more varied types of
volume and more. Indeed, manufacturers such as
content and cultivating new audiences. Thinking small in
Cinemeccanica have also developed special solutions for
terms of technology can thus be a new way of thinking big
the micro-cinema market.
in terms of cinema.
www.cinematech.today
Whether it’s a private home installation or a micro-cinema, smaller venues can be more lavish and more intimate
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S E C U R I T Y
THE GREAT
CINEMA
HEIST (and other security issues) 4 0
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www.cinematech.today
It’s easy to read headlines on cyber-security breaches and feel smug. It could never happen in your organisation… but as Patrick von Sychowski explains, our sector is susceptible. Take care, take action.
OVER-SOPHISTICATED CONS NETTING millions are the stuff of blockbusters, but last year Pathé Netherlands Cinemas itself became the victim of a €19m scam that additionally cost several senior executives their jobs. It also highlighted the number of risks and security threats that cinemas now face as they become increasingly connected, data-driven and increasingly reliant on online transactions. Understandably, few major companies want to discuss openly their security breaches or threats, which can range from a terrorist strike, cyber attack, e-ransom or so-called pwning, i.e. virtual pranks or vandalism. Cinemas are no different in this regard and, given that they carry out high volumes of electronic payment transactions while having to maintain large databases of customers and members, they are a particularly attractive target. A DCP may be hackproof (if such a thing is ever truly possible), but the cinemas in which they play and the people operating them are not. In early 2018, Pathé Netherlands was robbed of more than €19m on the back of nothing more than a few emails and a bit of inside knowledge. Far from being out of the ordinary, the only really unusual thing about this was that the scam
WORLDWIDE BREACHES It’s not possible to highlight all the cyber attacks made against cinemas — many never come to light — but here are some recent cases that hit the headlines:
Pathé France was a victim in 2017 when criminals sold pre-paid €10 cards on the black market for just €1. Sophisticated software identified the valid 12-digit codes on the cards;
www.cinematech.today
In 2016 Ster-Kinekor became the largest South African company to be hacked, with 1.6m customers’ data including email, names, passwords, phone numbers and more exposed.
In September 2016, CJ CGV was one of several S.Korean firms to have their network disrupted. It is still unclear if it was a network disruption or a N.Korean attack.
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S E C U R I T Y
Couldn’t happen to us… became public knowledge and that two senior Dutch executives lost their jobs.
In November last year an email went out to the industry
Known as business email compromise (BEC) fraud, CEO impersonation fraud
from a well-known equipment manufacturer. It read:
or spearfishing (as opposed to random so-called “Nigerian prince” email scams),
“We regret to inform you that over the weekend, a
this type of crime has seen French
Malware infected several key [COMPANY] servers.
businesses (Pathé NL is itself owned by Pathé France) suffer an estimated loss of €465m since 2010, according to official figures. The details of the case illustrate the scammers credibility: Pathé NL’s head Dertje Meijer received an email in March last year purporting to be from the head of Pathé France.
“The typical hack doesn’t see a geek sat at a PC touchtyping frantically against the clock to beat the firewall”
[COMPANY’s] global IT infrastructure was shut down as soon as we became aware of the issue, and will remain shut down until further notice. We have engaged external consultants with expertise in Malware on a 24/7 basis to assist us, however we anticipate this will take several days to resolve.” In the end the malware attack took down the company’s
The email sender claimed to be in very secret negotiations to buy a cinema chain
servers for over a week. Staff had to reconstruct mailing
in the Gulf. Over several emails, Pathé NL was asked to transfer larger and larger
lists and use personal emails to conduct day-to-day
sums of money, but to keep the deal secret — supposedly through a KPMG
work. What matters less is which company it was, but
employee in Canada. While both Meijer and the CTO Slutter found this unusual,
that almost any company in the cinema industry, large
they complied and red flags also did not go off in Pathé’s head office in Paris.
or small, is vulnerable to this type of attack.
Both Meijer and Slutter were suspended from their jobs after the con was discovered, with Pathé France saying it had “lost faith” in them, despite the fact
A malware attack may not necessarily be a breach so
that they had not profited from, nor initiated the con. Both took Pathé to court
much as someone attaching a corrupted flash drive to
over their dismissal and at the time of writing Slutter had been partially vindicated, while Meijer’s case was still being reviewed. It is only because of these court cases that details of the scam became public knowledge. But it should serve as a warning to the industry that even smart
To get around this, attackers try to circumvent it via the
senior industry veterans can fall victim to these type of
phone or physically. Many people reading this in the UK will
scams. The message is clear — be on your guard.
have received a phone call from someone claiming to work
How to hack a company: hack the staff
for their bank or ‘BT Openreach’, saying there is a problem with their account/broadband and ask them to log in and
Contrary to popular culture, the typical cyber-attack doesn’t
confirm their details and carry out a transaction. Security
see a nefarious geek sat at a PC with flashing graphics
experts recommend hanging up and calling your bank/
touch-typing frantically against the clock in an attempt to
broadband provider yourself on their verified number.
penetrate a company’s firewall. It is easier to use what’s
Scammers try to stop this by injecting urgency into their
called ‘social engineering’, i.e. hack the people. At a basic
communication: “money is about to be stolen from your
level this involves sending an email with an attachment or a
account”, or “your broadband is about to be cut off.”
link that will allow unauthorised access to the recipient’s
An even more clever way is to scatter a bund of USB
computer or network. Sensible companies have scanners
memory sticks in the employee car park. These will typically
that block suspicious attachments and ban the use of
only have one file on them, called something tantalising like
personal accounts. Even Google now flags suspicious email.
“Employee Salary Spreadsheet”. Curiosity gets the better of
A small Canadian cinema in Hyland, Ontario, had its website hacked in December 2016 by a person or group that posted a rambling racist manifesto on it.
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The Polish municipal cinema in Bydgoszcz was an unlikely target of a hack attack purporting to be from ISIS (Islamic State), posting its logo on the website.
Hackers were said to be behind a hijacked outdoor screening in Argentina’s San Martin, where the comedy feature was replaced with an X-rated clip
The FBI was called in to investigate a cyber-attack against the Sundance Film Festival in 2017 that shut down its box office systems over the opening weekend.
www.cinematech.today
the network or visiting a corrupted website (see “How to hack a company”, opposite).
Fostering discussions internally to ensure best practices. Implement those measures and you may go some way towards protecting yourself — but it’s not foolproof. At the foot of the page are listed a handful of
One observer familiar with the situation (who declined
known industry-related attacks that took place before 2018, but we are likely to
to be named) commented that, “Doing a full scan to
hear about even more such attacks in the future, due to a much discussed but
make certain the malware isn’t picked up across the
little understood four-letter acronym… GDPR.
infrastructure. Given how interconnected that network might be to outside facilities, I could see why they would want to remove the threat of it spreading externally.” So the company in question was not just trying to save its own network and database, but rightly seeking to save others from being inadvertent victims. Famously hard to detect viruses, malware and trojans, such as Stuxnet, are designed to infiltrate, self-propagate and cause damage, all the while being undetected. Cyber attackers typically go for the weakest link in any defence, which increases the chances of a breach the bigger and more complex a system is.
whoever finds it, they plug it in and will try to open it, not realising that it might be an .exe file. The malware is now inside the company network. Not as glamorous as George
€465m
network could take a while depending on the size of the
The amount French businesses are thought to have lost since 2010 to spearfishing
Clooney in a tuxedo, but more efficient.
Future Risks
GDPR? What’s that then...? While major companies have in the past tried to cover up attacks where possible, that changed on 25 May 2018 when the General Data Protection Regulation (GDPR) came into force. While initiated by the European Union, it is not only applicable to EU countries, companies and databases, but to anyone whose database collects information about users and citizens in and from the EU. This is why post-Brexit Britain isn’t exempt and why some US online newspapers still geo-block access to their sites for readers from the EU. While GDPR was a large enough topic for its own article (Cinema Technology, March 2018), it means that all companies and institutions have to ensure data protection for the information they store about individuals and face large fines and compulsory disclosure if they have failed to prevent data theft. In theory this even extends to losing or leaving paper files with sensitive personal information lying around, but in most cases this will be in relation to a loss relating to a data or network breach. Cinemas and others also have to comply with how they
€19m
gather, store and use customer data, by ensuring greater transparency about what information is used for targeted
While there is no 100% fool-proof method to prevent cyber
marketing. Writing about GDPR for Movio’s blog in 2018,
attacks, most companies can take additional steps to
Sarah Lewthwaite noted that, “For those of us for whom
improve security. Bea Alonso, business development director for media logistics in the APAC region at the OTT media platform Ooyala recommends the following steps: Ensuring all network connections are secure; Initiating two-factor authentication; Performing regular network penetration testing; Consider digital rights management;
Pathé Netherlands became victim of a €19m email-based scam last year
1.6m
customer data is a key element of our marketing strategy, this transparency should not be seen as a threat, but as an opportunity. It is an opportunity for us to build trust with customers and to strengthen our relationships with them.”
Call IT by all means, but call HR too Increasing sophistication of machine learning (‘artificial intelligence’) means that cyber criminals have access to
And who could forget the alleged North Korean hack of Sony Pictures in 2014 that led to a purge of senior execs, and red faces when internal emails became public. There were claims the hackers also accessed other studios’ content, threatening to leak it online unless a ransom was paid.
Ster-Kinekor customers in S.Africa who had personal details hacked in 2016
more and more advanced tools with which to target and penetrate even the most stringent defences that cinemas can mount. Often the weakest link in that chain of defence is a member of staff, meaning that while the IT department can do a lot to keep you safe, they will increasingly have to work with the HR team to ensure the only place crime ever pays is in heist movies on screen.
www.cinematech.today
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C H R I S T I E
Christie: A digital leader with heritage
U
Continuing his series of in-depth looks at major projector manufacturers, in Christie Peter Knight finds an established specialist that puts image quality and value of the experience at the heart of all its product lines
NLIKE SOME MORE recent digital technology manufacturers, Christie has its roots firmly in the days of film projection, 90 years back, in fact, to 1929 — barely two years after “The Jazz Singer” introduced the world to
the talkies. The firm has worked with cinema technology for the past 70 years, and made its name as a manufacturer of 35mm projectors, as well as lamp houses, lamp consoles and film player systems. Later, it began importing Japanesemade xenon bulbs before acquiring the digital projection business of Electrohome Limited, of Kitchener, Ontario in 1999. Roll on from 35mm days and today Christie is a global audiop and visual entity that offers solutions for business, entertainment and industry. Worldwide, Christie employs over 1,500 people and has installed no fewer than 65,000 projectors that have powered over 10million screenings. The company’s commitment to the film industry is seen through innovative solutions including 4K high-resolution projectors, immersive audio and the introduction of RGB laser projection, as well as its long-standing relationships as technology provider to major festivals, including Cannes. www.cinematech.today
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C H R I S T I E
A look inside the product line
to as “pure laser”, as the acronym suggests RGB laser
Christie’s cinema projection offering is divided into two
technology uses distinct red, green and blue lasers to
distinct series: the CineLife Series — its more advanced line-
generate light.
up — and the Solaria Series. The Cinelife Series is primarily
Christie’s flagship CP4325-RGB pure laser cinema
composed of a trio of RGB laser projectors (more on this
projector, introduced last year, delivers a premium movie-
later), which feature its RealLaser™ technology. This RGB
going experience for mainstream theatres. Featuring
pure laser light source is engineered to take full advantage
CineLife™ electronics and RealLaser illumination, Christie
of the latest innovations in laser technology.
believes exhibitors can fill auditorium seats by attracting
The Solaria Series consists of DCI-compliant lamp-based DLP cinema projectors and it offers choice in frame rate,
audiences with the colourful and detailed images delivered by this compact, all-in-one DCI-compliant unit.
brightness and resolution. The aim is to deliver value with
“With its all-in-one direct-coupled RGB illumination
reliability and low total cost of ownership. Contained within
system, we think the Christie CP4235-RGB is the most
this range are the Christie CP2220 and CP2230, which were
advanced laser projector on the market,” explains Christie’s
designed to be fully upgradable to 4K technology via a fast,
Allan Fernandes, senior manager in the global cinema
cost-effective upgrade path.
product management division. “Using next generation, pure
A single-minded approach to laser
red-green-blue
direct-emitting
laser
technology,
the
CP4325-RGB offers an authentic, immersive experience for
Whilst other manufacturers have pursued implementation
the mainstream market. It provides all the advantages of a
of laser phosphor technology, Christie has followed its own
high-performance laser projector in a compact form factor
path. The company’s perception is that laser phosphor does
that eliminates the need for sub-ambient external cooling,
not offer a significant enough advantage over traditional
while providing rich colours, higher contrast ratios and low
xenon illumination to warrant the upgrade. Consequently,
total cost of ownership.”
Christie has focused on its RGB laser technology, which has
Christie has recently introduced 2K versions of its RGB
seen the steady development, and subsequent rollout, of a
units — the CP2315 and CP2320 — which offer what it bills as
line-up of RealLaser cinema projectors, comprising the
the industry’s first affordable RGB pure laser projectors.
CP4325-RGB, CP2315-RGB and CP2320-RGB. Often referred
Recent high-profile purchasers of the RGB laser range
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The Christie Vive Audio range brings immersive sound technology within the scope of a wide range of exhibitor budgets
www.cinematech.today
Christie: powering Dolby Cinema projection Dolby Cinema features the Dolby Vision projection system, which uses state-of-the-art optics and image processing to deliver high dynamic range (HDR) with enhanced colour technology. Praised by filmmakers and audiences alike for its astonishing contrast, high brightness, and a colour range that more closely matches what the human eye can see, this proprietary HDR technology uses two custom designed, high-frame-rate (HFR) capable Christie 4K laser projection heads that feature a highly customised and unique light path that can provide 6P RGB pictures to the Dolby Cinema brightness standard of 108 nits, (31.5fL).
The London Film Festival’s Embankment Gardens pop-up cinema — powered by Christie RGB-laser
include CGR Cinemas in France, where 200 CGR Classic auditoriums will be redeveloped for Christie RealLaser over the next two years. This followed initial success of RealLaser’s implementation as part of CGR’s hugely successful ICE (Immersive Cinema Experience) theatres. Indonesia’s the largest cinema chain, Cinema 21, has purchased 50 units of Christie’s
next-generation
CP4325-RGB
projectors
for
deployment in its new multiplexes across the country.
Backing the British Film Institute Christie has been a proud sponsor and supporter of the British Film Institute in London for some time. This support has extended in the past three years to the supply of equipment for the ‘pop-up’ cinema that the BFI erects in Embankment Gardens for the London Film Festival, last year powered by a Christie RGB laser projector. Filmgoers in the UK experienced Christie RealLaser for the first time at last October’s BFI Patron’s Gala showing of “Colette”. An independent British film starring Keira Knightley as the infamous French writer, this was the first of
been amazingly positive,” he explained, “For last October’s
several films screened at the popular Embankment Gardens
event, we decided to raise the bar, and — thanks to Christie
site using Christie laser projection.
— let our audiences experience the colours and high contrast
Last October’s festival was the third outing for the
ratios of laser projection. Our 16 metre-wide, matte white
unique, full-scale, 820-seat cinema in the surroundings of
screen, was the optimal film projection surface, and, as the
Victoria Embankment Gardens, complete with tiered
premier film festival on these islands, I’m delighted we were
cinema seating, black box lining with serge, plus a full box-
the first in the UK to showcase RealLaser.”
office area. A stone’s throw from the Thames and Leicester
Phil Lord, Christie cinema sales manager in EMEA, was
Square, the temporary cinema hosted strand galas and
pleased to be involved in the project: “It was no small task to
films seen at the site on Christie projection included “Sorry
assist the setup of a fully-functioning, 800-plus seat venue
to Bother You”, “Suspiria”, “Border”, “Beautiful Boy”, and “Wild
for such a prestigious organisation as the BFI. But the results
Rose”. Dominic Simmons, head of technical services at the
are always worth the effort, and I’m pleased that audiences
BFI, was keen for the festival to embrace technology trends
were able to experience our flagship technology. We are
currently transforming cinema viewing: “We’ve had more
determined to make the premium laser experience
than 60,000 filmgoers pass through the Embankment
affordable to mainstream exhibition,” notes Phil. “We have
Garden Cinema since 2016 and audience feedback has
proprietary technology that offers superior brightness and
www.cinematech.today
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C H R I S T I E
The Christie CP4325, part of the RealLaser line-up of projectors
The CP2315 — a 2K RGB laser offering that Christie contends is the affordable option for exhibitors
Series CP4230/4220 projectors powered almost all the festival venues. “TIFF has worked with Christie for nearly two decades, delivering a long-standing service of cinema higher contrast than conventional projectors. RealLaser can
excellence and innovation,” explained Diane Cappelletto,
show colours never seen before by the human eye.”
TIFF’s director of technical production services. “Their support for cinema experiences as delivered on large
On the global stage
screens across our festival venues is laudable and we value
Christie has maintained a strong commitment to other key
their partnership and collaboration.”
international festivals, supplying equipment as technology partner to other globally renowned institutions. At Cannes in 2018, the company supplied no fewer than 29 projectors from across its portfolio, including its leading, 4K lampbased model, the CP4230. Technical specification for the projection technology in the festival and market screening rooms was overseen by
In a further long-standing collaboration, the CP4230 Left, the new R&D facility Christie is establishing with Wanda; right, Christie partners with many major film festivals, such as Toronto IFF
projector was again in action at Shanghai International Film Festival, where it was deployed to screen both the opening and closing films. Christie also supplied a CP2215 cinema projector for the adjudication of films nominated for the prestigious Golden Goblet Award for Best Film. Also on show was Christie’s Vive Audio cinema audio solution.
the CST (Commission Supérieure Technique de l’Image et du Son). Francis Zee, a consultant on the technology side at Christie, commented that: “The technicians that make up CST are the cream of France’s cinema and broadcast industries and they have a huge task overseeing tech ops at Cannes. It’s always gratifying that things come together so well and it’s in no small measure thanks to the work CST have put in, especially around DCP/DCI over the years. They have high standards and so do we.” During last September in Toronto, Christie’s Solaria 4 8
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A View from the top Brian Claypool, VP of product mangement, global cinema Christie is seeing ongoing growth in our cinema products as customers add new installations and upgrade existing venues. We’re excited to by what the future holds and have been thrilled by the response to, and uptake of, our RGB laser projection systems. We’re committed to investing in R&D for cinema projection — at CinemaCon last year we announced our agreement with Wanda Film Holding to establish a joint R&D centre in the Wanda Studios’ site in Qingdao, China. Christie will exclusively operate the facility for advanced R&D of digital cinema projection systems to explore solutions that enhance the experience. This work includes customised RGB laser technology for Wanda and its affiliates, RGB laser retrofit solutions for xenon systems, solutions for Wanda’s PLF auditoriums, LED screens, service solutions for network operation centres, and testing of xenon vs competitive illumination technology.Projection, alongside leading audio technologies such as Dolby Atmos and Vive Audio, can enhance the viewing experience. In our view, LEDs do not enable these options better, now, than projection — it still has to evolve for cinema needs.
Not just pictures, sound too While most know Christie as a big name in projectors, it is one of the few major manufacturers to develop cinemaspecific audio products too. Launched in 2013, Christie Vive Audio completes the movie-going offering with audio to
- Outstanding sound reproduction to every seat in the cinema
complement its high-brightness, high-resolution displays. Vive Audio supports existing formats including Atmos and Auro, as well as 5.1 and 7.1. The range includes Class D amps, speakers, subwoofers, integrated media blocks and cinema processors. It’s an extensive line-up which means Christie is able to offer immersive solutions to suit a variety of
- High efficiency Isowave coaxial motor with exceptional linearity and directivity control - Coherent and well defined coverage
budgets and venues, from smaller theatres like the Parkway Cinema in Beverley, UK, to PLF venues in vast halls, such as the recently installed Cinecittà in Nuremberg, Germany. Christie has addressed disparity in audio quality in the auditorium via the use of ribbon driver line array technology,
ISOWAVE
SERIES
and this forms the cornerstone of Vive Audio. Producing a focused linear sound, it delivers clarity and a smooth, even audio coverage wherever you are seated. It has been designed to increase the optimal listening area up to four times in comparison to conventional compression driver-
www.pulz.co.in
based audio systems. www.cinematech.today
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E V E N T S
E V E N T S The first ever ECM conference, held last November in Istanbul, explored cinema’s growth in emerging markets. CT reports on a successful event.
ECM Istanbul: An emerging
F
OR THE KEEN observers in the cinema industry, the markets in Turkey, Africa, the
Balkans, Central Asia and the Middle East are at an exciting early stage in their development. They offer good opportunities for investors, studios, distributors, exhibitors and specialist supply chains that more established territories don’t — and the chance to deploy technologies with the benefit of experience gleaned elsewhere. Drawing together some of the key players in these regions to explore these factors was the driver behind the
inaugural
Emerging
Cinema
Markets (ECM) Conference 2018, held in Istanbul in late November and organised by DCS Events. Delegates flew in from all points of the compass, including Australia, several African countries, Kazakhstan, India, the US and more locally from Europe and the Middle East and, of course, Turkey itself for an event designed to put the right people in the same room. 5 0
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20m the annual admissions for approximately 800 screens in South Africa
Cinema Technology: seen in all the best places
success for all The perfect stage
Getting the right people in the right room — from all areas of the business
Quite apart from the large volume
and annual visits of 0.3 per head. Of
When writing about a conference, it’s
of visual data presented, there were
course there are a number of hurdles
pretty unusual to kick off with specific
also numerous images screened of
to growth, as was discussed in a
praise for the stage, but on this
cinemas of all sizes and styles from
range of panel sessions, but the
occasion it was genuinely noteworthy.
around the world, illustrating the
numbers alone illustrate the potential.
The whole backdrop of the main
seemingly endless possibilities that
hotel ballroom being used for the
are achievable when the imagination
Trends, opportunities
conference was a large LED screen,
is allowed to run free. The idea of a
One of the major themes for the
several metres wide and rising all the
cinema as more than just a place to
two-day conference was “trends and
way to the ceiling. This LED screen
watch a movie was a recurring theme:
opportunities”: all of the different
provided the perfect excuse for a
they are cultureplexes, destinations
sessions provided attendees with
number of presenters to go to town,
and a part of the wider community.
information specific to the various
playing with the additional display
geographic areas of the emerging
space and being able to illustrate
Africa’s growth potential
ideas and data in a more imaginative
One slide presented by Lucy Jones,
way or another. Constant in all the
way. And there was a lot of data and
executive
ComScore,
presentations and panel sessions,
graphs. In fact, by the end of the first
showed the opportunities available in
however, were these three mantras:
day, there was a risk of data overload
markets such as Southern Africa.
“Know your audience”, “Local content”
from the vast amount presented.
Africa contributes <1% of world box
and ‘Location”. There were plenty of
Clearly many see real opportunities to
office currently but has 16% of the
bad examples raised to highlight
establish new screens in the territories
world’s population. Specifically, the
where these key tenets had not been
under discussion.
population of the UK and South
followed and the cinemas in question
Africa are approximately equivalent
had not proved to be the runaway
at around 60m, yet while the UK has
success its operators had hoped for.
The stage is set: critical to the event’s success was dissemination of relevant data on screen
www.cinematech.today
director
at
170m annual admissions from 4,300
cinema markets, each unique in one
screens and an annual visit ratio of 2.6
Great to meet you…
per head, South Africa has just 20m
Both of the main conference days
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e V v E e N n T t S s E
sessions which allowed for a more relaxed way to explore both the Turkish and African markets in more detail. With a round-table discussion featuring experts with a great deal of operating knowledge in these areas, alongside integrators and suppliers or manufacturers, the sessions provided in-depth
insight
and,
of
course,
excellent networking opportunities. Though breakfast may be the most important meal of the day, the ECM conference allowed for plenty of networking
at
other
times
too,
especially on a first-day coach tour organised by CT contributor Patrick von Sychowski which saw delegates visiting several cinemas in the major
<1% The amount Africa contributes to the global box office revenue
Meeting of minds, including far right, CT contributor David Wallace
Arturo Gullién, Comscore’s VP, EMEA and India takes the stage
found in other locations, including the UK. The public areas were bright and made use of a large amount of brick and a “steampunk” aesthetic. They made for a genuinely interesting alternative to the now commonplace multiplex style which looks decidedly unimaginative in comparison.
shopping centres in Istanbul. For many of the delegates this would have been a prime opportunity to see
What was on the agenda?
A part of the calendar Organising any event is a challenge,
the city outside of the inevitable taxi
African countries, Turkey and the Kingdom of Saudi
but organising a first-time conference
trips between the airport and hotels.
Arabia were all key elements of the programme. All
in a country that isn’t your home turf
This relaxed, unstructured networking
have different challenges, but cinema in all these
is always going to add an extra level
created a number of new relationships
territories have aspirations to develop and grow. It
of complexity, so DCS Events are to
that developed through the rest of
is clear that to deliver the opportunities for cinema
be applauded for achieving such a
the week — it was a great way to start
that are possible, all stakeholders need to work
successful three-day event.
the conference.
together in emerging markets. That stretches from
There is an ever-growing calendar
These 21st Century Shopping
the vision of a shopping centre or real estate
throughout the year for cinema
Centres tour, supported by Celluloid
developer; to studios and film licencees aiming
events, and, just as with the weekly
Junkie and SISAY, visited the amazing
to grow the market; financiers supporting the
releases, it gets harder and harder to
malls at VadiIstanbul and Istinye Park
investment; and operators of cinemas opening up
attend them all and distinguish one
where there was a showcase of the
in new markets. IT systems such as those supplied
from another. This conference has
CGV cinemas including their 4DX,
by Vista, Movio and Comscore will play a vital part
real potential to become a regular
IMAX, Tempur Cinema and Gold Class
in the development — more accurate, transparent
event — and an opportunity to meet
screens. These multiplex sites felt very
and trustworthy information is critical to enabling
people and businesses from the parts
different to the more typical cinemas
the opportunities to be realised fully.
that other events just don’t reach.
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www.cinematech.today
cinema_technology_2018_Layout 1 30/07/2018 22:57 Page 2
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I M A X
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Think big.
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Having stunned audiences with vivid digital and analogue presentations of “Dunkirk” in 2017, and with a packed slate of offerings gracing their floor-toceiling screen venues in 2019, IMAX appears to be going from strength to strength. Brian Bonnick has acted as the IMAX’s CTO since 2011, having joined the firm in 1999, and is the mastermind behind a host of technologies, including the single projector ‘IMAX with Laser’ solution. Martin Dew caught up with him for Cinema Technology and quizzed him on evolution of IMAX technologies and even the current state-of-play on the legendary 15/70 film format… www.cinematech.today
IG SCREEN CINEMA? Many people
First up — what does IMAX as a brand mean to you…
immediately think “IMAX” — and last
It boils down to providing the world’s most immersive
year the big-screen team introduced
experience, that means consumers go somewhere that,
IMAX DNA, a full ecosystem from
under normal circumstances, they would never be able to
content capture to presentation that
go. Our intention is to remain at the top of the food chain,
ensures its venues show 26% more
providing the best experience. I’ve worked for 12 companies
picture area than standard cinemas. This spearheaded a
over my career, and I’ve never worked for one where it
slate including “Black Panther” and “Mission Impossible:
doesn’t matter if you’re in the technical area, the film area, or
Fallout”. The company can rightfully lay claim to introducing
even finance; our employees have such a passion. I laugh
the first large screen venues of their type which spawned
because often when our employees go to see movies in
the modern frenzy for ‘premium large formats’. But who in
IMAX I’ll get a phone call from one of them saying, ‘I went
the IMAX development team in the 1970s could foresee that
and saw a movie, something wasn’t quite right, and I didn’t
its quirky special venue product would become a mainstay
think it was perfect.’ That type of love drives everybody to try
of the multiplex? Last year alone, the Ontario-based group
to excel every day.
secured deals to build over 200 of its single-projector ‘IMAX with Laser’ systems for exhibitors such as AMC and Pathé
Can you sum up what differentiates a modern IMAX
Gaumont, with Europe shaping up to be a key battleground.
screen from a standard multiplex?
Interviewed for CT, chief technology officer Brian Bonnick shares his thoughts on future success in the PLF world. www.cinematech.today
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I M A X
T E C H
which are all proprietary and custom-designed, as well as the sound systems. The next is the venue itself and the theatre geometry. IMAX is about putting you into an experience. To do that, we
The future of analogue 15/70
need to immerse you. Every IMAX theatre is a short-throw venue and the audience is sitting relatively close to the
Will there be more IMAX film 15/70 screens built?
screen. When we convert a normal theatre to IMAX, we go in,
What we’ve got now is certainly as much as we’ll get. We’ve got some that
remove their screen, put a new one in, wall-to-wall, floor-to-
have been mothballed and we’re seeing what we can do about bringing
ceiling, and we bring it closer to the audience. By bringing
them back into the marketplace. We’re not quite sure right now, because we
the screen forward, it’s the equivalent of putting in a new
haven’t been through the assessment, but we won’t be manufacturing
screen that, in other formats, would extend beyond the walls
more. It’s a 40-year-old legacy design. We can refurbish ones we’ve already
of the building. We have a patent on that concept —and
got, but we couldn’t build from scratch.
sometimes we remove the front row of seats too. The theatre is acoustically treated to IMAX standards, so
How do the IMAX laser systems compare to the analogue 15/70 system in
NC noise control and reverberation specifications have to be
terms of screen resolution and performance?
adhered to. One of the reasons we do that is because we
I actually prefer laser, but when we designed our laser system, we did so
want the audience to be able to go into any IMAX theatre
with the mindset of trying to approximate the visual experience you get
and have the same experience.
with film. There are subtleties in our laser system that, even down to some of
Then, obviously, there’s the choice of materials — dark
the types of glass we’ve used in the optics, reflect what a film-based system
materials, generally speaking — so that you’re not getting a
provides. Obviously, we don’t get the artifacts and dust on-screen. Where
lot of reflections. The screen we use in the theatre is a
films stand out is where they have been captured at 18,000 [horizontal]
custom-designed one that improves the reflection of
resolution. Our film system is capable of displaying that while obviously our
content to the viewer.
digital projectors are capable of 4K. Now, in our situation, when we use dual
The other part we deal with is at the front end. I always
projectors, we’re employing a technology that allows us to increase the
talk about the fact that IMAX is ‘cradle-to-grave’, and the
perceived resolution because we’ve got double the number of pixels. It’s not
cradle part is our filmmakers. We’ve been working with
quite 8K, but when you look at the technology we’re employing, it’s a lot
filmmakers for 40 years, including Chris Nolan, J. J. Abrams,
more than 4K. So, both have their advantages, and both can work side-by-
Michael Bay and the Russell brothers — all have embraced
side very well. Going forward, I think our GT laser, the one that does 1.43:1, is
IMAX. In combination with their skillsets and the use of IMAX
a lot more capable of fulfilling that gap.
technologies, such as our large format cameras, they are able to capture content in a way you normally can’t for any other venue. We’re able to support a 1.43 aspect ratio in these venues. Filmmakers are some of our biggest customers,
You’ve got control of the entire workflow process and
so with everything we’re designing, they’re sort of our acid
even the room in which the content is presented?
test. They’re more critical than any consumer will ever be.
What we don’t want to do is degrade the quality of what
Next in the process is our digital remastering technology,
they’re trying to convey. We try to provide an experience
and this is the method by which we can take content and
that’s lifelike, and that means you have to work with the
remove the grain, create a clean slate if we wish, or something
filmmaker. Sometimes he or she actually wants us to put
in between. We’re able to remove artifacts in an image, and
more film grain in, or they want it not quite as sharp as we
improve sharpness and overall quality.
can make it. There’s not a right or a wrong in the process. The next area is preserving the quality of the experience.
You mean the DMR (Digital Re-mastering) process?
It’s great when a tuner comes in and tunes your theatre
That’s correct. This is in conjunction with our projectors,
today. For the next two weeks it looks great, but what
when I talk ‘cradle-to-grave’ we’re controlling the cameras at
happens down the road? Obviously, we can’t keep an
the front end. We’re controlling the DMR process, again, with
engineer on site, so we have microphones located around
the filmmakers. And we have a sound system and projection
the theatre. Each morning they listen to specific test tones
system, each of which is designed to work with these other
and compare them to a reference design. They’re capable of
elements. We control the whole system. Each component is
making adjustments, should there be a variation. Acoustical
designed knowing what’s upstream of it, and we take full
performance of a loudspeaker varies with temperature and
advantage of it, even down to the cables we choose to use.
humidity — we’re able to ensure the sound is tuned perfectly.
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Similarly, we use a camera that looks at the screen every
How do the IMAX laser systems compare to the analogue 15/70 system in
morning to look at the brightness. If we’re using one of the
terms of screen resolution and performance?
dual projector systems, it ensures both are putting out the
I actually prefer laser, but when we designed our laser system, we did so with the
proper light level and are within a minute tolerance of each
mindset of trying to approximate the visual experience you get with film. There
other. In 3D, in a dual configuration, if your light levels are off
are subtleties in our laser system that, even down to some of the types of glass
a little, your brain picks up on it. Every morning the system
we’ve used in the optics, reflect what a film-based system provides. Obviously, we
calibrates itself. It gives us the ability to guarantee to the
don’t get the artifacts and dust on-screen. Where films stand out is where they
consumer that the system is working at peak performance.
have been captured at 18,000 [horizontal] resolution. Our film system is capable
If it’s not, we get an alert. We can log into the system, and we
of displaying that, while obviously our digital projectors are capable of 4K. Now, in
know exactly what buttons the operators pushed on the
our situation, when we use dual projectors, we’re employing
console. We’re at a point where 94% of all field issues are
a technology that allows us to increase perceived resolution
resolved remotely. It’s great to have a product that comes
because we’ve got double the number of pixels. It’s not
out of the gate working, but you’re going to get pixel drift
quite 8K, but when you look at the technology we employ,
and convergence issues on the systems.
it’s a lot more than 4K. So, both have advantages, and both
The design of the projectors is 25 years old, and everyone
can work side-by-side well. Going forward, I think our GT
in the marketplace, except for us, whether it be xenon, or
laser that does 1.43:1 is a lot more capable of filling that gap.
blue laser, or RGB laser, are all using the same fundamental optical design. That design, to be blunt, was never optimised
The Odeon Norwich and Odeon Kingston in the UK both
for cinema, until now, having implemented this new design
have smaller screens than are typical for IMAX. Are there
with our laser products. It’s a brand new piece of technology.
base criteria for screen size and seating?
So, all of these things are working together.
There’s a bit of misnomer in the industry that if the screen’s not big, it’s not IMAX. I acknowledge that when you walk
But you do still send techs out to each site?
into a theater and the screen is eight stories tall, your body
We do send techs out twice a year, and they do maintenance,
relative to the venue makes it feel bigger. It doesn’t matter
like changing filters, and a general validation. They’ll bring in
whether the screen is 40ft wide or 80ft wide, if it has the
the $10k colour meter and take readings. If it’s something
same field of view. We try to get into the largest auditorium
we can’t adjust remotely, they will go in at that point.
in the complex, but at some venues, if the largest auditorium
Typically they’re also providing training to the operators. The systems are easy to use, but the techs also get feedback. They tend to be our client representatives, because it’s important that we understand from exhibitor partners what’s working and what’s not working.
Control of the whole process from content capture through to the screen lets IMAX deliver the filmmaker’s vision
and the design of the venue precludes us from going into a larger one, we have to make do with what’s available. We work closely with the exhibitor to select sites that have good demographics to support it from a business level, but also try to optimise size, screen venue, acoustics and all the geometric issues that are of concern to us. In some cases it’s not an 80ft screen because they can’t support it. If it’s a marketplace where we can put a screen in and maintain that accentuated aspect ratio, the customer is still getting a wall-to-wall, fill-your-peripheral-vision experience. And the same optimised viewing angle, too? There are venues we turn down all the time, where we don’t believe we can achieve an optimized viewing angle. As an engineer, it’s less to me about the screen size, although we’re not going to go into a 30ft screen. Clearly, there are more technical parameters. We know from 40 years’ experience, that when you get a field of view less than ‘x’, you’ve started to detract from what we perceive as IMAX. It’s more to do with the geometry of the venue — how wide and how long. There’s also a misunderstanding among consumers in terms of the brand when a regular 2K or 4K film is shown
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in an IMAX screen. How do IMAX and exhibitors get the
So in that sense, they’re dealing with objects and
message across that a title is not necessarily optimised
metadata attached to specific effects…
and mastered for this specialised viewing environment?
Correct. And one of the drawbacks is that it will sound a little
This doesn’t happen often, but if they’re showing a film that
different from theatre to theatre. We’ve taken a different
is not issued by IMAX, a standard goes up on screen to say
approach in that we’ve got discrete channels, and a discrete
you are not watching an IMAX movie. There aren’t a lot of
sub, which are all full-range. We’re able to provide you with
titles that get shown that way — we have a pretty heavy slate
an extreme high dynamic range audio soundtrack. We
of films now. We’re putting out a movie roughly once every week-and-a-half on average. Last year we did about 60 films. Not every film gets processed the same way. It’s very dependent on how the filmmaker and his team made it. Some are almost engineers who understand content
Brian Bonnick, CTO at IMAX since 2011, is uncompromising in his approach to the image on screen
jokingly say you can literally hear a pin drop in the theatre, and you can hear a rocket ship taking off at 118 or 120dB without distortion. Our amplifiers are designed to work with our loudspeakers. Our loudspeakers employ a technology called PPS (proportional point source) sound. When you
capture technically and create a near-pristine piece of
look at the horns in any other theatre, they have symmetry
quality content out of the box. Others do not. So, the way we
to them. Ours have a weird-looking shape to them, and that
apply our technologies is specific to every film. In conjunction
shape is designed for the theatre it’s going into. What it
with a filmmaker, we determine ‘What does this film need?’,
allows us to do is emit more acoustical energy to the seats
recognising that we’ve got a projection and sound system
that are further away, versus the ones that are closer. The
that exceeds anything else. As an example, just about every
sound dissipates as it’s moving to the seats further away. So,
filmmaker, when their soundtrack comes through, can have
though we’re sending a much higher energy level, by the
it remastered. Our system can go an octave lower than any
time it gets to those seats, it’s at the same energy level as the
other. It’s the difference of being at a rock concert where you
closer seats. It allows us to create an extremely large sweet
can feel your chest beating, versus hearing that rock concert
spot in the theatre. You can sit just about anywhere in the
with a nice sound system. Your body’s not feeling it.
theatre, and acoustically you’re going to get the same thing.
We can take the same content someone else has got, and it’s going to look better on our system — we know how
Are you using focused dispersion characteristics in the
to manage convergence, brightness, and pixel alignment.
speakers to achieve that?
These are subtle, technical things, but when they start to go
We do that and other stuff on top. We’re able to image
awry, the quality on the screen is not as good. Our lenses are
sound. If you think of us having 12 loudspeakers, and you
custom — we don’t use ones that anyone else in the industry
draw a line from every speaker to every other one, you create
uses. Our cost factors more than theirs, and we use the most
a ‘sphere’ around the seating deck. We can originate the pin-
expensive flint glass. The bottom line is that the quality of
point source of a sound to anywhere within that sphere
the sharpness coming out of the IMAX system, with the
through the loudspeaker system.
same identical content you would show elsewhere, is higher. You’re using 12-channel audio, as opposed to 6 or 9, as standard now for IMAX installations? Yes, it’s not to compete with others that offer 60 channels and so on. It really has merit in our largest venues where
Everyone’s talking about object-oriented sound and all The new IMAX with Laser projector use Barco laser modules built to the IMAX spec
these special effects. That’s fine for a special effects movie where sounds are not real. You can’t do them wrong because there’s no reference to base them on. But when, for example, you show a quality film like “Dunkirk”, our human brains know what a plane should sound like, we know what a
room volume is extremely large. We’ve added two additional speakers on the side
bomb going off should sound like, and we have a perception
walls, and four additional loudspeakers in the ceiling. In a lot of these systems with
of what the reality of that is. In order to reproduce that, every
multiple loudspeakers, there are a couple of issues. They do a good job of giving a
loudspeaker has to be tuned the same as the next. Others
point source, or with sound coming from multiple locations in the theatre. The
use tuning systems that will have, say, 31 bands of tuning,
drawback is that you can’t spend a ton of money on the loudspeakers because
plus some parametric bands too, but that’s fundamentally
you’ve got anything from 20 to 60 of them — and people are running a business.
it. I’ve got 31 adjustments I can make, and it’s way off the
Yes, you can place a sound at a certain point, but the sheer cadence and the
mark. In our system, we employ computer algorithms, and
quality of that sound — the realistic aspects of it — just aren’t going to be there.
use a physical tuner, so we don’t just rely on the computer.
The other problem they have is they make one soundtrack and rely on a
We rely on human ears, the old-fashioned way, but we take
computer to remix it, based on the number of speakers in the theatre. So, if I have
thousands and thousands of readings from all of these
an object-oriented sound system with 20 loudspeakers versus 60, the processor
loudspeakers from 20 different spots within the theatre.
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What we’re doing is balancing the sound, managing www.cinematech.today
bass nodes, and other negative things that can happen in the sound system effectively. The computer system stores all this information, and we can make adjustments any time we want. If we were to do that kind of adjustment manually, we’d be onsite for weeks. These are loudspeakers specifically designed for an IMAX short-throw venue where we want to provide the loudest sound when it happens. We generally don’t play it super loud. Our amplifiers have well over 25,000W of power. Typically, our amplifiers are running at 100–200W. The point is, I’ve got so much darned headroom that when that airplane starts shooting or that bomb blows up, I don’t have any distortion to worry about. If it doesn’t sound real, you’re losing that feeling of being there. When a studio wants sequences in 15/70 (1.43), jumping up from 2.39:1, they obviously budget for that, and decide on it in pre-production. How does that proces play out? We’ve developed trust with filmmakers, which is important. The film is their baby and they don’t want it touched in any way without their say-so. They come to us in advance saying
lasers put out. You have stray light, so what happens is that
they want to do a film, they want to do it in IMAX, and they
there is this piece of glass, and the chips all start to expand
want to do something different. We figure out creatively
and contract. That can lead to misalignment due to heat on
what it is they want. Some have particular shots they want,
the chips. On screen, you get pixel misalignment, you get
some have entire scenes, some have a hell of a lot of the
convergence issues where you may see fine magenta or
movie they want to do. They usually want to take advantage
green line, depending on the leading or lagging edge.
of the IMAX aspect ratio, the sharpness of the projectors,
The other problem you have is that you’ve got all this
and the higher resolution. Even though you might have a 4K
light coming into the prism, and stray light is bouncing
projector, we employ a technology known as oversampling,
around, grossly affecting contrast. With typical systems, the
so if you capture your content at higher resolution, even
average guy’s getting somewhere between 1,800 to 2,000:1
though you’re still limited in your playback, there are things
contrast. Also, because you’ve got so much glass, it affects
you can do to enhance that 4K playback content to make it
sharpness, so you’ve got three Achilles’ heel problems.
look like it’s a lot higher resolution.
We spent over $60m developing our laser solution. We threw away the prism, we have these chips mounted about
Your partner is Barco with its stacked projectors in your
a foot apart from each other — so there’s no stray light — and
digital IMAX screens, but are you using Barco laser too
our contrast levels more than double IMAX film. Even in our
for the new single-projector ‘IMAX with Laser’ system?
lenses, we’ve removed glass, and get this unbelievably sharp
Consider Barco a supplier. With our laser systems, we have
image. Our projectors have humidification and temperature
sub-contracted to them to build laser modules. Everything
management systems to maintain a constant level. The
else in the system I design. I put their laser modules into our
chips are mounted to an open air frame, so can be cooled from front and back,
system. I talked earlier about our projectors having a 25-plus-
and maintain a constant temperature. The frame is made of a material called
year history of using an optical prism to which the chips are
invar, one of the most thermally stable materials on the planet.
mounted. Whether they are DMDs or LC chips, it doesn’t
Now we have an environment with no stray light, chips mounted far apart, no
matter. Every projector typically has — if it’s not a colour
glass, so my sharpness is better, and I’m maintaining a thermal equilibrium, I don’t
wheel — three chips mounted onto a prism. Light bounces
have pixel drift and I don’t have convergence issues. I have a pristine image on-
into that prism, goes through a red, green and blue filter to
screen that I can’t get through other means. Barco is absolutely a partner of ours,
each of the three chips. The chips are all aligned on this
designing the light source that feeds our GT laser. They design it to our specification.
prism, so if I turn pixel ‘number one’ on, they all direct pixel
If I need a widget and if I can find what I want in the open market, I’ll buy it — I’m
‘one’ out of the lens, and they have to be superimposed on
not going to design it. If I can’t find it, it’ll have to be designed. If someone has
each other — that’s what the prism does. The problem is that
more expertise than me, I farm it out. If I have more, I do it myself. We’ll use
it was never truly designed to handle the power level that
anybody’s technology if it’s the best as we want the best experience.
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The modern-day travelling cinema show Peter Knight hits the road and investigates the modern-day showmen and women of cinema who carry on the traditions of the early pioneers of mobile screens.
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Q
UESTION – WHAT DO YOU do if you
existence. Using three 35mm projectors synced together to
live in a remote location with a tiny
create a massive 120-degree screen, with 6 channels of
population but still want to present
sound, in 1956 it was ground-breaking. What many may not
the latest movie releases on the big
realise was that there was also a travelling version that went
screen? What if your festival doesn’t
around Europe. The only (really major) problem was that it
have sufficient space to show all the
required multiple vehicles and multiple staff to set it up and
content in your existing cinema? Or you want to promote
take it down. In fact it ended up requiring something in the
your movie, your brand or your products and you want to go
order of 40 vehicles. No small logistical feat. The first version
to the audience, rather than have them come to you?
was set up at the International Horticultural Exhibition (IGA)
The answer, of course, is a travelling mobile cinema.
in Hamburg, Germany. Originally housed inside a massive
Before we get stuck in, a note on definitions. While there is
tent, it accommodated around 1,000 seats initially, and
always an overlap between the definition of different types
showed “Windjammer” twice daily on a 29 x 11m screen.
of cinema, including pop-ups and outdoor screenings, in
Later there was a 3,000 seat version with a 30m-wide screen
this context the modern-day travelling cinema show is taken to be either a cinema that is completely portable (i.e. the kit turns up and it becomes a cinema) or is one that is regularly scheduled to appear outdoors thanks to the environment it operates in (i.e. warmer countries where the climate permits outdoor screenings).
erected inside a huge “Balloon Theatre”
“Some of the early travelling show people went on to become some of the first filmmakers in the industry”
(an inflatable auditorium).
Catch a film with Audrey Of all mobile cinemas, Audrey is one of the most famous — and she has been around for over 50 years. In 1964, paid for by The Ministry of Technology and operated by PERA (the Production
Travelling mobile cinemas have been around as long as
Engineering Research Association, seven custom mobile
the art form itself. The first to exploit the potential of moving
cinema bus units were built to tour the country, promoting
pictures after they were demonstrated to the public were
modern production techniques to British industry. The
often the showpeople at the fun fairs. They were the ones
surviving vehicle, Audrey, is different to the modern mobile
that created the travelling bioscope shows that would travel from town to town presenting the latest flicks to the public who found wonder in these awe-inspiring technologies. Later, some of these same showpeople would go on to
Inside a modern mobile cinema
be the earliest filmmakers. Initially these shows would simply see a tent erected with a hand-cranked projector
More than 100 years after the first
an audience of 80 to 100 (depending
installed in the back and benches up front for the audience
travelling bioscope shows, there
on the model) with all the same
to sit on. Soon the showpeople tried to outdo each other
are still a few travelling showpeople
equipment as in a cinema, all in a
until they ended up creating the more famous bioscope
left, albeit they use lorries, buses or
couple of hours. Hydraulics, steel
shows, with grand exteriors, stages, musical organs and
other commercial vehicles instead
cables and rams move the sides,
traction engines to power and transport the rigs. In fact,
of traction engines to haul kit.
roof and floor in and out. The same
these were some of the earliest venues to use electricity.
These cinemas are more or less
principles are used in vehicles such
While static cinemas really took root in the post-
self-contained, coming with all the
as broadcast trucks, notably for
Edwardian era, the travelling cinema continues to play an
seating, heating and projection
Formula 1. Within a short period a
important part in cinema-going today. Indeed, they formed
equipment included. Some of the
lorry can transform into a fully
a fundamental element of both the WWI and WWII in terms
larger articulated lorries have their
functional
of providing information, propaganda and, of course, vital
own generators included, but the
surround sound, DCP-compliant
entertainment to the troops, a role still performed today.
real magic is in the way that the
projector, a/c and heating. There is
Beyond the early days of the bioscope shows, there
trailers open and close. They can go
even a box office space available
were other travelling cinema shows that existed on such a
from being a standard articulated
onboard that doubles as the door
grand scale that their like has rarely been seen again since.
trailer to one that accommodates
to the projection room.
cinema,
with
5.1/7.1
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Mobile Cinema around the globe
USA: a bigger market altogether In the US, everything is that much bigger — from a practical perspective this includes roads. Here cinema lorries can be made from larger units, complete with refreshment space and built-in toilets. With operations in Florida, Brazil and Mexico, Cinetransformer provides a 91-seat option with a 14ft 3D-capable screen.
UK & Ireland: A BAFTA-award winning service to rural communities
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A number of different companies have built mobile cinemas
cinema is staffed by two operators working a two-week rotation
over the years, but one of the main players is Toutenkamion,
who manage everything with the support of a locally sourced
from France. Their range includes 80- and 100-seat vehicles, four
usher. As a mark of the Screen Machine’s significance, last month
of which are in operation in the United Kingdom and Ireland.
BAFTA honoured Iain MacColl, its senior operator and driver for
The Scottish Screen Machine (pictured, top) is perhaps the
the past 21 years, with its inaugural “For the Love of Film award.
most widely known. It runs throughout the year and is in its
Other modern-day travelling shows built by Toutenkamion
21st year of operation, with 2018 having been its most successful
are The Movie Machine, operated by SSVC, Forces Cinema, The
to date. Touring to more than 40 communities in the Highlands
Incredible Moving Cinema (CineTruck), owned and operated by
and Islands, it spends up to four days in each location, taking 10-
Lyn Goleby and Road House, owned and operated by Element
12 weeks to complete one full tour. Screen Machine is funded by
Pictures Ireland. These three tend to operate on a more part-
Creative Scotland and Highlands and Islands Enterprise and is
time basis. Now digital, all started their lives operating with
supported by the ferry company, Caledonian MacBrayne. The
35mm Cinemeccanica Victoria 5 projectors installed in them.
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France: as seen at Cannes The travelling cinemas is anything but a UK-centric phenomenon. In France, the very newest Cinemobile started work on 29 September last year in Orleans, near Paris, serving the Centre-Val de Loire region. It continues a tradition of mobile theatre in the area that has existed for more than 35 years and serves an area of 46 rural communities, generating over 55,000 admissions per year. As a traveling cinema, the Cinémobile is part of France’s National Association of Traveling Cinemas, ANCI. This association helps co-ordinate the network of itinerant circuits. Mobile cinemas make nearly a million admissions every year in France, in often isolated or remote areas. Those in the film business may well also have seen these lorries in service at the MIPCOM Exhibition in Cannes. MIPCOM is a leading market for multi-platform audiovisual content, targeting the creators, producers, buyers and financiers who flock to the Promenade de la Croissette each October.
Thailand: an educational remit Toutenkamion has also provided a Cinemobile to Thailand, the first of its kind in Asia, that is operated by the national film archive with the support of the Ministry
Macedonia: origins of FilmAid
of Culture. Though Thailand is well-served by cinemas, they tend to be in main provincial towns. With distances between villages and towns often
The origins of the outreach charity Film Aid are rooted
100km or more, rural people rarely bother to see a film
in the Kosovo conflict in the Balkans. Back in 1999,
on the big screen. The vehicle, which seats 100, features
independent producer Caroline Baron tuned into a
Dolby 7.1 and can screen 2D and 3D. It was shipped to
radio story covering the crisis. The report explained how
Bangkok late last year and started running last month,
key necessities — food, medicine, shelter —were handled
after HRH Princess Maha Chakri Sirindhorn bestowed it
by humanitarian aid agencies, but major unresolved
with the name “Chalerm Tasana”.
problems facing hundreds of thousands of Kosovar
Chalerm Tasana operates with an educational remit
refugees were boredom and hopelessness. As Caroline
and such community outreach is mirrored in the work
explained, “I had an idea; I would rally the entertainment
of FilmAid (see panel, left) a charity with perhaps the
industry to bring films to the camps. We would hold
largest global audience for its mobile cinemas.
outdoor screenings and feed the soul while providing
Recognising that communities in crisis are crying out
life-saving messages on the big screen.” Within 48hrs,
for information and empowerment, FilmAid provides
the film industry had responded and the success of the
these to millions suffering the effects of war, poverty,
initial project in Macedonia prompted the International
displacement, and disaster. Projects the charity has
Rescue Committee (IRC) and UNHCR to invite FilmAid
operated have reached communities in places as far
to extend and expand its activities globally.
apart as Kenya, Jordan, Uganda, Tanzania and Colombia.
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“We don’t need roads where we’re going…” The floating Barge Fiodra; and, in the US, mobile cinema as a marketing tool (left)
A fully hands-on experience...? “For the past two years, writes Peter Knight, I have been lucky to be involved with two mobile cinemas cinemas mentioned, because it is
operating in the UK. It allows me to see a range of
actually a specially built Bedford bus.
interesting places in a role that combines hands-on
The original seven vehicles, complete
practicality and self-sufficiency. You end up as front of
with trailers, visited factories acting as
house manager, alongside being responsible for the
training rooms, equipped with 16mm
technical setup and breakdown of the cinema.
projectors. In 1974, the Government
Wherever the cinema arrives there is always an
sold these off and now Audrey is the
astonished reaction, and often slight panic as people
sole survivor, travelling around and
realise just how big an articulated lorry is! You also
showing archive footage. Despite her
have to explain that this is indeed a proper cinema. There is showmanship in making a whole venue
retro roots, Audrey has kept up with
appear at a push of a button, but there are moving
the modern world. She no longer uses film projection, and instead, like the vast majority of the industry, made the digital switchover. A similar concept, Movie Mobil started in 2014 and is converted from a singledecker London bus. It uses standard bus seating (recovered) for an auditorium with a projector and pull-down screen at the front. MovieMobil is designed to make the cinema more
Audrey, the archetypal travelling cinema — one of seven made for the UK government in the 1960s
mechanical parts that can be up to two decades old. These sometimes need to be coaxed into operation. Fortunately, head engineer at Toutenkamion, Francis Durand, knows each of his machines in detail, and is happy to answer queries — often that mean a detailed technical call whilst lying under the back of the trailer.
accessible and affordable to young people, particularly in
Once the cinema is set up, the operation is no
disadvantaged communities, offering a mobile cinema
different to a normal booth, though from a projection
experience that visits schools and colleges,
point of view, mobile internet is still a challenge,
housing estates and community centres.
meaning hard drives are really the order of the day
No wheels on my wagon…
given the rural locations these cinemas often visit.
Not every mobile cinema is road-based. Launched in 2018, the Barge Fiodra — a wide-beam barge built in Poland — is a
The future is mobile?
fully off-grid 20 seat micro-cinema that
As with projection kit in booths and auditoria, there are
operates on the UK’s southern waterways.
often huge challenges in fitting complicated equipment
The Fiodra’s projector, sound and safety
into small spaces that travel about. The way that the trailers
systems are powered by batteries charged
mechanically work continues to improve, new versions
by solar panels, with heating from a wood-
outperform the old and, of course, the use of LED screens
burning stove! Locations vary from new
presents a considerable potential advantage. In this modern
developments to pubs and wharfs and the
age where we all feel we know what “cinema” means, it is
programme
and
sometimes difficult to get a ‘wow’ from the audience. All of
canal-related films. Screenings include a
these travelling cinemas, without question create that wow,
pre-show talk on the film and its relation
from the moment they turn up on site, to the excitement of
to canal history — and staying for a post-
children when they reach the top step and walk completely
show chat and drink is actively encouraged!
out of their environment into a proper cinema auditorium.
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H O L O V I S
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Driven by changes in retail and leisure-time expectations, entertainment specialist Holovis has launched a new company, Extended Cinema, to transform the film experience. Peter Knight explores the future 6 6
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For Holovis, making 4D effects credible and sympathetic to the content is critical
The experience starts before you even get to the main event — in this case in the queuing areas
Cinema Technology interviews Holovis CEO Stuart Hetherington to uncover how a company with a successful background in theme park experiences can transform the moviegoers’ experience with Extended Cinema. Extended Cinema: what’s the vision?
brand partnership and sponsorship opportunities, as
We’ve launched Extended Cinema with a specific focus
well as giving insight for targeted marketing. Cinemas
on refreshing cinema’s destination offerings. For more
need to offer more when guests arrive, with areas like
than 15 years, Holovis has been doing this in the wider
the lobby being prime locations for family entertainment.
entertainment space: we create multisensory, immersive and interactive experiences that take audiences on
You mention the lobby, how would you reimagine it?
transformative journeys. We are applying our technology
It’s the first place guests see and can be a hub of social
design expertise to the cinema market to create a new
activity with increased dwell time and more spend per
out-of-home, location-based entertainment category.
head and monetisation opportunities. Experiences that
We use interactive technologies to put guests in control,
can be shared as a group are critical. Our karaoke booth,
whilst driving additional revenue streams for exhibitors.
for example, allows guests to sing together and record a
Holovis is prolific in the theme park and wider
video accompanied by a virtual backing band. There is
entertainment sector where we develop story-driven
the option to share this online, of course, increasing the
attractions — media- and motion-based experiences
venue’s reach. The booth takes up a small footprint and
such as immersive tunnels, dark rides and 4D theatres
has multiple uses, doubling as a green-screen studio.
— but we have expanded to park-wide adventures driven
Our solutions are scalable and configured for the
by frictionless tracking technologies invisible to guests.
needs of the market. The team can provide a turnkey
That basically means experiences happen as if by magic.
solution, from media and content creation through to
The most notable recent change in what we deliver
software configuration and engineering design and
is the way narratives play out. Engagement is key. The
delivery, all in a way that means operators can add new
experience no longer starts when you arrive at the door,
content, whilst obtaining real-time performance data.
but long before that at home, the minute you book a ticket. Queuing, too, is now an integrated part of the
And 4D theatres… Just a gimmick?
experience, with immersive technologies engaging you
Some see 4D as a gimmick — but our aim is to take the
and building anticipation before the ride itself. We call
4D experience to a true multi-sensory event that exceeds
this the Extended Experience. You can discover hidden
expectations. This includes addressing challenges in the
narratives, extend your interaction with the theme park
motion profile. Films are rarely shot in a first-person
and tailor your adventure based on the path you choose.
narrative, so what should the motion follow? Often the experience can go a bit off-piste, with seats moving in
How is this applicable to the cinema world?
directions that actually take some of the audience away
Cinemas need to follow the theme park model and
from the action. Thanks to our background, we hope to
connect more with the audience before, during and
improve the motion profiling, working with the studios
after the main event, and they need to increase their understanding of what guests do in the space when they get there. Understanding this will create additional www.cinematech.today
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H O L O V I S
5 3
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at an earlier stage to ensure it fits the action, rather than having motion for motion’s sake. We are also advancing
2
the SFX technology to include sensory elements that
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really make the hairs on the back of your neck stand up,
8
not just splashing people in the face whenever there is water on the screen. Audio is often overlooked in an experience — that’s criminal as it is such an important
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element of true sensory immersion. We’ll be installing Holovis Hifiniti audio in seat headrests to surround guests in the sound. These changes will connect the drama of the film to the motion and effects experienced
Are you sitting comfortably?
by the audience in a more realistic, synchronised way. Since the launch of 4D, seat technology and SFXs within them haven’t
How do you measure the impact these changes have?
changed much — this is remarkable given how much the components in
Big Data and AI are the buzzwords but in reality they’re
them have evolved. Extended Cinema’s seat designs for its HXC branded
useless unless you actually have the right scalable data.
4D cinemas aim for a true multisensory adventure and the company is
You can’t learn from datasets unless they are significant
addressing the challenge of the motion profile, creating an advanced
and you understand what you can achieve with them.
motion profile that embodies the film, rather than alluding to it
Both Holovis and Extended Cinema are launching a specific range of products that are experience-driven,
1 Adjustable footrest
harnessing the data and analytics that we are collecting
2 Moveable armrests
for mass venue environments. A lot of our work is around
3 Ergonomic seat profiling for the best SFX experience
how we collect that data compliantly, how we manage it from a security point of view and how we do that in a way that doesn’t affect the guest in a negative way.
4 Ripple and poke 5 In-seat transducers, airbags and vibration technology 6 In-seat neck stimulators
And who’s at the helm of Extended Cinema? We’ve recruited Heather Blair as our VP. Her career spans three decades in the entertainment industry, holding senior positions in publishing, sales and marketing. She
7 Holovis Hi-Finity in-seat stereo Audio 8 Wipeclean material for faster show turnarounds 9 3D DF Motion: pitch, yaw, roll and sway
knows the market well — prior to joining Holovis, Heather focused on developing opportunities in the interactive technology and motion theatre market, working with studios to procure titles to be programmed for 4D, then with chains to bring them to life as a premium offering. Hayley Kenney’s our business development engineer. She been working at Holovis for over three years and is running the product design and development side of things, drawing on the expertise of the Holovis team. Importantly, we don’t divisionalise our workforce. We have one generic team — be it our designers, our install engineers, our creative team, we don’t divide them up. We are excited about the venture. Heather’s passion for cinema is infectious and her creativity knows no bounds. We’re confident this will be a great partnership.
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Experiential design on fire Even the most iconic of theme park attractions, the rollercoaster, has had an experiential makeover. Wicker Man at Alton Towers launched in 2018 and is the UK’s most immersive coaster, combining technology and storytelling in new ways. Holovis technology puts guests at the heart of the narrative as soon as they enter the queue. A dynamic soundscape is specially designed to evolve at the pace of the queue flow. This tells the story through subtle audio changes, narrative voiceover and key messaging, so no matter how long or short the queue, the narrative is communicated with guests, helping to build the drama.
What’s hiding in your data? A key element in enhancing guest experiences is personalisation. Using invisible frictionless tracking technologies,
exact
profiles
showing
guest
behaviour can be devised to understand better how they move around the cinema, engage with marketing and advertising content and make purchase decisions. This can be extended to the theatre itself to measure physical, emotional and intellectual responses to advertising and throughout the
film.
Conceivably,
customised
pre-shows
can enrich the experience and
improve
customer
retention. Operators can integrate their traditional customer
insights
with
this customer behaviour sensing, sharing it with brands and advertisers to tailor content and inform
Making guests the star of their own show
campaigns, ensuring they really hit the mark.
“Justice League: A Call For Heroes” is a new walk-through attraction that has broken the mould for the Madame Tussauds’ brand in Orlando and Sydney. For the first time, guests star in the attraction alongside the wax superheroes, bringing their powers to life through interactive sequences using combinations of projection mapping, enhanced audio and SFX. These include Wonder Woman; where guests strike her iconic pose alongside her to activate her power gauntlets and create an explosion; Superman, where guests need to use his strength to lift a helicopter alongside a dynamic, articulated Madame Tussauds figure; and Batman, where guests must fire a Bat Signal to reveal the formidable figure through billowing smoke and wind. Holovis has been responsible for the technology in the attraction and focused on keeping it imperceptible. To make it as natural as possible for guests to interact with the superheroes, the company ensured all motion-based tasks were things guests are naturally compelled to do, such as strike Wonder Woman’s pose or grab Aquaman’s trident. www.cinematech.today
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C I N E M A
4 K
Investing in 4K today to stay relevant tomorrow 4K television, 4K phones, 4K streaming… the buying public is pretty familiar with the concept of increased resolution. Enrico Ferrari, regional sales head South and East Europe at Sony Digital Cinema 4K, explains why the cinema industry now needs to outpace technological evolution to retain its “ultimate viewing experience” reputation.
F
ROM THE DEVELOPMENT of the first
that ushered in this new era were a mix of oddities —
films in the late 1890s, through to the
including 1998’s “The Last Broadcast”, a “Blair Witch”-esque
introduction of colour film, digital
found-footage horror flick. A year later though, “Star Wars
projectors and 3D technologies, our
Episode I: The Phantom Menace” was shown on a DLP
sector has often been ahead of the
projector and the technology was quickly seen as the future.
curve. In fact, compared to television
broadcasters, the cinema industry had a near two-decade
Refining and defining 4K
lead on providing colour content to viewers. More recently,
As one technology enters the market,
we’ve been slower in transitioning from analogue to digital,
its replacement is hot on its heels. In
while innovations in consumer technologies accelerated. If
this respect, 4K projection made its
cinemas wish to retain a reputation as the home of the
first commercial debut in 2003, just as
ultimate viewing experience — against competition from
cinemas were starting to convert to
streaming services and UHD smart TVs — returning the focus
the first wave of 2K projectors. Eight
to new technological innovations is essential.
years on and 4K entered the cinema
Dawning of a digital age
“We’re living in the age of 4K. Adoption in the home ent market has been rapid — today 4K is commonplace”
market with force — and began to appear in home televisions at a similar time. Cinema had comfortably led television on
In the second half of the 20th century the film industry
almost all advances in image quality previously, but as the
faced the challenge of determining how to streamline film
4K era dawned, that gap was closing dramatically.
distribution while maintaining — and boosting — the quality
Despite the advent of 8K, today we’re living in the age of
of the images it could project. It was not until the 1990s,
4K. Adoption in the home entertainment market has
when the first Digital Light Processing (DLP) projector was
accelerated (in some cases faster than the move from
publicly demonstrated, that the industry began to move
standard definition to high definition) to the extent that 4K
into the digital age. When, in 1998 the first feature films were
is now a staple of the modern consumer’s technological
entirely shot, edited and distributed digitally in cinemas in
arsenal. Today, 4K resolution is commonplace in consumer
the US, the technology was by no means mainstream. Films
televisions, in games consoles, and even in our smartphones.
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cinematic innovation and consumer demand. By arming
Selling the benefits of 4K
themselves with 4K, HDR-capable projection technologies, exhibitors will be set for years ahead. With many operators coming to the end of VPF deals made at the start of the digital transition, the timing is right, too. There are options to
A 4K image on a cinema screen contains 4096 × 2160
suit any theatre’s needs — whether that’s a super-size 26m
pixels. That level of detail means pixilation is a thing of
screen or a more intimate and cosy local art-house site.
the past. Audiences can see the difference — especially
As cinema operators will appreciate, laser projectors are
when combined with technology such as HDR. Polling
currently leading the Premium Large Format market for 4K
conducted by Sony suggests that 81% of viewers
thanks to improved contrast ratios (such as on the Sony SRX-
prioritise 4K screenings over other formats (Sony
R815DS which has a contrast ratio of 10,000:1), brightness
audience poll, Nov-Dec 2017). But not all 4K screens are
levels and HDR abilities. Such dual-projector set-ups are the
created equal, however. While the 4K image on a cinema
leading solution for the biggest PLF screens in large cinemas
screen and a television screen may have a similar
looking to wow. But smaller cinemas don’t need to feel
(though not identical) number of pixels, that doesn’t
short-changed. Lamp projectors offer reliable operation,
mean equivalent detail — cinema servers use a higher
simple maintenance and low running costs and are able to
bandwidth. For example, a Blu-ray film might be
deliver true 4K images on a smaller scale. Such systems
encoded at 48Mbit/s while digital cinema can be
provide lower cost light sources and easy lamp replacement.
encoded at 10x that, at 500Mbit/s. Cinema has greater
Models such as Sony’s SRX-R515P use six High Pressure
detail in each pixel per frame — making for a more
Mercury (HPM) lamps that provide fantastic brightness as
impressive image, a point not always conveyed to
well as peace of mind: if one lamp goes the system operates
audiences by the simple addition of a “4K” tag.
with the remaining lamps, reducing the risk of lost shows.
Image quality aside, 4K offers greater flexibility and
335m
10,000:1
Projected number of homes worldwide that will have access to 4K by 2020
Sony’s SRX-R815DS’s contrast ratio
revenue opportunities especially when you add content
What comes after 4K… 8K?
including 4K live for theatre, music, sport, opera and
It would be naïve to think that 4K marks the end of the
gaming. Today’s raft of 4K projectors are energy-efficient
journey into improving the movie magic. Laser projection
and reliable and higher-end PLF dual projectors (such as
will continue to grow in popularity, and screen technology is
those supported by Sony’s FINITY branding) come with
evolving. Down the line we will see increasing diversification
marketing materials to help educate audiences.
of the projection systems used in the cinema — Crystal LED, for example, provides incredible colour reproduction, and near 180-degree viewing angles. As the PLF sector grows, new forms of screen technology such as this will become a
Research from IHS Markit’s 4K household forecast
further option for those looking to offer the largest, most
expects the number of households with a 4K TV to grow to
immersive system. And in the future, such screens will be
335 million in 2020. In the UK, around one in five households
able to scale to resolutions beyond today’s 4K systems.
is thought to own a 4K television — a figure that is growing
Beyond the image, we can expect to see experimentation
rapidly. As appetite for 4K on the small screen gathers pace,
with other technologies such as peripheral screens to the sie
and with more titles captured, distributed and promoted in
of the main screen, and 4D experiences. These provide a
this format, it is now for cinemas to capitalise on demand for
twist on the classic cinema experience, but the defining
4K on the big screen, too. Many exhibitors have been treating
factor for the future of cinema will remain the improvements
audiences to the best 4K pictures for a number of years,
in image. Ultimately, one of the most rewarding reasons to
nevertheless currently only around one-third of cinemas in
work in the industry is to be a part of its evolution. Cinema
the UK is 4K capable. To keep the crown as the ultimate
itself has been the home of innovation in imagery since the
movie-watching destination, cinemas should not ignore the
moving image sector began — it would be a shame if it loses
power of 4K in future-proofing their business.
the title to television. To avoid this, theatres must not lose
The theatre owner’s guide to 4K today
sight of the importance of remaining at the cutting-edge. We know that the next era of film-making, distribution and
With the impending introduction of 5G streaming and rising
viewing will be more competitive but also more exciting,
internet speeds, as well as major leaps forward in large-scale
than ever before. Theatre owners should channel the spirit
4K broadcasting, 4K resolution and High Dynamic Range
of technological innovation of the past to remain pioneers at
technology, image quality is set to define the next era of
the forefront of the cinematic revolution in the future.
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I N T E R V I E W
Elevating popcorn to an artform For Adam Sopher and his family, popcorn is a serious business — and their Joe & Seph products are having a radical impact in the F&B stands, too. Words: Melissa Cogavin
Fact File
I
N THE UK, IT’S EASY to forget that
captured the popcorn zeitgeist and what the cinema
developments in cuisine over the past
business can learn from his experiences.
two decades have been little short of
With the sage words of Donald Rumsfeld ringing in my
seismic. London is now a world-class
ears, I asked Adam to clarify the known knowns, and the
destination for the most discerning of
known unknowns about his journey with popcorn. Initially, I
foodies, littered, as it is, with top chefs
was interested to hear about the personal and technical
and director,
and Michelin stars. One might reasonably assume that the
journey that led from that first breakthrough inexorably to
Joe & Seph’s
trickle-down effect of satisfying this burgeoning appetite
the creation of astonishing flavours like Gin & Tonic popcorn.
Adam Sopher, co-founder
for upmarket nourishment might have influenced cinemas
“We pop them using hot air,” Adam explained
Founded by his
in a similar way. Certainly we are seeing in-cinema dining as
profoundly, adding that popcorn is most often fried in hot
father in 2010,
a regular occurrence in many auditoria, specially adapted to
oil, and that hot air process leaves no taint of oil in the
Adam joined Joe
include side tables for your antipasti and pizza and bottle
product. Why reinvent the wheel, I wondered? “The reason
& Seph’s early on
holders for your chilled prosecco, unthinkable a decade
this works is that inside the kernel is a bit of moisture. If you
in 2011 — the
ago. Though the challenges of eating in the dark, with your
blast the kernel with enough hot air it pops by itself; there’s
company now
fingers, in reclining seats means there are limitations to the
no oil or butter in the product which is a lot healthier.” Is this
offers more than
chef’s creativity, standards have been set and expectations
a patented process that Joe & Seph’s invented? “Not our
50 flavours and
higher than ever. The customer expects to be well fed now.
invention, but it’s a process used a lot in the US. In the UK,
has won more than 40 Great
Poshing up the pick’n’mix?
Taste awards.
Despite pizza and antipasti offerings in boutique cinemas, we haven’t seen a revolution to the same extent in the traditional offerings in the multiplex; nachos, hotdogs, pick ‘n’ mix remain the staples devoured every weekend. It is perhaps a matter of time before Rollover is forced to produce a vegan
it’s cheaper and easier to fry it first, then spray with water, which contains seasoning. We weren’t
“Joe & Seph’s has tapped into the same market event cinema identified — the affluent middle class on a night out”
hot dog, such are the times we live in.
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with air popping, is that you get much bigger pieces of corn. No bits come off which is what tends to happen in the frying process, so there is less wastage. “Cheese is the base of all our flavours, which is turned to either a liquid or caramel. Nobody else is doing
that and it means that you get a totally different taste to
Popcorn, however, has experienced something of a
other popcorn. All of this is done because we want to make
renaissance and the appetite for this simple — and ancient
it more of a premium product, more interesting, and we do
— snack (remnants of popped corn have been found in
that by introducing a constantly evolving variety of flavours.”
Mexico dating to 3600BC) seems larger than ever. The snack
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keen on that method, and the bonus
boomed during the Great Depression and was reinvented
The magic lightbulb moment…
during the Great Recession of the 2000s. One big success
How did the family’s pursuit of popcorn perfection come
story in this area is Joe & Seph’s, a family-run company
about? Lightbulb moments like these are once in a lifetime.
based in West London. I met with Adam Sopher, co-founder
“We are known as these popcorn aficionados now, but
and director to understand how his family has so effectively
before this happened Dad ran an electrical wholesale www.cinematech.today
business and I used to work in the head office of electrical retailers Dixons. We all love food in our family. Dad was travelling to an exhibition in the US and brought back some American popcorn with him and we all loved it. It was nothing special, cheese or caramel flavour, but the quality was so much better, it was handmade, delicious. He
Key to the brand’s success has been its premium positioning in a market previously measured by the bucketload
brought more and more back every time he went back to the US. The fifth year he brought back his entire 23kg luggage allowance of popcorn.” That was 15 years ago when the popcorn market in the UK was — forgive the pun — stale. “We looked around” Adam continued, “and nobody was doing anything like what we had seen in the US, so when Dad retired, we just went for it.” Fast forward to 2019 and Joe & Seph’s has received 41 Great Taste Awards, the foodie equivalent of the Oscars, so
cinema and the many other new F&B offerings that are now
it is fair to say that Adam and his family have reinvented
available. It has transformed cinemas and the whole
popcorn in the UK to extraordinary acclaim — and it’s
experience, which badly needed some attention. Popcorn
remained a family business. “Dad does production and
is big business these days, but there are few real competitors
finance, I’m responsible for sales, Mum does operations and
in the cinema space. What sets Joe & Seph’s apart? As is
payroll and my brother handles the export business.”
almost always the case with a success story, it comes down
Buying-in to affordable indulgence
to perfect timing. Adam agreed, “When we launched the company, affordable indulgence was key. We were living in
Joe & Seph’s has tapped into the same market that event
a recession environment, cinema was a treat at that time,
cinema identified about 13 years ago; the affluent middle
popcorn like ours is a treat.” It’s well-known that despite the
classes who have money to spend on a night out at the
worst recession in 80 years, cinema attendance in the UK
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The secret’s in the flavour — and in the case of Joe & Seph’s that could be just about anything you can think of. Caramel macchiato and whisky popcorn, anyone?
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I N T E R V I E W
Adam on... the theory behind the flavour As a technology title, readers may
sugar and for the daring, salt-and-
expect projectors deconstructed
sugar flavours, Joe & Seph’s has
and examined, but perhaps not the
reinvented the snack completely.
inner workings of popcorn. What of
How do they come up with all these
the methodology behind flavour?
flavours? Adam laughed. “Usually it
the cinema market, Adam explained,
“This is called ‘food sequencing’
starts with Dad rummaging in the
but there has been a positioning war with other popcorn
and basically there are a few bits to
kitchen at home at 3am. We come
suppliers, who occupy the retail market, the kind of popcorn
this,” said Adam, “People don’t like
in at a more sensible hour and find
to have with your lunch, for example.
remained constant; people may not have been booking holidays but they still went to the movies. They have no real competitors in
A family affair — the driving forces behind the Joe & Seph’s popcorn
eating food and getting everything
samples on our desks. The flavours
“Our space is different. It’s not easy, it’s difficult to make
at the same time. We want flavours
to start with were all down to his
the product the way we make it,” Adam went on. “We’ve
one by one. For example, caramel,
palate. More recently we have got
done a lot of work with cinemas on this. We have produced
pepper and chili flavour popcorn
to a point where people are offering
a lot of data analysis and our findings demonstrate to
contains those three but you get
their products for us to try. Marmite
cinemas that they will make extra revenue on special items
them in the order of caramel first,
flavour is divisive, of course, but it’s
like luxury popcorn.“
then pepper, and finally chili. How
going down well. We’ve also just
it’s done is a trade secret I’m afraid,
created the world’s first alcoholic
but it’s less about the equipment
popcorn for a bar in London which
Joe & Seph’s enterprising instincts don’t stop at a rainbow of
and more about the timings, the
wanted us to do something fun for
flavours, they also offer advent calendars, dipping sauces,
processes and the temperatures.”
the summer. It’s a gin bar and they
Marketing support, too
subscription services, online ordering, export to 18 territories
The flavour choice has grown to
asked if we could make it work in
and so on. I admitted to Adam I couldn’t think of another
a mouth-watering number: Pina
popcorn. Dad found a bottle of gin
company that has diversified so well given the static nature
Colada, Cheese on Toast, Truffle Oil
in the kitchen and spent the
of popcorn as a product. What’s next on the horizon?
and Orange Marmalade being just
afternoon working on it.” Is there a
Adam wouldn’t be drawn on specifics but he hinted
a few. How is the selection made for
strategy to it? “We do a lot of shows
that 2019 contained new products, new flavours and lots of
cinemas? Is it based on a few key
and we sample food at exhibitions,
new initiatives. “It’s really exciting and we will continue to
flavours? “We tend to offer some
that’s a good way to test the market.
grow our brand into other spaces.”
best sellers that we know will do
We’ve done focus groups too, but
For Adam and his hard-working family, their kernel of
well,” exlained Adam, “and we will
the thing that really influences a
an idea really has exploded into a booming popcorn
work with exhibitors over time to
flavour is whether people will part
empire, with a multitude of flavours appealing to everybody,
expand the selection.” From salt,
with money for it.”
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PROJECTION
A cinematic rhapsody
in Bohemia
Featured in the September 2018 issue, the Centrum Panorama in the Czech Republic, is a temple to the big screen. Mark Lyndon MBKS interviews Pavel Nejtek, the driving force behind its renaissance.
T
HE CENTRUM PANORAMA in the
I was at primary school — I still own it to this day. Having
heart of Bohemia is where you will
completed my basic education, I continued by specialising
find Pavel Nejtek. Dubbed locally the
in electronics and focussing on cinema technology. When I
“The Magnificent Showman”, he is the
was 20 years old, I began my collection of examples of
mastermind behind a cinema that
cinema technology. Parts of this collection are housed in the
champions giant screen 70mm film
Centrum Panorama building. Although that was my passion,
exhibition. Interviewed through his interpreter, Martin
my main job was in Czech television as an engineer of film
Sinkmajer, Mr Nejtek explains how his passion for the big
production. My dedication to cinema technology never
screen and its cultural heritage have developed over the
wavered though and I kept up my contacts in the area.
years. His model is a lesson for exhibitors around the world.
The 550-seat auditorium sees 70mm fans flocking to catch classics up on screen once more
In the 1990s, I relaunched my father’s company and began producing neon advertising. This happened when he
Mark Lyndon: This complex would not be here without the
was still present to witness the company’s renaissance — I
backing of your successful business, which pioneered neon
was obliged to suspend my passion for cinema technology
light advertising in Europe. How did that company begin?
in order to rebuild the neon business. At the end of the last,
Pavel Nejtek: My father established the neon lighting
and the beginning of this century, I was sorely missing my
advertising business in 1936. We don’t know exactly how
first love though, so I made a life-changing decision and
many companies were involved in neon lighting at that time
started thinking seriously about renewing my interest.
but my father was certainly one of the pioneers in the sector.
At that time, I came across this extraordinary building that housed an original cinema. The building fitted perfectly
ML: That developed into a company which subsequently
with my philosophy and my next plan — to restore it to its
took over the Centrum Panorama building in Varnsdorf, on
former glory. Originally, it was a 70mm panoramic film
the Czech/German border. What was the sequence of events
theatre with capacity for 550 seats, and it first opened in
that led to its acquisition and restoration from dereliction?
1971. When I found it, it was in bad shape and had a leaking
PN: Since my childhood, cinematography and cinema
roof with water seeping into the building. Although it was
technology fascinated me. I owned my first projector when
derelict, I decided to buy it and take on a full restoration. I
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screenings since 2008, but there was a further issue — I decided to open a fully licensed restaurant in the complex and applying for a licence was not easy. It was clear from the start that operating a cinema alone would not make it a going concern. It had to be a cinema plus restaurant to be viable. The restaurant subsidises the cinema, which attracts clientele. A cinema alone couldn’t make a profit here. The year 2010 was a great one — transfer of ownership was completed and we acquired the second part of the existing complex, originally a hotel with a dance hall. The restaurant had not been an original part of the complex but it now occupies the original foyer of the cinema. The area above that was the hotel and ballroom. To begin with, the building was in such a state we had to construct an all-new roof — and wait for better times to continue the restoration. ML: You clearly see this as a cultural site to be preserved? PN: Exactly. The Centrum Panorama is still undergoing renovation and as part of that development, we have recently installed an impressive screen from Harkness. Now visitors will see panoramic films on a 135m2 curved screen which has a chord, or depth, of 1.8m. Before that we updated the optical system of our projectors featuring an upgraded high-fidelity cinema sound system, especially for magnetic sources of sound. This allowed for interoperability between contacted the owner, with a determination to preserve the 70mm technology and heritage it featured and to save the site from bankruptcy and destruction. I proposed that the entire complex and the equipment it contained should be
With a collection to outclass the Cinematheque Francaise, the cinema is a magnet for lovers of all things film
original and new digital cinema projectors. ML: And you have a world-class collection of rare and vintage projectors that outclasses the Cinematheque Francaise, too? PN: We do. The next step in our development philosophy
transferred to my ownership. Adapting and adopting my
will be to install an outdoor cinema for the summer season
experience in the neon business and having analysed and
on newly acquired land adjoining this site. Ideally, we would
assessed the installation, I formulated a business plan and
hope to feature 70mm projection for our outdoor shows.
drew up a budget for a complete restoration and the whole
enterprise was supported by the Elektroneon company.
ML: So, a lot in the offing. What hopes for the future?
I was deeply into in neon signs at the time and one of my
PN: There is space here to develop a museum of cinema
most important clients was Tesco supermarkets in Great
technology and to revive one of the functions of this building
Britain. I had won an exclusive contract with them and I fought hard to manage the neon business at the same time as supervising the restoration of the cinema. It finally opened under the aegis of Elektroneon, but initially kept its original name of Cinema Panorama. To emphasize added services
Bohemia’s greatest showman Pavel Nejtek, whose passion has seen Centrum Panorama thrive once more
as a hotel. It is a longer-term aspiration — finance is never easy. The original intention was to establish financial stability and a foundation for a viable enterprise — but bear in mind none of this would be possible if the key purpose had been anything other than conservation of an important cinema.
such as a pizzeria and a restaurant, the current name was adopted: “Centrum Panorama”. The paramount factor in the decision to acquire the Centrum Panorama was a strong desire and curatorial ambition to revive and celebrate 70mm film technology. Because of the enormous structural problems of this building, we were obliged to postpone the project, but I was determined from the outset to achieve the goal and to see the project through. The cinema has been open since 2005, with 70mm www.cinematech.today
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L U X U R Y
The hotel cinema:
A boutique destination
I
F EVER THERE WAS A demonstration
old court houses into hotels — one in London’s West End,
of how the exhibition, hospitality and
Marlborough Street, the other in Old Street, Shoreditch.
catering industries are blending, then
Both have superb cinemas, with Old Street Courthouse
it would be the arrival of cinemas in
Hotel having one of the biggest private cinemas in London.
hotels. Examples, such as Curzons,
The screening room has stadium seating for an audience of
Everymans and boutique cinemas,
196 and is equipped with professional 35mm and video/
are often situated in town and city centres which have a
digital projection systems. It can accommodate recorded
different footfall dynamic to the out of town multiplex.
formats ranging from almost all video formats to current or
A cinema with full professional projection, sound and
pre-release 35mm. Dolby 7.1 incorporating JBL surround
audio visual facilities is an asset for any well-located hotel. It
speakers and high-powered Crown stage units provide the
can raise income for the hotel in business meeting, events,
sound system, with full “surround EX” capability. Reception
conference and private hire income streams and is an
facilities are in place for live or recorded events, and obviously
added attraction for residents, driving up income from
there is video conferencing available.
guests staying and dining in. Hotel cinema also provides the
Across the Atlantic, Firmdale’s New York hotel, the
prospect of income from non-residents who use the bar and
Whitby, similarly has a professional-grade cinema that seats
restaurant facilities. Many hotels offer a meal, a drink and a
130 in a 302m2 space and with a screen size of 9x3.5m. On
movie in an attractively priced package. In an era when the
the vision side it uses a Christie CP4220 DLP 4K DCinema
consumer is interested in spending on experiences rather
Projector with a Dolby DSS200 digital cinema server and
than things, a visit to a smart hotel with a luxurious cinema
Xpand 3D cinema system. Sound is delivered by a Dolby
is undoubtedly an intriguing option.
Atmos cinema processor CP850, QSC audio amplifiers, JBL
International growth in hotel cinemas
speakers and JBL subwoofers. Again, additional conferencing facilities involve multi-format video playback, microphone
The Charlotte Street hotel, one of the Firmdale group’s luxury destinations with a screening room
Patrick von Sychowski investigates the trend on p38, but there are two hotel groups in particular that have pioneered this shift, Courthouse Hotels and Firmdale Hotels. Madeleine Phillips, at the Firmdale Group, told me that the group does not have a centralised policy for programming, pricing and promotion of its cinema activities. The hospitality teams in each hotel has complete autonomy in how they program, price and promote. Effectively each hotel runs its own independent boutique cinema — which does not follow the more centralised approach of many chains. As the name suggest, Courthouse has converted two 7 8
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www.cinematech.today
Savoy Systems
In the last issue, Mark Trompeteler, asked to what extent parts of cinema exhibition have actually made the move across to being an element of the hospitality and catering industries. In a follow-up, he flips that on its head on uncovers how many hospitality and catering establishments are now installing cinemas of their own with a view to offering the public a night out, and an experience in direct competition with that you can find in the cinema.
Cinema Box Office Software Specialists for Independents 100+ Independent venues in the UK are using our software, Oscar We’re based in the UK, and so is our 24/7 telephone support
sound mixing and video conferencing and live streaming. Many readers will be aware of South London’s Future Projections, fully integrated designers, installers, suppliers
We’ve been supporting independent cinemas for over 10 years
and service providers who offer a turnkey cinema service. They have project managed and installed facilities for both Courthouse and Firmdale and they provide service support.
Mobile-responsive online booking ensures you don’t miss out on customers
A sense of occasion, but which industry? Much has been written about event cinema, rooftop cinema,
Choose between Cloud-based or Server on-site, with access from anywhere
live orchestrated cinema and so on. All are connected to the fundamental concept of boutique cinema and fine food, mass chain luxury cinema and hotel cinema. What do they all strive to do? They all drive at one goal — to give the guest
20 million tickets sold, and counting
a sense of occasion beyond the run-of-the mill. When all their resources are biased very significantly towards the components of the night out rather than the presentation of the film itself, then surely we can say that parts of exhibition are moving definitely to the hospitality and catering sectors.
A good night’s sleep? Many regenerated urban areas make the appeal of a cinema in a centrally located hotel attractive. Hotel cinemas are almost always open to residents and non-residents alike. Such hotel cinemas offer an excellent auditorium but with levels of dining and service that exceed the majority of cinemas. A hotel offers a good night’s sleep too — even the most comfortable of recliners
and
sympathetic
of
match that!
www.cinematech.today
cinema
managers
can’t
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A W A R D S
A W A R D S Hosted by film-critic Mark Kermode, the “last projectionist standing”, Dave Norris, and actor Jason Isaacs, the CTC 2018 awards recognised those that drive excellence in movie-going. Photos by Julie Edwards
The CTC Awards 2018
D
ESPITE
THE
EXPECTATIONS
Dave Hodgkinson receives his award Critic and actor centre stage, below
of
many and the perceived threat of VOD, the past year was an astonishing one for cinema in terms of box office
Screen of the Year Nordisk Colosseum Oslo
admissions and revenue and, despite
industry-wide consolidation, the movie business continues
CTC’s 2018 screen of the year
to innovate, aiming for an immersive experience with
has brought the magic of the
technology at its heart,” explained Richard Mitchell, the
movies to filmgoers in Norway
president of CTC (Cinema Technology
for almost 100 years. Inside a
Community), at the independent notfor-profit trade organisation’s annual
Technology of the Year
awards, hostd at Universal’s London
Barco/Cinionic Light Steering Projection
headquarters last December. “Our awards recognise organisations and individuals that create outstanding experiences which put movie-goers to the fore,” added Richard, “and on behalf of our directors, governors, advisory council and members, we congratulate our award recipients.”
40m diameter dome with a 28m-high roof, is Scandinavia’s largest single auditorium. The Colosseum has evolved since
Technology continues to flow in to the cinema
it opened in 1921 and in 2016
space and over the past two years, we have seen
owners Nordisk refurbished
the slow but steady adoption and to some degree,
the entire space, from wall
acceptance from within of LED screen technology.
coverings and seats to Barco
Some were very quick to proclaim the death of
Flagship RGB Laser Projection
projection, however, in 2018 one technology made
and a RealD Ultimate screen,
the industry stop and think about whether there
it is one of the most eye-
may well be a new take on one of the most magical
catching
cinemas
in
the
elements of the movie experience — the projected image. Despite not yet being available
world. And Nordisk know how
commercially, Cinionic’s Light Steering Projection has already gained much recognition
to wow audiences: a unique
including recently receiving the Advanced Imaging Society’s prestigious Lumière award.
pre-show sees 12 phosphor
Cinionic’s prototype light steering projection technology works by taking light from darker
laser projectors displaying a
areas on the screen and repurposing the light to brighter areas increasing contrast and thus
three-minute light and sound
creating a form of HDR. This exciting new technology is one to watch in 2019.
show on to the domed roof.
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www.cinematech.today
Jason Isaacs outlined his belief in the significance of the big screen
Compere Patrick von Sychowski kept it lively
Cinema Team of the Year
Outstanding Achievement Award
Watershed Bristol
David Williams
The recipients of the CTC’s 2018 team of the year is
In cinema circles, the words ‘dynasty’ and ‘Williams’ go hand in hand.
dedicated to providing an incredible experience
Before David was born, his father and grandfather, with the Chapman
from the moment the movie-goer enters. A
family, bought the Capitol Theatre St Austell in 1945. Some 20 years later,
welcoming destination for cultural, creative, social
in 1966, David joined WTW Cinemas straight from school, as a trainee
and business visitors alike, the Watershed team has
projectionist. He rose to managing director. When he joined, WTW had
worked tirelessly to create engaging, vibrant and
cinemas in St Austell and Padstow, with The Regal in Wadebridge
welcoming spaces that are accessible to all and a
coming soon after. Under his management, the company acquired sites
cinema space where technical excellence in movie
around the south-west. David’s knowledge of the area and understanding
presentation is shown at all times.
of what his customers want led to long-term success, with many ‘firsts’ for Cornwall including the first triple screen in 1981 and the first fivescreen in 1991. The current portfolio includes The Lighthouse in Newquay,
Lifetime Achievement Award
the Plaza in Truro, The White River in St Austell and The Regal in
David Hodgkinson (Universal Pictures International)
Wadebridge. WTW acquired the closed Plaza in Truro in 1997 from the receivers and rebuilt it as a
The CTC presented its 2018 lifetime achievement award to one of the industry’s unsung
four-screen. David’s sons Mark
heroes: David Hodgkinson. Dave started in the film world in 1980 as a runner for Edit 142
and Robert both play major roles
and, nearly 30 years later, had risen to the role of head of international tech ops, at Universal
in the business. In the 2013 New
Pictures International, a position he still holds as senior VP for theatrical operations. He is
Years Honours list David was
also the man behind the annual Universal golf day which raises thousands for children’s
awarded an MBE for his services
charities. Known for his no-nonsense approach, this attitude has won the respect of the many directors, producers, editors and post-production teams he has worked with. www.cinematech.today
to cinema-going in Cornwall.
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B I G
D A T A
Don’t just gather your data in...
After the data harvest? Insight. Danny Jeremiah, the head of cinema products at Arts Alliance Media, argues that, with data, harvesting it is fine, but the real goal is to refine it and extract its value.
Insights like that are worth more than raw data, in the same way gold is worth more than the gravel it came from. The conclusion is clear: don’t sell the data, sell the insights. There is a circular problem: your data is only as valuable
PINION ARTICLES BY the dozen have
as the insight it provides, but the quality of your insight
been written, mine included, extolling
depends on the quality of the data. So how do you improve
the virtue of big data to the cinema
the data and increase the value of the insight? In some cases,
industry. We argued that cinemas
it might mean combining data sources with other parties for
were in a prime position to gather
more meaningful analysis, in exchange for mutual benefit. In
customer data, and that building
others, it might mean conducting analysis internally so you
audience profiles would offer new and improved revenue opportunities, as well as operational efficiencies. Exhibitors around the world have taken encouraging
Exhibitors and studios
By now, exhibitors should know who is in their cinema, what
and investing in data visualisation technology to try to tap
they’re seeing, what they’re buying, and what they might be
into this valuable resource. The cinema industry has heeded
interested in coming back to see. Beyond that, all exhibitors
the lessons about the necessity of gathering data taught, if
should understand why they should gather this data. For
not by the writers of spirited op-eds, then by other businesses.
example, they could use it to optimise schedules to attract
What we haven’t argued as effectively is that data is only raw
families in the day, and students on a Thursday night. They
material that needs refining before cinemas and industry
could tweak pricing to maximise revenue at peak times, or
partners can extract its real value.
invest in new technology or amenities that perform well with
The allure of data isn’t in hoarding the largest database. It
their key demographics elsewhere. Data analysis informs
has always been about what insights you can extract and
these business decisions and improves the likelihood they
apply to gain an advantage. While raw data can tell you how
will succeed, but the resulting improvements are self-
many people bought tickets to a screening, analysis might
contained. Exhibition is only one part of cinema’s ecosystem,
reveal some sites attract a disproportionate number of
and though there are clear behavioural changes exhibitors
students, but only one of them is convincing them to spend
can make based on their own data, its scope is limited.
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of those at the opening weekend of “The Grinch” were 18-24, partly down to localised marketing
can start selling insights directly rather than the data itself.
steps, setting up loyalty schemes and subscription models,
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18%
46%
O
money on concessions. What’s different about that site?
In 2018, the global spend on programmatic ads rose by 46% to $84billion — yet ad buying for cinema is mostly manual
www.cinematech.today
Boosting box office Now compare that to what can be achieved when exhibitors pool data and share it with studios. In December at CineAsia, Kurt Rieder, executive VP of theatrical distribution at 20th
Why share your trailer data...?
Century Fox used his “state of the industry” address to provide examples of just that. He described how insights his studio
As a rule, outside North America, exhibitors don’t tend to share details of
gained from data exhibitors shared with them allowed him
which trailers they play before which films. In the past, resistance was
to produce bespoke marketing campaigns for them. He
probably linked to manual efforts required, though there are stories of
acknowledged there was little appetite to purchase that
studio staff attending screenings with notepads. Today, however, this
data, but that the marketing plans represented something
shouldn’t be a concern. There are solutions that pull logs and playback
altogether more valuable — a competitive advantage for the
reports in near real-time via reliable APIs. It’s reasonable to think, “it’s my
exhibitors that took part, and a boost in box office takings.
information — if they want it they can pay for it”, but that discounts the
Imagine if every movie had a marketing strategy as
value of the mutual benefits of sharing the information. Sharing that 35-50
tailored as “The Grinch”, which faced challenges as both a
year old women made up 30% of the people that registered their interest in
Christmas movie released in November and an animated
an upcoming feature after seeing the trailer gives studios a huge advantage
remake, and yet grossed over $506m worldwide. Some 18%
in positioning the rest of their marketing efforts. The goal here is to
of ticket buyers on opening weekend were in the coveted
encourage an overall increase in cinema visitors, and coaxing them away
18-24 bracket. This success was attributed in no small part to
from alternative ways of spending their time and money. Ultimately, sharing
hyper-localised marketing, which saw the Grinch character
data benefits the industry as a whole, not just one party.
make relatable snarky comments on billboards worldwide.
Exhibitors and advertisers
“There are media plans out there with no TV on them, so
Big brands are tending towards automated solutions that
there’s pressure to take some of that money back from the
give flexibility and control over who sees their ads. The speed
alternative online channels that money is going toward.”
and accuracy with which they can place ads in front of target
As digital organisations, cinemas could be exploring the
audiences, and get feedback from them using programmatic
ability to offer programmatic ad inventory by collaborating
technology, is unmatched by any other type of advertising.
with screen advertising companies or software providers.
Accessing eyeballs is big business, with many online ads
This wouldn’t be a simple transaction between exhibitors
being bid on automatically up to the millisecond before they
with data and advertisers who want it, but a collaboration to
load in front of the consumer. The economics are simple; the
increase ad revenue and performance. Growing evidence
value of that ad inventory is being pushed higher and higher
shows consumers prefer to see relevant ads. Not only will you
because brands are increasing demand for efficient, targeted
raise the value of your screen-time, and build relationships
ad opportunities. In 2018, global spend on programmatic
with advertisers, you improve your customer experience.
advertising rose by 46% to $84.09 billion, yet the majority of
Data has always been part of our world, the difference is
ad buying for cinema is still handled manually. While that is
that automated solutions can now aggregate, analyse, and
so, exhibitors won’t see any of that money. The TV sector is
distribute it in ways that improve its quality, produce more
facing the same problem — and it’s hitting their bottom line.
valuable insights, and deliver real benefits. It’s time exhibitors
Speaking to “Digiday” last year, Graeme Hutcheson,
moved away from looking at data as primarily something
director of digital and Sky AdSmart at Sky, revealed the
they can sell, and start thinking about how they can create
thinking behind its strategy to introduce programmatic ads
actionable insights for themselves, and for the whole
to its streaming services and, eventually, live TV offerings.
industry. That’s where they’ll strike gold.
“Accessing eyeballs is big business, with many online ads being bid on up to the millisecond before they load” www.cinematech.today
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E C A
V I E W
Event cinema that pushes boundaries Music, e-sports and art were all on show at the Event Cinema Association’s recent slate day. Grainne Peat notes how such diverse content is gaining traction.
H
IGHLIGHTING THE BREADTH of the
happy winners. The full results list can be found below.
content available in the event cinema
This was the first ECA event under my leadership, and
sector, the ECA drew colleagues from
the level of attendance and enthusiasm on the day was
across
Vue
encouraging. It was a great opportunity to demonstrate the
Leicester Square, in mid-January to
Europe
to
London’s
new vision of the ECA and provided the perfect forum to
experience slate presentations from numerous distributors.
announce new board appointments: Trafalgar Releasing’s
These gave an idea of what we can look forward to
Marc Allenby and former UNIC CEO, Jan Runge — and to
throughout 2019, alongside a number of data insight
expand on our plans for the association’s annual conference.
presentations from Comscore, Powster, Showtime Analytics
Brussels is where we will be for the 2019 ECA conference
and Screen Moguls all focusing on more effective marketing
this in September. The ECA is keen to share best practice,
for event cinema. Insight discussions added an extra level to
trends and constraints with all professionals who support
the event. The collation and sharing of data around this
event cinema. Topics for discussion are already emerging
sector has never been as extensive as it is currently, and
around marketing, increasing F&B spend, ticketing, gaming
these presentations clearly demonstrated how well event
and content delivery. We’ve identified some case studies to
cinema is performing and how we (exhibitors, content
track across 2019 that we can present at the conference..
providers and vendors) can use that to profile and market to audiences better.
Box office on the up
ECA Box Office Awards Highest Performing Opera Title of 2018: Carmen: Royal Opera House — Trafalgar Releasing & More2Screen
There was certainly a great deal to celebrate and enjoy over
Highest Performing Theatre Title of 2018: King & I: Live
the course of the day. Last year was an incredibly successful
From The London Palladium – Trafalgar Releasing
and interesting one for event cinema and we can take a lot
Highest Performing Ballet Title of 2018: Swan Lake: Royal
of learnings from the past year to help grow the potential of
Opera House — Trafalgar Releasing & More2Screen
our sector. Box office figures for 2018 in UK and Ireland, for
Highest Performing Music Title of 2018: Burn The Stage the
example, finished at £41.5 million, up 19% from 2017.
Movie – Trafalgar Releasing
The day concluded with the ECA Box Office Awards,
Highly Commended Event of 2018: Cliff Richard Live: 60th
sponsored by Encompass, recognising the success of the
Anniversary Tour – CinemaLive
biggest global titles of 2018. Trafalgar Releasing, CinemaLive,
Highly Commended Event of 2018: Everybody’s Talking
More2Screen and the Royal Opera House all went away
About Jamie – More2Screen
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www.cinematech.today
To all those who have, or had, some interest in projected moving images, past and present. Perhaps you’re already connected with today’s cinema, technical or otherwise, but have an interest in vintage equipment, or you have been retired from the business so long, you would wish to revisit “the good old days”. Take heart and consider joining The Projected Picture Trust and help preserve the magic of cinema. Apart from equipment restoration, the Trust provides help and assistance to non-commercial community cinemas and museums exhibiting film related artefacts. The National Museum of Cinema Technology has perhaps, the largest collection of all types of film equipment in the U.K. The Data Archive within the museum holds over 3,000 items including technical manuals, film related documents, press cuttings etc. Membership of the P.P.T. will give you access to these amenities as well as the collections within the Trust’s regions. JOIN US TODAY by contacting either of the following addresses. e-mail: contact@ppttrust.org www.ppttrust.org The Projected Picture Trust, Dean Clough Mills, Halifax, West Yorkshire, HX3 5AX
Index to Advertisers Arts Alliance Media
24
Harkness Screens
53
Big Cine Expo
75
The Jack Roe Companies
53
Camstage
16
LTI
34
CineEurope
65
Motion Picture Solutions
28
Cinionic
14
Omnex
04
DepthQ
33
Projected Picture Trust
85
Flexound
88
Pulz
49
Future Projections
33
QSC Cinema
23
Galalite Screens
06
Savoy Systems
79
GDC
02
Sound Associates
13
Gofilex
18
Strong MDI
85
Gofilex
44
UniqueX
10
Harkness Screens
33
Ushio EMEA
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o p i n i o n Can I steal three minutes of your time? Should we be worried that film-viewers of the future are turning into undiscerning, content-ambivalent goldfish? CT’s Alastair Balmain gives the cat video a good kicking
W
hat are you watching? “YouTube.”
minutes per session. For some context, the major Studios
“Yes, but what are you watching…?”
release roughly 120 films a year — by my maths that equates
That’s a pretty regular dialogue in our
to less than 30 seconds’ worth of annual YouTube content
house between me and my two pre-
uploads. And while they are there, YouTube’s figures state
teen sons, and I’m far from unique in
that the men are primarily watching football or strategy
getting frustrated at seeing children huddled for warmth
games, while the women primarily watch beauty videos. To
around a tiny screen, but this isn’t an article about what lurks
me, that information is depressing both for the nature of the
in the dark corners of the internet. As baffling as some of the
content and from a gender stereotyping perspective.
things they watch may be, “Rugby’s stupidest brain fades”, “How to draw BB8” and “The Top 7 never before seen Britain’s
Yeah, but at least it’s not Netflix, right?
Got Talent’s most shocking moments” don’t cause me very
Apologies for dropping the N-bomb, but in pitching itself
sleepless nights. Given that the boys knockabout outdoors
deliberately in pursuit of high-quality content, most rational
as all 7 and 11 year olds should, nor is this a standard-format
people now recognise that Netflix is potentially one of the
whinge about excessive screen time. No, from a cinema
cinema’s strongest allies, encouraging as it does a high
perspective, I look at their screen habits (and those of every
degree of respect for the story-telling formats we revere. As
age group with internet access) and my immediate thought
a fan of digital photography using adapted old manual
is that short-form content is having a bit of moment…
lenses, I’m currently obsessed by the anamorphic quality of
Have we, as a sector, focused so hard on the dominance
the lenses, the framing and the colour grading on “Narcos
of streaming services in the Home Ent world that we have
Mexico”. It may be one of Netflix’s series rather than a feature,
taken our eye off the ball when it comes to a potential threat
but it is nevertheless a work of artistic integrity that merits a
to cinema’s popularity — namely a growing obsession with
big screen outing. I’m not certain the same could be said of
unscripted amateur content and lamentable production
the standout 17-second YouTube hit, “Surprised Kitty”. To
values? If we can get our kicks in three minutes from a low-
date, that’s been watched 79m times (For the purposes of
quality, inappropriately ad-infested how-to video, is there
research, that number includes me. I can only say sorry.)
still space in our lives for feature-length material edited by an actual editor, with high-quality projection and sound?
So what does this all mean for exhibitors? In short, I believe we’ll have an increasingly hard job to do educating
Four hundred hours of content is uploaded to YouTube
audiences about the quality and value of the feature-length
every minute, for the benefit of 1.9billion regular monthly
narrative in the future. If someone could squeeze all that into
users who stick around on average for no more than 40
a three-minute format, perhaps that would be best.
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