www.cinematech.today The leading magazine for cinema industry professionals > VOL.35
NO.1
>
B A F T A :
R E D E V E L O P I N G T H E I C O N I C 1 9 5 P I C C A D I L L Y A Unique (X) Perspective
Profiling the digital software company
Ōma Cinema
Time to switch up the cinema auditorium? Ōma thinks so...
CT Q&A
UNIC's Diana Stratan answers our questions in a new spotlight feature
03/22
Universal Pictures International is proud to support
C O N T E N T S C I N E M A T E C H N O L O G Y > VO L . 3 5 N O . 1 > 0 3 / 2 2
20 NEWS
07 11
Qube
launches
new
WireTAP Air for 4G and 5G NATO launches The Cinema Foundation
16
gives
David
the
43
Hancock
lowdown
on
46 49
tour
of
the
redesigned BAFTA 195 Piccadilly
31
Ōma Cinema is switching up the traditional cinema
layout with an architectural redesign
35
Digital cinema software company Unique X has
been in the business for 20 years - we profile them and their products
Motion Picture Solutions Ltd, Mission Hall, 9-11 North End Road, London W14 8ST T: +44 (0)20 3026 1368 MANAGING EDITOR: HELEN BUDGE E: helen.budge@cinema.technology ART DIRECTOR: DEAN CHILLMAID E: dean.chillmaid@cinema.technology
www.cinematech.today
future of the multiplex and
UNIC's
Guillaume
Branders gives an
starting with the Cinema Days in
20
It's here! Peter Knight takes a
John Sullivan looks to the
overview of upcoming events in 2022, Brussels
on
projectors and
sustainability go hand-in-hand
sector recovery so far
us
Sharp-NEC - why laser
the need for creative placemaking
FEATURES Omdia’s
39
50
Phil Clapp looks to the next UKCA event in April 2022 ECA MD Grainne Clarke presents the
upcoming opportunities for event cinema
52
CTC President Richard Mitchell extols the
16 CT Q&A
54
Our brand new feature speaks to UNIC's Diana
Stratan as she answers our questions and updates us on the success of the
virtues of preparing for
UNIC Women's Cinema Leadership
2022's strong slate
programme
COMMISSIONING EDITOR: PETER KNIGHT E: peter.knight@cinema.technology ADVERTISING: BOB CAVANAGH Caixa Postal 2011, Vale da Telha, 8670-156 Aljezur, Portugal T: +351 282 997 050
M: +351 962 415 172 E: bob.cavanagh@cinema.technology SUBSCRIPTIONS Cinema Technology is mailed to IMIS Members. For subscription details and to read the magazine online, visit www.cinematech.today or email CT@motionpicturesolutions.com
0 3 / 2 2
>
3
C T
V I E W
Spring has sprung!
www.cinematech.today The leading magazine for cinema industry professionals > VOL.35
NO.1
>
03/22
B A F T A :
A positive COVID test two days ago means I’m sitting here with the dreaded lurgy while I type out my second-ever CT View (thankfully, it doesn’t feel worse than a bad cold). But it won’t stop me from telling you about this March edition and some of our key news. R E D E V E L O P I N G T H E I C O N I C 1 9 5 P I C C A D I L L Y A Unique (X) Perspective
F
Ōma Cinema
Profiling the digital software company
Time to switch up the cinema auditorium? Ōma thinks so...
CT Q&A
UNIC's Diana Stratan answers our questions in a new spotlight feature
001_MAR22_COVERv2.indd 1
16/03/2022 11:17
irst off, we’re very pleased to welcome
And don’t miss our cover feature on page 20, Peter Knight’s
the ICTA as an upcoming content
in-depth exploration of BAFTA’s incredible redevelopment of
partner with CT Magazine - the first
195 Piccadilly. Props to our designer, Dean Chillmaid, for the
column from them will be in our June
impressive CT Mag-style cover image of the building.
edition so keep your eyes peeled for
On a more sombre note - but one that feels necessary to
that. Incidentally, they’ve just celebrated their 50th anniversary
acknowledge - we wanted to express our solidarity with the
as an organisation too, so congratulations to the team on
Ukrainian people, and those in Russia opposed to the ongoing
reaching half a decade, from us all at the magazine.
war. May sanity and compassion prevail, as we send love and
2022 is shaping up to be the first proper “comeback” year
strength to those fighting for freedom every day. If you’re able
after the longest-ever 24 months. And there’s a great lineup of
to make a donation to the Red Cross or the Disasters
in-person global gatherings to look forward to, including
Emergency Committee (DEC), please go to https://donate.
UNIC’s Cinema Days in Brussels (28-29 March), the UKCA
redcross.org.uk/appeal/ukraine-crisis-appeal
conference in London (5-6 April), CinemaCon in Vegas (25-28
donation.dec.org.uk/ukraine-humanitarian-appeal,
April) and, of course, CineEurope in Barcelona (20-23 June).
respectively.
UNIC’S Mentoring Programme
vaccinations and a dose of natural immunity so you can expect
The latter event leads us to congratulate UNIC on their
extra big hugs from me!
or
https://
And the next time I see you all I’ll have had three
Women’s Cinema Leadership programme and new joint sponsorship partners, Vista and IMAX. (Also, given the recent International Women’s Day make sure you check out CTC’s second series of Women in Cinema interviews from CineEurope 2021, and not just because they’re hosted by little old me). To those
interested
in
applying
for
UNIC’s
programme,
applications are now open and the sixth edition will kick off in June at CineEurope. Our brand new CT Q&A feature on page 54 talks to UNIC’s Diana Stratan about her heavy involvement
Helen
in the scheme, among other things.
Editor
www.cinematech.today
0 3 / 2 2
>
5
e ve n t s
India
CT NEWSREEL
n e w S ,
v i e w s
&
i n d u s t r y g l o b a l t h e o f
U p - to - d a te
r o u n d - u p
>
Qube Cinema Introduces WireTAP Air for Content Delivery to Theatres via 4G and 5G Networks QUBE Cinema has made a major leap in
said this about WireTAP Air’s unique features,
increasing the footprint of electronic content
“I’m excited for more advertising networks and
delivery with the all-new WireTAP Air theatre
studio marketing groups to experience the
appliance. This small-form device connects
benefits of delivering content via Qube Wire. This
theatres to Qube Wire’s global cloud delivery
new solution is significantly faster, easy to deploy,
platform via 4G and 5G mobile networks and
and costs far less to operate when compared to
allows for the seamless delivery of trailers and
traditional satellite models and existing theatre
advertising DCPs. Its ease of operation and
devices.”
future-proof connectivity options provide an
WireTAP Air’s compact design for a device
ideal way to connect exhibitors at a significantly
of this nature is unprecedented. Measuring just 4
lower cost than was previously possible.
in x 4 in x 16 in, this hardy small-footprint
Qube has deployed WireTAP Air across the
theatre appliance includes storage of 128GB
nearly 2,000 locations that make up the Qube
(expandable to 2TB), a built-in firewall, and a
advertising network in India. The use of 4G
Gigabit Ethernet port to connect to the theatre
connectivity instead of satellite has given Qube
network. It connects to Qube Wire with an
an 85% operating cost reduction while greatly
internal
increasing flexibility.
based on regional availability) or a standard
Mark Waterston, Senior VP of Qube Wire, www.cinematech.today
4G
modem
(upgradeable
to
Qube’s WireTAP Air has been deployed across India
5G
broadband connection. 0 3 / 2 2
>
7
C T
N E W S R E E L
London
Arts Alliance Media Announces Screenwriter Agreement with AMC Theatres A A M t h e
h a s
a n n o u n ce d
l a r g e s t
a
t h e a t r i ca l
n e w
s o f t w a r e
e x h i b i to r
AS AMC’S Theatre Management System (TMS) of choice, Arts Alliance Media’s (AAM’s) Screenwriter will allow AMC to deliver
automated
content
management
i n
a g r e e m e n t
t h e
U n i te d
w i t h
S ta te s
A M C a n d
Th e a t r e s , t h e
and embracing the art of automation. With all-new smart transfer technology recognised as
with
the update’s flagship feature, exhibitors can look forward to
comprehensive visibility to all of its theatres throughout the
transferring data simultaneously from multiple sources to
United States.
ensure content is delivered faster ahead of playback; an
Mark Latimer, VP, Sight and Sound at AMC, commented, “Having worked with AAM for a number of years, our staff
w o r l d . AAM’s Screenwriter TMS
optimal process for complexes housing seven or more auditoriums.
have found their Screenwriter TMS to be easy to use and of
And finally, Arts Alliance Media has recently announced
great benefit at an operational level. This expansion of our
a new software partnership with the renowned Tromsø
agreement with AAM is another step in AMC’s continued
International Film Festival (TIFF), enabling Screenwriter
focus on providing the very best in the theatrical moviegoing
TMS to manage the festival’s content and scheduling.
experience.” AAM has also officially launched Screenwriter’s smartest Theatre Management System software release to date to reinforce its position as the world’s leading TMS. This landmark Screenwriter update, available exclusively to AAM customers, delivers the means to further fine-tune their daily operations by simplifying tasks, reducing costs, 8
> 0 3 / 2 2
www.cinematech.today
C T
N E W S R E E L
RealD Ultimate Screen Reaches a 500-screen Milestone Worldwide Beijing
>
UNIC Stands in Solidarity With Ukrainian Exhibitors and the Ukrainian People Following Russian Invasion UNIC,
the
trade
body
representing the interests of cinema operators across 39 European
territories,
has
issued a statement expressing its solidarity not just with Ukrainian exhibitors but also the Ukrainian people as they repel
the
attack
on
their
country by Russian forces. The statement, issued on behalf of UNIC’s Board of Directors, reads as follows: “We have watched with growing horror the death and Beijing
REALD INC. has announced the
Wanda signed an agreement to install
destruction arising in recent
revolutionary RealD Ultimate Screen has
100 RealD Ultimate Screens in Wanda’s
weeks from the decision of the
been installed in 500 screens worldwide.
theaters across China over the following
Russian Government to invade
The latest and 500th Ultimate Screen is
three years. The majority of screens were
its near-neighbour Ukraine.
located at the spectacular Wanda
planned to be installed in Prime at
Cinema Xiamen Guankou branch in
Wanda locations, which is a brand
solidarity not just with our
China.
We
stand
in
absolute
incorporating various advanced cinema
Ukrainian colleagues but also
featuring
technologies, including high frame rate
the Ukrainian people as they
RealD’s 500th Ultimate Screen, under
capable laser projectors, immersive
seek
the premium brand “Prime at Wanda”,
sounds, RealD 3D and RealD Ultimate
outrageous and unwarranted
celebrated its launch last month.
Screen, aimed at delivering stunning
attack.
The
cinema
location
In December 2018, RealD and
visuals and immersive experiences.
to
As European
JBL Professional Introduces Dynamic ScreenArray Cinema Speakers For China HARMAN Professional Solutions has introduced JBL Professional 3800 and 4800 Series ScreenArray screen-channel loudspeakers for small- to medium-format cinemas in China.
withstand
a
this
wide-ranging
organisation,
membership
our
includes
operators and associations in both Russia and Ukraine. But we
cannot
stand
by
and
remain silent on such terrible
Five new models of passive and bi-amplified loudspeakers are the latest additions to the
actions and note with huge
legendary JBL 3000 and 4000 Series of cinema speakers. They reproduce every nuance of
respect the statements and
today’s modern digital soundtracks with unsurpassed clarity, thanks to acoustic innovations
positions
including Differential Drive woofers, custom titanium compression drivers and patented horn
Russian
designs that compensate for perforated screens, to deliver consistent coverage to every seat
opposition to the war.”
taken
by
some
colleagues
in
in the house.
www.cinematech.today
0 3 / 2 2
>
9
C T
NATO Announces Creation of The Cinema Foundation THE
NATIONAL Association of
Theatre Owners (NATO) has announced the
formation
of
The
“The
Cinema
Foundation
designed to bring together key industry stakeholders from business, technology
donor-supported 501(c)(3) charitable
and the creative community to be the
non-profit - is dedicated to promoting
leading voice in what the future of
the essential cinema exhibition industry
cinema will be,” said Jackie Brenneman,
by developing future diverse workforces
President, The Cinema Foundation.
and growing moviegoing communities.
Currently in its initial fundraising
The Cinema Foundation expands
and hiring phase, its key priorities
including
technology
include: Cinema
careers,
education
and
companies, food and beverage leaders,
diversity: promoting the industry as a
members of the creative community
great place to work
and others that share our vision and
Moviegoing promotion and creative
passion for the future of cinema.
community involvement
The Cinema Foundation’s founding
QSC - New Northern Europe Marketing Manager
is
Cinema
participants,
>
Coca-Cola Company).
Foundation. The new organization - a
on NATO’s mission by adding new
N E W S R E E L
A centre for innovation and technology
Board of Directors draws members
Industry data and research - key to
from across the industry, including
effective industry messaging, a data-
Jackie Brenneman (NATO), President;
based approach will be prioritised
QSC is very pleased to
Tori A. Baker (Salt Lake Film Society),
across all initiatives
welcome Julene Brown to the
Vice President; Brian Schultz (Look
Working
Cinemas), Secretary; Eduardo Acuna
charities to expand their impact
with
existing
industry
(Cinépolis Americas), Treasurer; and Directors Michelle
Adam
Cassels
Maddalena
(Cinionic);
To sponsor, donate, or learn more
(Dolby
visit www.thecinemafoundation.
Laboratories); and Katherine Twells (The
LA & Washington DC
org.
EMEA marketing team. Julene will join QSC as the Northern The Cinema Foundation will promote the cinema-going experience
Europe Marketing Manager based in the UK office. Welcome aboard!
Omnex Launches a Shop Earlier
this
technology
year,
cinema
supply
and
installation company Omnex launched
their
new
online
at
www.
shop. Find
out
more
omnex.co.uk/shop
www.cinematech.today
0 3 / 2 2
>
1 1
C T
N E W S R E E L
Renewed Movio Contract Paves Way for GroundBreaking Data Integration at Village Cinemas MOVIO (a Vista Group company)
has
three-year
signed
deal
Australian
cinema
France
experiences.
a
“The
insights
the
with
technology suite provides
chain
has given us efficiencies,
Village Cinemas enabling
identified
renewed
opportunities and offered
access
marketing
data
to
its
analytics
and
campaign
products
and
services
they
truly
interested
new
Robin,
data
integration
are
in,”
says
Executive
Nic
General
Manager, Village Cinemas.
The deal will see Movio’s full
sales
guests
management solutions and capabilities.
new
suite
of
products
Village will use the Movio platform to undertake an
continue to play a major role
integration
in
marketing
Customer
ecosystem
Lexer. Village will combine
Village’s
technology
with Data
its
Platform,
including
Movio
Cinema,
its loyalty and non-loyalty
Research
and
Madex,
member databases, along
allowing the business to
with
harness the power of data
behavioural and sentiment-
and better understand and
based data points, to provide
engage its customers to
a 360-degree view of the
provide
entire customer base.
valued
cinema
adding
new
CinemaNext Signs Joint Distribution Partnership Agreement with Kansas-based Sonic Equipment Company CINEMANEXT has announced that it has
industry leader in the sale, installation, and
same level of integrated solutions we offer
concluded a joint distribution partnership
service of cinema equipment, providing
their
agreement
with
services to major chains and independent
CinemaNext,” explains Georges Garic, CEO
Equipment
Company
exhibitors on over 1,200 screens in 35 U.S.
of CinemaNext. “Sonic and its CEO Ron
states.
Hageman have been important actors in
companion
Kansas-based (Sonic)
business,
Sonic
and
its
Kneisley
Manufacturing, to extend its services and solutions offer in North America. Located in Iola, Kansas, Sonic is an
1 2
> 0 3 / 2 2
EMEA
counterparts
through
“With this new partnership, we are
the successful digital roll-out in the US and
moving forward with our strategic plan to
enjoy an excellent reputation founded on
provide North American exhibitors the
quality and reliability.”
www.cinematech.today
C T
N E W S R E E L
Happy Birthday to Volfoni Vo l f o n i
Ce l e b r a te s
Co r p o r a te
1 5 t h
A n n i ve r s a r y
S i g n i f i ca n t
Y e a r
f o r
i n
3 D
>
The Regent Returns to the Redcar Seafront with Help from Sound Associates Sound Associates (SA) played
E n te r ta i n m e n t
a significant part in The AS 2022 prepares moviegoers for an explosive year of 3D content, Volfoni will this month celebrate 15 years of
Volfoni celebrates 15 years in business
Regent Cinema project, one close to the hearts of the people of Redcar. The
driving multidimensional cinematic
previous building on the
innovation to further underline their
seafront became unsafe and
status as one of the leading names in
was closed. Following a
3D cinema. Founded on March 2nd, 2007, Volfoni has grown to be one of few companies in the world to be endorsed by major Hollywood Studios, enjoying global recognition for their renowned, high-quality active and passive 3D technologies. “To reach our 15th anniversary in such
a
significant
year
for
3D
entertainment represents a major milestone in this company’s history,” said Bertrand Caillaud, CEO of Volfoni. With
new,
original
solutions
scheduled for launch later this year, timely aligned with the release of an abundance of theatrical 3D content, Volfoni looks set to expand its global project portfolio as they look ahead to another corporate milestone.
Sonic Equipment Company, Kansas
£9.6million rebuild, there is now a modern art-deco style, 3-screen cinema with café and sea-facing terrace.
Kansas
And there’s quite an array of equipment in each screen: a Barco projector plus Barco Alchemy server, Dolby CP950 audio processors with amplifiers and speakers from QSC and each screen also has a wall to wall floating frame screen. An impressive cinema experience!
www.cinematech.today
0 3 / 2 2
>
1 3
C T
N E W S R E E L
GDC Technology Receives ISO 9001:2015 Certification GDC Technology Limited (GDC), a leading global provider
comprising of a cinema projector, media server, cinema
of digital cinema solutions, is pleased to announce its Hong
audio processor and media storage that meet customer
Kong manufacturing facility has received ISO 9001:2015
and applicable statutory and regulatory requirements. ISO
certification, an internationally recognized standard for
9001:2015 is an accreditation that illustrates how GDC aims
Quality Management Systems (QMS) certified by SGS.
to enhance customer satisfaction through the effective
As the most widely-used QMS standard across the
application
of
the
manufacturing
system,
including
world, receiving ISO 9001:2015 certifies GDC’s ability to
processes for improvement of the system and the assurance
consistently produce reliable digital cinema systems
of conformity.
A GDC auditorium
Hong Kong
1 4
> 0 3 / 2 2
www.cinematech.today
We create & cut it We create, adapt and localise promos, trailers, social, TV, and DOOH. All markets, and all platforms.
w: www.chinagraph.com
t: 020 7751 7000
e: info@chinagraph.com
2 0
19
30
19
8
1
19
71
20 11
19
62
19
8
8
19
73
19
8
4
19 4
9
20
2021 - A Y
ea
19
19
95
91
20 17
19
69
19
74
r
i n Ci n e m a
N e Lik
ther... O o
David Hancock talks Spanish flu, sector recovery and different-sized studio releases, as 2022 gets underway
19
53
David Hancock Chief Analyst, Media and Entertainment, OMDIA
I 1 6
>
0 3 / 2 2
n October 1918, the sales ledger of the
limit the spread of the Spanish flu as it hit the East Coast
Hyde Park Picture House in Leeds (my
first before moving inexorably westwards.
old local cinema when I was a student
Film production in California dropped by 60%, and the
there in the late 1980s) noted the first
newly-emerging mainstream film industry feared that this
mention of an epidemic (pictured
could be the end before really even starting. In Europe,
page 3), followed a few weeks later
following on the heels of World War One and the ensuing
by barring some people from entering the premises as
devastation on the continent, this global pandemic led to
a measure to try and control the newly-arrived Spanish
a sustained downward dip in the fortunes of cinemas. And
flu pandemic. (Sidenote - the Hyde Park is currently in
yet the very same Hyde Park Picture House celebrated its
redevelopment: thepicturehouseproject.com.) In the US,
100-year anniversary in 2014. The industry has weathered
movie theatres shut for an initial three weeks as a way to
many further conflicts - including the arrival of television www.cinematech.today
19
27
19
52
A N A L Y S I S
19
23
2021
91 8. ..
19
37
1918
Market Dominance of the Leading Movies Of the Top 200 movies, the number grossing under $25m rose to 89.5% in
19
90
.. . W e l
i S l,
e c n
1
2020, from closer to 50% in previous years. It slipped back again to 79% in 2021 and needs to keep declining if the market is to return to its previous rhythm. The $25-100m band accounted for 34% of box office in 2018 compared to 8% in 2020 and 16% in 2021. And the disappearance of the
- and the re-energised cinema sector was growing
smaller major titles is probably the biggest risk factor for movie theatres
steadily when the (next) global pandemic began in 2020. I
right now.
give this context to provide a measure of historical
Additionally, the Top 10 films take around 30-35% of the box office in a
fearing
normal year and this rose to 53.1% in 2020 and 46.7% in 2021. This metric was
something is not the same as it actually happening. I have
rising due to the dominance of the leading films within the premium space
given my view of the positive points that underpin cinema
(i.e. higher ticket prices) but if this continues for the long-term, this
many times since March 2020, but I also recognise that
percentage remaining around half of the market would be a concern. The
we are still far from normal. And several of the key cinema
chart does show an improvement in 2021 over 2020 - but this would need to
metrics could be a worry if they stay where they are. How
be back to around 40% in 2022 to show a return path to normality.
perspective
and
pause
for
reflection
that
well is the market getting back on track so far, and what remains to be reset? www.cinematech.today
0 3 / 2 2
>
1 7
Major Releases - One Half of the Story
half of the year. For comparison, a normal year would see
There are two aspects to the return of films into cinemas.
between 125-130 releases. The outlook for 2022 is 110+
On the one hand, major studio titles have returned in good
wide releases, underlining that confidence in theatrical is
numbers to the big screen once cinemas reopened in the
returning at that level of the market. Omicron has moved
spring/summer of 2021. There were 92 wide releases in the
a few titles around but not to the extent we have seen
US market in 2021, stacked 32/60 in favour of the second
before.
Other Releases - Part Two
1
However, underneath and apart from this studio level, the
The global box office grew by 79% in 2021, after a 72.5% drop in 2020. Early
end of December 2021 in the US, there were 48% of the
2021 began slowly for the market with many screens shut, but confidence
number of indie films in the market compared to the 2019
began to return in the summer as studios put out new major movies,
level (and compared to one third at the beginning of 2021).
leading up to a strong fourth quarter. However, the global market is still
This will impact the box office generated as much as any
half of what it was in 2019 (which was $42bn) and is predicted by OMDIA
remaining consumer hesitancy. Some indie projects went
to reach $35bn in 2022. The global box office rising to such a level would
straight to streaming as COVID-19 hit, and the lead time for
be a good sign that the market is recovering and that, from there, it could
a film project means that they may not be back this year.
make its way back to where it was before the pandemic.
However, streaming companies have talked about moving
A Box Office Overview & Monthly Attendance Levels
picture is not quite as optimistic, and the independent film sector is not currently well represented in cinemas. At the
The month-by-month data is not yet back to normal, with monthly
into theatrical, where the path to greater global prominence
admissions in December 2021 around 55% in the UK and US and 70% in
and relevance lies, and this may signal the return of the
France. Full lockdowns will be fewer in 2022, as governments are now far
market’s mid-level.
more likely to put in place short-term targeted restrictions than closing down economies altogether. For the success of 2022, a lot depends on
The ‘-isation’ of Cinema
the US getting back to where it was (as China already showed signs
When it comes to cinema and the COVID-19 pandemic,
of doing in 2021), as well as Europeans getting back to cinemas that
the fact is that we have been here before. Even though
stay open.
the market for films is completely different now with many more options, and cinema is no longer the fresh
1 1
n b 5 3 $
arket is cinema m The global n this year b 35 $ h reac thought to
1/ 2
The glob
% 8 . 0 4 a ’s cinem Turkey by d te e plumm sec tor 1 2 in 20 40.8%
3
al marke t is still ar half of w oun d hat it wa s in 2019
1 8
>
0 3 / 2 2
www.cinematech.today
A N A L Y S I S
new medium it was 100 years ago, in many countries,
of one shows that adversity can be temporary as long
modern cinema is a new medium, with multiplex cinemas
as cinema keeps following the track it was already
only arriving in the past decade. A similar energy is
on: digitisation, automation, staff qualification, show
currently present in the market. The fact that cinema has
presentation,
existed for so long certainly suggests that writing it off is
“gourmandisation”, experience stratification: in short,
premature.
“premiumisation” of the cinema experience.
venue
modernisation,
socialisation,
The core of cinema is social - not in the metaverse or
3
in your front room - and while an airborne pandemic is guaranteed to cause hard times, the latest experience
2
Leading Movies
The Strongest and Weakest Performers
While the recovery of cinema began for many in 2021, some countries are taking longer to bounce back. Turkey’s cinema sector collapsed in 2021
After a quiet start to 2021 due to screen closures around the world, titles
(40.8% down on 2020), while a number of European
grew in strength from July onwards (with the exception of “F9” in May
countries were also slightly down due to lockdowns
2021) as “Black Widow” was launched, leading up to October’s “No Time
(Denmark, Netherlands, Italy, Finland). Among the
To Die”, “Venom” and December’s “Spider-Man: No Way Home”. “Spider-
best performers are Chile, which grew by 165.6%
Man” very quickly surpassed the Bond outing (“No Time To Die”) and
from a low base, and China, which grew 147.9% over
sped past $1bn before year-end ($1.74bn by February 2022), making it the
2020 and profited from the US shutdowns to remain
sixth highest-grossing movie of all time. Two domestic Chinese movies
the largest market by box office in 2021. Other
also grossed enough in China to make the Global Top 5 list. In normal
strong growth rates were recorded in Colombia,
times studio titles will take $1.5bn plus across the world so these numbers
UAE and Hong Kong. In a non-COVID world, we
are only representative of pandemic times. And while China has aimed at
would not see these growth rates outside of a new
becoming a global provider of films within a decade in its latest five-year
growth market (such as KSA) but it is likely that high
plan for the economy, this is not the norm yet. And in 2022 the Top 5
rates will be a feature of 2022, and that these are
should be global studio titles again if the market is recovering.
more likely to be positive than negative.
3 3
3
2 3
3
92
$1.74bn
“Spider-Man: No Way Home” surpassed $1.74bn by Feb 2022
wide releases in the US 2021 spring/summer market
www.cinematech.today
0 3 / 2 2
>
1 9
B
A
F
T
A
:
T H E 1 9 5 P I C C A D I L LY REFURBISHMENT PROJECT
2 0
> 0 3 / 2 2
www.cinematech.today
F E A T U R E
In a special Cinema Technology Magazine feature, Peter Knight takes a look at the £33m refurbishment of BAFTA’s iconic building, 195 Piccadilly, as it celebrates its 75th anniversary in 2022
Impressive: 195 Piccadilly sits in the heart of London
Peter Knight, Commissioning Editor, Cinema Technology
www.cinematech.today
0 3 / 2 2
>
2 1
F E A T U R E
The British Academy of Film & Television Arts On 16th April 1947 a group of the most eminent names in the British film production industry gathered in a room at the Hyde Park Hotel, and appointed the film director Sir David Lean as Chairman, thereby creating the initial British Film Academy. Their fundamental aim was “to recognise those who had contributed
outstanding
creative
work
towards
the
advancement of British film.” 11 years later, the British Film Academy merged with the Guild of Television Producers and Directors to form the Society of Film and Television Arts (SFTA). David Lean donated royalties from and to The Society and these served as an invaluable source of working capital in its early years.
The History of 195 Piccadilly In 1831 the New Society of Painters in Water Colours was formed to compete with the Royal Watercolour Society (RWS), which had been founded in 1804. The New Society differed from the RWS in policy by exhibiting non-members’ work but both societies challenged the Royal Academy’s refusal to accept the medium of watercolours as appropriate for serious art. Why is this important? Because in 1863 the New Society became the Institute of Painters in Water Colours - and 20 years later in 1883 it acquired its own premises at 195 Piccadilly, across the road from the Royal Academy. In 1885 it added “Royal” to its title by command of Queen Victoria. When the lease to the Piccadilly premises ran out in 1970,
A glimpse through the doors of the Princess Anne Theatre
the Royal Institute of Painters moved to the Mall Galleries, near
Royal Opening of 195 Piccadilly took place on 10 March 1976, with HRH The Queen, HRH The Duke of Edinburgh, The Earl Mountbatten of Burma and Academy President HRH Princess Anne in attendance. A magnificent new building wasn’t the only reason to celebrate that day; making a surprise appearance was legendary actor and filmmaker Sir Charles “Charlie” Chaplin, who was presented with a BAFTA mask by Princess
Image: LucaPiffaretti_BAFTA
Anne, marking his induction into the Academy Fellowship.
A Much-Anticipated Refurbishment After nearly 40 years it was time to reimagine the 195 Piccadilly space into a world-class creative centre, not only for members but also to fulfil its charitable remit. Despite being grand, the Grade II listed building just didn’t quite offer that in its previous form. The refurbishment allowed BAFTA to create a uniquely www.cinematech.today
for
members,
educational purposes and commercial hire and it doubled the amount of space, including the creation of a whole new fourth
reconfigure and expand the building so it could extend its
BAFTA had been able to obtain 195 Piccadilly thanks to the
Cawston’s 1969 TV documentary “Royal Family”). The official
space
BAFTA commissioned Benedetti Architects to fully
the SFTA - known today as BAFTA.
Duke of Edinburgh (their share of the profits from Richard
technologically-advanced
floor.
Trafalgar Square. And the former building was taken over by
help of a £60,000 donation from HRH The Queen and The
flexible,
charitable work, support emerging talent and continue to
Harkness Harkness gifted two of their screens to BAFTA’s redevelopment project. A 10.4m x 4.70m Matt Plus MiniPerforated screen was installed in the Princess Anne Theatre (above). And a 4.70m x 2.02m High Contrast Grey Preview was installed in the Run Run Shaw Theatre.
flourish as the centre of excellence for the moving image arts in film, games and television. Part of the requirement of the new scheme was to create fit-for-purpose spaces with greater flexibility that balanced both the members’ needs, along with raising income and increasing public access. The doubled floor space came from significantly opening up the usable areas and reconfiguring the entire building infrastructure. Alongside this the architects were able to unify the interior design enhancing BAFTA’s unique character, while also celebrating the historic assets of the building. One of the most striking architectural and revelatory aspects of Benedetti’s design was the creation of the new top floor. This floor allowed for the restoration and reintegration of two large Victorian roof light spaces and decorative plasterwork that had been hidden for more than 40 years. And in an incredible feat of engineering, as part of the whole roof structure, the Victorian roof lights were physically raised by 0 3 / 2 2
>
2 3
A Jewel in the Crown - Princess Anne Theatre T E C H three metres to create the new fourth floor. Not only this but special high-performance smart reactive liquid-crystal glazing was used (a UK first), that helps to manage the solar gain and heat entering the space, thus saving energy. Other aspects of the scheme include the transformation and repurposing of existing spaces to provide: a second cinema theatre, a banqueting hall, an entire floor devoted to BAFTA’s Learning and New Talent programme, a members’ bar, dining
S P E C :
olby Vision projection system D Dolby Atmos sound system AV facilities & AV panels – Stage Left (SL) Stage Right (SR), Auditorium SL / SR and rear auditorium (including 32A sockets and fibre connections) ETC Prodigy motorised lighting bars for ease of access Industry-leading LED stage luminaires & moving lights from ETC
Industry-standard ETC Eos family lighting control and network infrastructure Folsom HD ImagePro-II switcher / scaler Apple Mac Pro Tascam BD-MP4K Blu-Ray Ki Pro digital recorder Digital microphones Lectern 227 Seats
& meeting rooms, extra kitchens, administration & staff offices and two terraces overlooking Piccadilly and the Grade I listed St
The Princess Anne Theatre was always the gem of 195 Piccadilly, as a
James’ Church.
space that presented all the new films to the voting academy members
A Team Effort
As part of the refurbishment, the Princess Anne is now powered by
Technical solutions specialist White Light started working
Dolby Vision and Dolby Atmos technology. The aim to make the theatre
on the BAFTA project back in 2016, devising an integrated
one of, if not the, best auditoria in terms of picture and audio in London
technology package for the overriding system control and
has certainly been achieved. The projection room has been remodelled,
fully managing the installation process. But a number of
with a separation between the Dolby Vision dual laser projection system
companies from the cinema sector also worked on the
and the office / control area that the projection team uses. Although
refurbishment, so we sat down to talk to them about the
there was a discussion to put a 35mm projector back in, it was decided
project...
to safely store these projectors offsite and install runners in the booth to
CinemaNext - BAFTA’s Official Supplier Image: LucaPiffaretti_BAFTA
and also provided a conferencing and Q&A space.
Jerry Murdoch from CinemaNext describes the team’s involvement in the project:
enable them to be brought in to accommodate heritage screenings, when required with changeovers. Gone is the wooden panelling around the stage, the wooden handrail, white walls, and red seating. The walls are all black with
“Back in May 2019, BAFTA started the process of selecting
airforce blue seats, and accentuated lighting highlights certain features.
their technical partners for the 195 Piccadilly refurbishment.
The seating has been repurposed, the metalwork and wood reused and
Early in 2020, following a number of meetings and a wide
recovered, with each seat displaying an embroidered BAFTA mask.
range of evaluation criteria, CinemaNext was awarded the 2 4
> 0 3 / 2 2
www.cinematech.today
F E A T U R E
contract to act as BAFTA’s Official Supplier. Then the fun
(and on budget!), resulting in a home that BAFTA can be proud
started and COVID hit (!)
of for many years, with technology that is future-proofed and
CinemaNext took a leading role in the redesign of the Run Run Shaw Theatre (Screen 2), alongside the mechanical and electrical design teams. A new pod was constructed to house the Christie RGB laser projector and the speaker layouts were redesigned to accommodate both film presentations and other room functions. A number of challenges were presented and solved in the Princess Anne Theatre - particularly the desire to hide the speakers for aesthetic reasons (and the solution worked really well). The CinemaNext UK team provided their services in two key areas - the specification and design of cinema equipment, and the installation and commissioning of the resulting equipment. The project took almost two years to complete and CinemaNext will continue to support BAFTA with planned maintenance, remote and on-site support. And throughout all of this there was COVID which meant restricted access to site, delays in construction and equipment deliveries, the need to wear masks and have regular tests. But out of adversity comes opportunity - the contractors worked as
The Ray Dolby Room: Tech Spec 2 > Single 16:9 full HD Christie projector > Directional conference speakers > Full capabilities for conference and presentation with microphones, staging and lectern > Technicians booth with playback for digital content > Total blackout capabilities
Image: Jim Stephenson
a team, accepted the challenges and, together, delivered on time and to the highest level. As always, CinemaNext tends to be the last trade on site -
deadline to meet. The technical works were completed on time
is a project that all that contributed to should be proud of.”
Christie Technology at BAFTA While the project had a number of different partners and companies involved throughout the refurbishment, one of the most visible is Christie. The company hasn’t just provided some of the cinema technology to BAFTA, they’ve supplied many elements of showcase products. The partnership saw a host of Christieintegrated technology installed throughout the building, including Christie MicroTiles LED, as well as 3DLP RGB pure laser and 1DLP laser projectors, media servers and software. This year, BAFTA is relaunching its Learning and Talent Development programme, enabled by the redevelopment of 195 Piccadilly. Working with technology supplied by Christie, the new programme will aim to engage over 10 million learners with a BAFTA resource online, and equip 80,000 people a year with the tools to develop a career in film, games and television via events, competitions, and initiatives. In
The Princess Anne auditorium
we can only complete our work once the screen fitters have finished and the seats are installed - and there’s always a
with facilities that will be enjoyed by all film lovers. 195 Piccadilly
addition, bespoke year-round support will be given to 4,000 talented individuals through initiatives including BAFTA Breakthrough, BAFTA Elevate, Young Game Designers and
Dolby Atmos system in the Princess Anne
BFI Flare x BAFTA Mentoring. Among
state-of-the-art
technology
supporting
this
programme is a 1.2 x 2.7 metres (3.9ft x 8.8ft) Christie MicroTiles LED video wall that proudly welcomes visitors with engaging content at the reception entrance. The foyer to the Ray Dolby Room will be fitted with two video walls and a floor-to-ceiling projection display using 1DLP laser projectors, a Christie Pandoras Box Server and Christie Mystique Premium Edition, a multi-camera, automated warping and blending tool for stacking and edge-blending projection systems in minutes (instead of hours). In addition, working with CinemaNext, the Run Run Shaw Theatre will be powered by a DCI-compliant Christie CP2309-RGB pure laser cinema projector, for screens up to 13 metres (44 feet) wide. And an array of multipurpose spaces and boardrooms will feature Christie 1DLP laser projectors and LCD display panels with Christie Pandoras Box Manager and Widget Designer for content management and processing. Dolby, Christie, QSC and ETC have provided installation services and training throughout the renovation process, alongside White Light who carried out the main AV install and CinemaNext who supervised the theatre installations.
Dolby - A Longstanding Relationship Dolby Laboratories has partnered with and supported www.cinematech.today
0 3 / 2 2
>
2 5
The Ray Dolby Room T E C H
S P E C :
Capacity: 180 seated, 325 reception, 200 theatre style, 120 cabaret style Step and Repeat LED Screen for photo opportunities and branding 9 floor boxes for ease of connectivity
QSC audio system for a 3D immersive sound experience 360-degree full wall display projection mapping via 12 ceiling-mounted Christie projectors
The Ray Dolby Room sits on the first floor and serves as a unique, multi-functional event space. And as the name suggests the room celebrates Ray Dolby’s innovative and lasting contributions to the film and television industry. BAFTA for many years, but the redevelopment of the Princess
In a BAFTA press release from 2021 Ray’s son David Dolby said, “It’s
Anne Theatre allowed the partnership to reach a new level.
wonderful to celebrate Ray’s contribution to the entertainment industry,
Starting with very early discussions, it became clear that BAFTA
and we are thrilled that his legacy will be recognised at BAFTA 195
wanted to do everything possible to create a state-of-the-art
Piccadilly. BAFTA is the home of film, games and television in the UK,
theatre, showcasing Dolby Vision and Dolby Atmos as the most
and we are proud to support the redevelopment of 195 Piccadilly both
advanced picture and sound technologies in cinema.
financially and with Dolby technologies, so visitors to the building can
Dolby Laboratories’ architects and engineers worked with
enjoy the best audio-visual experience. Supporting BAFTA is a fitting
BAFTA, and associated contractors, to redesign the Princess
tribute to Ray’s innovation in sound technology and the founding of
Anne Theatre to the highest standard, while allowing the
Dolby Laboratories in London, both of which have had a tremendous
flexibility of use that the theatre now enjoys. Every detail was
impact on the creative industries.”
considered, from the design of the signal processing chain
Amanda Berry OBE, Chief Executive of BAFTA, agreed, “We are so
(which can accommodate all sound formats including legacy
grateful to the Dolby family and Dolby Laboratories for their respective
film soundtracks and the latest Dolby Atmos), to the colour and
generous contributions to the redevelopment of 195 Piccadilly.”
position of the seats. Dolby Laboratories continued to work closely with the
The Ray Dolby Room can transform from a traditional open space overlooking Piccadilly, to a room that can project any 360-degree
wider BAFTA team during construction when its engineers
landscape, or other, images right around you using projection mapping
installed and calibrated the Dolby Vision projection system.
that is built into the room, using 12 short throw projectors.
The Dolby team oversaw the installation and alignment of the 67 loudspeaker cabinets in the theatre (which include the very latest Dolby System 136 screen channel speakers). The result of this collaboration allows the full dynamic range of Dolby Vision
The Ray Dolby Room
QSC’s Q-SYS Platform Performs for BAFTA
and the pinpoint accuracy of Dolby Atmos to provide a truly
After a lot of consideration, together with consultancy
immersive cinematic experience. Coupled with the Dolby
Charcoalblue, BAFTA decided on QSC’s Q-SYS Platform to
Atmos installation in the Run Run Shaw Theatre, and the legacy
provide a fully integrated audio, video, and control system, as
that is honoured in the Ray Dolby Room, Dolby Laboratories is
well as high-performance Q-SYS Cinema products.
proud to be part of this exciting development.
With the highest quality experience needed, the Q-SYS Platform was the perfect fit that offers software-based scalable technology, providing an alternative to the need for constant hardware additions; a crucial goal to create a system that can be built upon for years to come. The new modern BAFTA solution is split between two systems. The first is a dedicated Dolby Atmos cinema with a Q-SYS Core 510i Integrated Processor, used to orchestrate the audio and control processing throughout the theatre space. Accompanying this are QSC DCA-Q Series network amplifiers, The Dolby Vision dual laser projection system
2 6
>
0 3 / 2 2
a QSC Reference Monitor System as the chosen behind-thescreen solution and QSC SR-1020 surround speakers for the www.cinematech.today
F E A T U R E
The Run Run Shaw Theatre T E C H
auditorium. The theatre technicians access the projector and room audio controls through a Q-SYS network touch screen. The second half of the solution services the remainder of the BAFTA building, encompassing all of its public spaces, multi-use spaces, meeting rooms, and the private members’ bar. At the heart of the system is a Q-SYS Core 510i Integrated
S P E C :
Christie DCI Cinema projection system Dolby Atmos sound system ETC coloured stage lighting QSC Professional Cinema audio & control system
Tech booth, with full video switching and sound control for presentations and cinema Automated playback and lighting for privacy
Named after the Hong Kong film tycoon Sir Run Run Shaw, the Run Run Shaw Theatre previously existed within the old building, but the new
Processor setup that handles all of the audio, video, and control
design has developed it into a whole new dedicated second cinema
processing. Each space offers Q-SYS user control interfaces, via
room. With a 41-seat additional auditorium, it now houses a full Christie
an iPad, to allow for users to set up a room for a specific use.
DCI Cinema projection system and a Dolby Atmos sound system.
Q-SYS CX-Q networked amplifiers and a selection of the QSC AcousticDesign Series loudspeakers were leveraged across the wide range of room types and requirements, including the background music distributed around the building.
installed to distribute video content throughout. In the words of Louise Robertson, Executive Director of
The Run Run Shaw Theatre
Partnerships and Fundraising, “We are so excited to be working
But the new BAFTA facility is not just limited to audio several Q-SYS NV Series network video endpoints have been
with QSC to help bring our redeveloped space at 195 Piccadilly to life. The state-of-the-art technology gives BAFTA the
Ensuring Accessibility
The tables in the members’ space and the reception desk are the right height to be comfortable for wheelchair users, as well as
BAFTA engaged Peter Connell Associates,
narration (VI) for visually-impaired patrons.
having a hearing loop system in place in the
experts in inclusive design, who carried out
Throughout the building, areas have been
latter area.
an accessibility review to help create an
flattened and small steps removed. Wooden
There are other features built into the new
inclusive,
accessible
floors aid smooth movement around the
building in terms of hidden disabilities where
environment for all. Accessibility features
building, with tactile treads at the top of stairs
it is possible to now turn down the sound and
include hearing loops in the main public
and all doors have been widened. The front
lighting around the building, room by room. If
spaces, Dolby Fidelio in the theatres delivering
row of seats in each of the Princess Anne and
visitors, guests or members are neurodiverse
both Hearing Impaired (HI) for hard-of-
Run Run Shaw theatres can be removed, and
- with a sensitivity to sound or light - these
hearing
there is a new stage lift in the former theatre.
features can be adjusted or reduced.
welcoming
patrons,
and
and
Visually
Impaired
www.cinematech.today
0 3 / 2 2
>
2 7
perience with Q-SYS from QSCww
To the big screen, and beyond! CREATE A FULL MULTIPLEX EXPERIENCE WITH Q-SYS FROM QSC Today’s cinema experience is so much more than movies! And Q-SYSTM is so much more than a cinema processor. With the Q-SYS Platform you can deliver sound to each theatre and every other space in the theatre complex where high quality sound is important. You can also monitor and control every sound system component and many other devices, from anywhere in the building or remotely from anywhere with a network connection.
Visit us at CinemaCon 2022 Booth 2303A – Augustus Ballroom
qsc.com/cinema
©2022 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.
F E A T U R E
A View from the Box BAFTA’s Angus & Stuart “The flexibility and capacity of the new BAFTA building presents an amazing opportunity to widen BAFTA’s charitable work and workshops, not only in the UK but across the globe. Coming from a cinema background, the level of new technology installed in each room and space is incredible - there’s a lot to take in! We’ve always been honoured to work at 195 Piccadilly and we look forward to seeing the building used to its full potential.”
members’ bar and restaurant area. But this newly refurbished building just flows throughout, from floor to floor and room to room. The main reception desk has moved from the first floor down onto the ground floor by way of an enlarged entrance area that has specifically been designed to be open and welcoming, rather than the previously slightly hidden and mysterious one. Additionally, BAFTA has managed to put a second lift next to the original one that sits in the middle of the staircase, both of which traverse the whole building. resources needed to expand our Learning and Talent Development programme dramatically.”
A Completely Different Building
Embroidered BAFTA faces displayed on seats
The Princess Anne auditorium was always a great place to watch a movie, but now has to be one of the best in the country - the superior picture and sound that are delivered are second to none. And there’s a pleasant atmosphere that manages to
Anyone who has had the opportunity to visit 195 Piccadilly in
fulfil the Dolby Laboratories specifications without falling into
previous times would not recognise the building now; there is
the uninspiring black box auditorium design.
virtually no corner that hasn’t been touched in one form or another as a result of this refurbishment.
The new fourth floor is a wonderful space, particularly the view. And the attention to detail is on the money - from a
The building was always an attractive, impressive space
logistical perspective, the system of comprehensive routes and
with plenty of open space and light, especially in the upstairs
corridors around the building will aid staff in their journeying from area to area. Even the fire extinguishers are special and not your standard red, but a combination of gold or bronze.
Including Sustainability in the Refurb
(Apparently a fire extinguisher can be any colour, as long as it has the appropriate markers on it.) The BAFTA team and associates have created a building that will easily see them through to their centenary and far
Despite being built in the 1880s the
and cool only those areas in use
refurbishment of 195 Piccadilly has
G reater levels of insulation
allowed for the latest technology and
R eductions in carbon emissions
produce this article - the number involved is probably a record
practices to be integrated to make it as
A ll systems exceeding the building
for a Cinema Technology Magazine feature.
sustainable as possible. This includes:
regulations energy efficient
A remotely-controlled BMS
benchmarks
(Building Management System) to
E PC rating of B49, almost
heat and cool the building
the equivalent of a brand new
H igh-efficiency heat pumps to heat
building
www.cinematech.today
beyond. It’s incredible, definitely worth a visit if you can go. My personal thanks to everyone who has helped to
w ww.bafta.org/about/fundraising/
More Info
illuminating-bafta-1 Download: https://www.bafta.org/ sites/default/files/uploads/195Piccadilly BrochureAW2122v9.pdf
0 3 / 2 2
>
2 9
I N T E R V I E W
Ōma Cinema: the Future of Auditoria? Fact File Pierre (r) and Nicolas Chican, Founders, Ōma Cinema
Ōma Cinema is the new architectural concept that is redefining the traditional cinema auditorium. CT Magazine sat down with Pierre and Nicolas Chican, the father-andson duo behind the company.
Ō
ma Cinema - the name originating from
CT: Tell us what Ōma Cinema is all about?
hOMe cinemA - is the brainchild of
Ōma Cinema (Ōma) is a patented architectural solution for
French architect, Pierre Chican, and his
movie theaters that completely changes the way cinema
son Nicolas.
seating is situated. In a nutshell, Ōma introduces a configuration
Among Pierre’s many clients are
of seating “pods” on a vertical wall facing the screen, combining
the top two French cinema chains,
the intimacy of being seated in a small pod or balcony with the
Pierre Chican is a
Pathé and UGC, who are also key players in Europe, and
renowned French
some of the top independent cinema chains in France, as
The unique Ōma layout redefines the movie experience by
cinema architect
well as City Councils cinemas. His experience and knowledge
bringing spectators closer to the screen where every seat is the
who has been
in cinema building and design is extensive - he’s behind
best seat in the house. This immerses viewers in the movie
building cinemas
some of the most successful worldwide cinemas; UGC Ciné
without any image distortion, and introduces flexibility for the
for more than
Cité Les Halles in Paris sees more than 3 million admissions
cinema operator in terms of comfort and customer service
per year, and UGC Ciné Cité Bercy which sees around 2
opportunities.
three decades, 25 years of which have been at the helm of his own
spectacular big screen experience.
million admissions. He’s also a specialist in PLF screens and has built many IMAX, Dolby Cinema, 4DX and exhibitor-
CT: How does the business model for Ōma Cinema work?
branded PLF screens.
Chican’s son, Nicolas, is an
We sell exclusive patent licences to cinema operators for them
agency. His son,
entertainment and tourism industry expert. He studied
to run their own Ōma Cinema. Ōma is a fully protected,
Nicolas, is an
management at EM LYON Business School, one of the top
patented concept.
entertainment
French universities. There, he developed a revenue
industry expert.
management-oriented solution for cinema tickets.
architectural
It means that above and beyond the classic IP protection architectural designs typically enjoy, Ōma is able to offer its exhibitor screen-operating partners complete exclusivity over their cinema’s catchment area. The licence package also includes architectural support up to the opening of the Ōma cinema. CT: How does the cinema owner benefit from operating an Ōma Cinema? Ōma has been designed to offer something different - for example, a new “destination concept” for a cinema’s flagship location. It can sit comfortably within an upscale or luxury international city or a smaller town wanting to provide something unique for their community. An Ōma Cinema presents a range of F&B layout opportunities
www.cinematech.today
Its flexibility for cinema operators is also a significant selling point as
they
can
create
different
0 3 / 2 2
>
3 1
experiences within the same venue, and tailor the format to their needs, space, and audience requirements (VIP
Ōma’s futuristic pod seating
If you already have some specifics in mind for an Ōma project, we would be pleased to send you a preliminary drawing
corporate hospitality boxes, table service, exclusive lounge
to give you an indication of general layout, number of pods, and
and bar access).
seating capacity. Architectural drawings on specific Ōma projects for different seating configurations are also available.
CT: How does Ōma Cinema enhance the customer experience? What would make a customer choose an Ōma
CT: How is auditorium capacity impacted? Is it reduced
Cinema rather than a standard auditorium to watch a film?
as a result of the Ōma Cinema design?
Ōma redefines the cinema experience through the power of
Depending on the number of seats you want in each pod,
design. The best audio-visual theatrical technology creates total
some seats will be lost in comparison to the classic cinema
immersion in the film in an intimate and cosy environment.
layout, as is the case for all PLF formats and cinemas with
As the Ōma layout increases the gradient of the seating
recliners. But as the slope of tiers is increased from around
tiers, when compared to a traditional cinema layout, it makes
25° up to 50°, space is saved at the back of the auditorium
use of the full height of the screen so the audience is much
for access and food and beverage (F&B) opportunities.
closer to the action. This results in a more immersive sensation
We also offer a mixed configuration which combines
as spectators have an impression of floating in front of the
the Ōma pods at the back of the theater with a traditional
screen, without any visual distraction between them and what
tier seating slope at the front. This design actually allows for
they’re watching. The arrangement of the seating within the
a larger auditorium capacity than even a traditional cinema
viewing pods allows the projector to be centrally positioned to
layout.
ensure each person in the auditorium can see the whole screen without any distortion. And multiple audio sources provide
CT: Does Ōma Cinema integrate with other auditorium
perfect sound for everyone.
technologies such as IMAX, ScreenX, 4DX? When it comes to projection equipment, sound systems
CT: What impact does the Ōma Cinema design have on the
and screens, Ōma Cinema is fully compatible with all types
building / auditorium? Is it only for newbuild cinemas?
of technology on the market.
A modular architectural system, the Ōma layout is flexible and can either be retrofitted or fitted for a newbuild project. Ōma
CT: What challenges have you had so far, especially in
also lets you customise each element (size and number of pods,
terms of building regulations / logistics?
levels, number of pods per level and so on). We can build an
Apart from obtaining the patents, which took us more than
Ōma
two years, we faced two main challenges when we
cinema
from
a
minimum
7.5-meter-height
accommodate a configuration of five pods. 3 2
> 0 3 / 2 2
to
conceived Ōma: the structure and the sound system. www.cinematech.today
I N T E R V I E W
We knew it would be difficult to create a structure that
of their pending French cinema projects so we are on
was suitable for both newbuilds and renovation projects. So
standby. But we also have several Ōma projects in
we engaged world-renowned engineering firm, C&E
development under NDAs at different stages but none are
Ingénerie, to design a lightweight, all-metal frame.
open yet. As soon as they are, we’ll provide an update.
For the sound system we worked with Dolby and Christie’s technical teams, together with our acoustic
CT: Are you expecting Ōma Cinema to appeal to one
engineer Walter Koller, to ensure the acoustic feasibility of
country more than another?
the Ōma Cinema. We are happy to report that both
Since we unveiled the Ōma concept to the international
companies have validated the installation of a 7.1 system
press in July 2020, we have received a lot of interest from
(the minimum requirement for an Ōma Cinema) which has
cinema operators, especially in Europe and the Middle East.
then been adapted to our architecture. Ōma is compatible
We also have some projects in development in Asia and
with any sound system on the market (Dolby, Christie etc).
Latin America. Our goal is to bring the Ōma experience to as many people
CT: Why is Ōma different to other (similar) previous
as possible.
innovations? Nowadays, most innovations in cinemas are technological:
CT: Is there anything else you’d like to add that we
sound systems, projectors, screens, seating. But the
haven’t covered?
evolution and ever-improving quality of home cinemas and
When we talk about the future of cinema design it’s crucial
video projectors threatens the advantage of cinemas in the
to better understand what young audiences want and how
technological field.
they entertain themselves. Indeed, the number of young
Architecture can be a key differentiator. If the environment itself became part of the experience, it would
people under 25 who go to the cinema is declining in most mature markets.
increase the perceived value of a cinema visit and have a
Young people are increasingly looking for distinctive
positive effect on attendance. At Ōma Cinema, we strongly
experiences. They are also looking for unique destinations,
believe that architecture has the power to enhance the
event experiences and “instagrammable” venues to share
cinema experience in a way that no domestic set up will be
on social media. And let’s be honest, most cinema theaters
able to compete with.
these days are quite similar and anonymous.
CT: When and where can we expect to see the first one? We signed a deal with one of the leading cinema chains in Europe back in 2019. Construction began a few months before the first lockdown in 2020, but it was halted due to COVID. It has yet to resume because our client was hit hard by the extended closure of movie theaters and stopped all
www.cinematech.today
More Info
Pierre and Nicolas Chican www.omacinema.com www.linkedin.com/company/11301492/ nchican@omacinema.com.
Ōma’s mixed seating configuration
0 3 / 2 2
>
3 3
We build & deliver it At MPS, we’ve been building DCPs for 15 years, whilst creating a delivery network to more than 3,500 cinemas worldwide.
w: www.motionpicturesolutions.com
t: 020 7751 7000
e: info@motionpicturesolutions.com
P R O F I L E
The One and Only: Unique X Peter Knight, Commissioning Editor, Cinema Technology Peter Knight finds out what puts the “unique” into Unique X, the digital company celebrating over 20 years of cinema solutions
F
ounder Chris Hagan visited a cinema in Norway and, after observing some operating processes, asked a simple yet important question - why were all the trailers not being sent to the cinema electronically? This question
- and others like it - inspired Unique X in their mission to develop market-leading software solutions for the cinema channel. When the company started out, the (logical) focus was on the product that aimed to deliver trailers in exactly this way, but since then Unique X has gone on to develop a suite of products that sets it apart from others in the industry. While there are many other companies that offer similar products and services, no one else offers them to such a wide range of customers. The company’s team of cinema experts are passionate and knowledgeable about the products they create, with the aim of aiding and advancing automated
cinema
operations,
thus reducing problematic areas such as incident volume, missed shows and workflow errors.
Unique X Unique X provides software as a service (SaaS) to
What Products Are On Offer?
exhibition,
Unique X has a software portfolio of 10 key products and it’s more than likely that most in the wider film industry have
distribution and advertising partners throughout the
interacted with at least one of these
theatrical movie
products in the last few years. Cinema
industry. With
solutions
include
RosettaBridge
TMS (Theater Management System), RosettaNet
Circuit
Management
400 clients across 90+ countries and
System, Movie Transit (Digital Cinema
40,000 screens,
Package Content Delivery Network),
customers are
Basekey
management),
looked after by
RosettaPOS (Point of Sale), RosettaLive
(KDM
one of 10 offices
(Event Streaming) and a suite of
around the
sophisticated pre-show products www.cinematech.today
What’s it all about?
world.
0 3 / 2 2
>
3 5
P R O F I L E
A View from the Top Roger Harris CEO, Unique X
To retain all of our customers and to support them to the best of our ability To work with our key suppliers to maintain the strong working relationships we have established over time
It’s good to see audiences returning to the cinema with the
To retain the skills we have developed within the company
majority of global screens now having reopened. But the still-
and focus on employee retention
shifting release schedule shows we’re not back at pre-pandemic
To conclude a number of core development work streams for
levels of normality yet, with the return of live events only just
existing and new products to put the company in as strong a
starting up again. When the first lockdowns took place in the
position as possible, post-COVID
majority of our trading territories, Unique X focused on a number of key strategies (as follows) to enable the company to rebound as
I am pleased to say we succeeded in all our objectives by working
quickly as possible:
closely and maintaining frequent dialogue with all our key customers and suppliers - and only losing one of our employees
BTC: Launched and Operational
through retirement. We delivered on all our development objectives and, in tandem, our balance sheet remained strong
Launching nationally with Odeon Cinemas Group across
and we did not take on any further debt. We also signed the
the UK, (Europe’s largest cinema operator and an AMC
largest software contract in our history when we successfully
Entertainment company), Book The Cinema (BTC) offers
launched our Advertising Accord solution with National
consumers the opportunity to book a private screening at
CineMedia (NCM) in the US in January 2021. Our focus today is to
their favourite cinema, along with food and beverage (F&B),
continue to increase our market share of content delivery services
directly through a user-friendly and intuitive website.
and software solutions worldwide with a specific focus on the
BTC is now available for all exhibitors across the UK
Americas and EMEA, with Asia to follow. We recruited over 30
and Ireland to sign up to. As well as being a fully managed
people in 2021, including the addition of Sevan Brown to the
service, Book The Cinema is the world’s first turnkey
executive team to oversee content services growth. And Claudia
private screening solution that integrates DCP delivery,
Stengel to deliver our US and Latam software sales strategy.
KDM generation, pre-show scheduling and concession purchasing in a single package.
We
have
strengthened
our
proprietary
software
development team in Lithuania to meet the demand for new
BTC is not entirely unique in the market, and other
development from our major customers and to continue to
companies over the years have dabbled with the idea of
maintain our product portfolio to the benefit of all existing
creating an efficient booking system for private cinema
customers. And we expect to recruit further additional resources
rentals. However, with the advent of COVID and the trend
this year.
in the market for individual screenings, the time is perfect
Unique X’s proven international reputation within the cinema
for the product - particularly as a standalone platform and
channel enables our growth objectives of providing reliable and
one-stop-shop for all operator and customer needs. Add to
cost-saving delivery and software solutions. But we are now also
this the clean, simple design of the website, and BTC has a
focused on supporting and delivering revenue growth…
real opportunity to disrupt this area of the industry, while providing much-needed additional income to exhibitors.
The Final Word
Firstly, through our live streaming solution RosettaLive (RL) and, most recently, with the launch of “Book The Cinema” in the UK and Ireland in January 2022. Bookthecinema.com is now delivering 100,000 visitors per month. We believe
There are few software companies in the sector that have
these two important additions to our product portfolio will do
been around as long as Unique X; 20 years is a long time
several things:
in this field, and for some context, two decades ago was in
Align with the need to continue to provide consumers with
the time of pre-digitalisation. Without question, Unique X’s
the opportunity to seek new and premium experiences at
product suite is one of the largest, most comprehensive and
the cinema
far-reaching in the industry.
Encourage consumers yet to return to the cinema to do so Improve the yield for cinema operators
For further information and contact details visit uniquex.com
www.cinematech.today
And further monetise the library content of our studio partners I’ll leave it there, with more good news to come…
0 3 / 2 2
>
3 7
RB LASER RB LASER
Bring any Screen to Life! Bring any Screen to Life!
Whatever size, brightness or flexibility you need, the NEC ML DC Laser Projectors deliver the ultimate theatre experience. Whatever size, brightness or flexibility you need, the NEC ML DC Laser Projectors deliver the ultimate Captivate your audience with ultra-crisp almost speckle-free RB Laser technology with 18, 20 or 24,000 theatre experience. lumens and 2K or 4K resolutions, whilst benefitting from lens inter-changeability with the NC2000 Captivate your audience with ultra-crisp almost speckle-free RB Laser technology with 18, 20 or 24,000 Series. lumens and 2K or 4K resolutions, whilst benefitting from lens inter-changeability with the NC2000 Visit sharpnecdisplays.eu Series. Visit sharpnecdisplays.eu
SharpNEC DC ML AD 210x297 EN 3mm 2022.indd 1
1/3/2565 BE 19:33
O N
S I T E
UGC Plaisir
New Technology in Greener Times CT talks to... Sharp-NEC
ut to look at the positives of experiencing a
Moving further ahead into 2022 means new films, but also a need
global pandemic, we’ve all had to learn
to stay on top of new technologies - and particularly, a huge drive
how to adapt to new ways of doing things.
for more planet-friendly operating procedures, something that is
We’ve had to adopt new sanitation
repeatedly shown to be a, if not the, priority for consumers around
standards, learn to live with face masks
the world.
and frequently turn to technology to help us out. And figures from “No Time to Die”,
Lighting Up French Cinema
“Dune”, “Spider-Man: No Way Home”, to
Recently, French cinema operator UGC announced it would
mention a recent few, show us that
be installing Sharp-NEC’s laser projector systems in four of
demand for films on the big screen is still very much alive. And the
its new venues, showing how France’s ambition of reaching
slate for 2022 is exciting.
net-zero carbon emissions by 2050 also extends to French
But priorities are shifting for both businesses and consumers.
www.cinematech.today
©Alexis Dugast
We all know how the last 24 months have played out and it hasn’t been an easy ride for anyone in the cinema industry - or, indeed, any industry. But, despite the lingering effects of the pandemic, the topic of sustainability is as important as ever, if not more so...
cinemas.
0 3 / 2 2
>
3 9
Sustainably-Powered Cinemas In order to address sustainability as a priority, the movie-going public are expecting more and more action when it comes to matters of the environment. For theatres keen to go green and operate with a smaller carbon footprint, there are plenty of options to explore. Cinemas can look to tap into renewable energy sources - wind, wave, geothermal; whatever is most readily available. Solar, a global network of sustainably powered mobile cinemas, is a great example of what’s possible when climate considerations are put first. During the day, the theatre’s huge photovoltaic panels capture solar ©Stef. Guiochon
energy and when the sun sets, that power is used to run every piece of the cinema’s equipment: screens, sound systems, projectors, and lighting. Impressive stuff.
UGC Ciné Cité Lyon - Part Dieu
Soon, moviegoers at UGC Ciné Cité Bassins à Flot (Bordeaux), UGC Ciné Cité Lyon Part Dieu, UGC Montaudran
While laser projection equipment has been available for
(Toulouse) and UGC Plaisir will be viewing a 4K picture,
years, issues around feasibility and investment costs have
unsurpassed in clarity, colour, and brightness, happy in the
kept it on the fringes of the cinema industry. But more
knowledge that climate goals are simultaneously being taken
and more theatre operators are now switching from
seriously.
traditional Xenon lamp projectors to laser-based systems.
UGC’s 47 new projectors will be RB laser systems. These feature blue and red laser diodes, and combine the benefits of
0 3 / 2 2
of reasons. Firstly, laser projectors are far more energy efficient
large-sized screens. RB laser projectors, such as the NEC
than their lamp-based predecessors, using significantly
NC3541L, are known for their versatility: with no exhaust
less electricity when casting an image on screen. The
system, they work just as well on the floor as they do on a
reason for this is two-fold: laser diodes convert current to
ceiling mount. Likewise, with built-in cooling, there’s no need
light more effectively, and the light generated is better
for a costly external HVAC unit, while advanced dust protection
directed and easier to capture. What really matters,
keeps the optical engine and light source speckle-free.
however, is the power consumption - the less power used,
The NEC NC2402ML, another RB system, takes this
the less power that needs to be generated, and fewer
flexibility to the next level with a modular laser light system,
emissions are produced, also meaning a smaller energy bill
which allows different light modules to be used based on the
every month.
Mr. Éric Le Cadre Commercial Director, ADDE
VIEWS FROM THE TOP >
This is good news on the sustainability front for a number
a wide colour space and bright image output for mid- and
required brightness.
4 0
Why the Fuss About Laser?
Secondly, laser systems generate considerably less
Mr. Laurent Rieupeyrout Image & Sound, Technical Director, UGC
“We are very proud of this achievement and
“UGC has been using NEC projectors for 12 years. We are fully satisfied with
of the trust that UGC has placed in our
the RB laser technology, and not just because we’re keen to reduce our
company to provide and install projection,
carbon footprint. RB models coming to the market now are perfectly
sound and digital signage equipment for
timed for this purpose. They bring together not only the best standards in
their new Part Dieu site. It was also a special
light and color but also allow us to reduce our energy costs. UGC partners
project for us because it is the first UGC
ADDE and CDS were best suited for the installation of this NEC technology
cinema to be fully equipped with our Cinema
in UGC Theaters. A big thank you to both these companies who, in this
Darkside speaker range, too.”
very chaotic period, greatly supported our four site installations in 2021.”
www.cinematech.today
S I T E
©Damien Aspe
©Pierre Edouard
O N
heat than conventional lamp projectors. The latter rely on reflectors to focus light through their lenses - an inefficient
UGC Montaudran, Toulouse
process that produces a significant amount of heat. And to protect the projector’s internal optics, this warmth must be dissipated by an energy-hungry ventilation system. But with its targeted beam, a laser suffers no such wastage, allowing it to operate at a far lower temperature.
The Silver Screen at Its Best If sustainability solutions result in a worse customer experience, there’s little hope for real progress. But the
Inset: UGC Bordeaux
good news is that with laser projection that thankfully isn’t the case. Not only is laser technology more energy efficient than traditional lamps, but it’s also capable of delivering
Finally, unlike lamp-based systems, laser projectors
a superior image. Laser offers greater colour accuracy
require very little in the way of replacement parts and
than conventional kit, as well as higher brightness,
maintenance. This results in greater sustainability right
better brightness uniformity, and lower brightness decline
along the supply chain: reduced manufacturing, fewer
over time.
deliveries, and less faulty apparatus to dispose of. They also
Laser
projectors
also
produce
a
clearer
image
have a considerably longer life cycle - in the region of
than lamp-based systems. The latter creates light that
20,000-30,000 hours (or tens of thousands of feature length
is scattered and unfocused before passing through
films). Laser technology lifetime cost savings can exceed
the lens, whereas lasers emit a single, cohesive beam.
€30,000 - a not insubstantial sum.
The result is a more immersive viewing experience, one that keeps the audience engaged with striking visual clarity
Mr. Étienne Roux CEO, CDS (Cine Digital Service)
and colour.
A Brighter Future In the middle of the pandemic for months on end, movie theatres lay empty, a silent reminder of how public life had
“We would like to express our gratitude to UGC for their
been put on hold. Yet, despite the disruption, cinema
trust and confidence in us with the installation of 29 NEC
operators have survived.
laser projectors in their Plaisir, Toulouse and Bordeaux
Now, as we look forward, the focus mustn’t be on public
sites. We installed a combination of NC1700L, NC2402ML
health alone, but planetary health as well. That means
and NC3541L projectors and they’ve been running
embracing innovative technologies and finding new ways
successfully since opening: the brightness displayed is
of doing old things.
impressive. We are looking forward to measuring the light output and colour stability overtime.”
It’s a win-win-win scenario. Lower operational costs for cinemas; a more immersive experience for customers; and a kinder way of doing things for the planet.
www.cinematech.today
0 3 / 2 2
>
4 1
I D E A O L O G Y
hen considering ial w the t n e fut s s e ur s i eo x’ o fm b
t ‘Thin kin go ut sid e
as em cin
F
lex tip ul
T HE FUTURE O F T HE M U LT I PLEX he
John Sullivan, Founding Director, The Big Picture Cinema Advisers rom
the
mid-1980s,
innovate outside those typical boxes and the
multiplexes have evolved to
accustomed model is a real challenge for late
become a series of boxes,
boomers, Gen X and early millennials. Why is
usually in descending size
this such a challenge? Well, to state the obvious,
order. But now that customer
it’s the only thing they know. Speaking for
interest is fading, film by film,
myself, us early boomers look back, often with
in what used to be the “safe window” between the
very fond nostalgia, to the era before the
theatrical release and home release model (DVDs,
multiplex which late millennials and Gen Z are
streaming platforms), innovation is needed for the
already switching off to as, for them, it
multiplexes of the future. But trying to think or
represents a bygone age.
www.cinematech.today
0 3 / 2 2
>
4 3
I D E A O L O G Y
A Decade of Evolution Over the past ten years there has been a massive effort from both cinema exhibitors and their tech support divisions (projection and sound) to amplify the experience and create an immersive audio visual event, centring around the product. Done well, this gives a compelling reason to stumble into a warm (or cool, in the case of Saudi Arabia) cinema, to visit a somewhat sterile, often clinical environment to experience that “must see” release on bigger, wider, louder screens. I visited one such brand new 14-screen multiplex in Cannes, France, this week. It was sleek, black and aweinspiring,
striving
to
deliver
the
best
in
technical
achievements. But it lacked soul, any sense of place or style and it certainly didn’t give any great desire for human beings to linger. Indeed, the advanced architectural design seemed to serve the primary purpose of sucking guests into the screens - but then efficiently spitting them out onto a forbidding carriageway. Is it possible that the strategic direction and decisionmaking for this particular amplification of the ‘experience’ is coming from the firmly ‘in the (multiplex) box’ exhibitors and technical executives? Is it fair to say that, on the whole, they would be largely late boomers and early millennials?
The Magic of the Movies For us early boomers it was rarely the film itself that captivated us as we trooped out of our homes to wondrous theatres. Their (literally) awesome architecture made them true relics of the golden age, where “mom & pop” operations
John Sullivan
kept the cinema-going experience alive in the face of the full onslaught of television. Dad in his tux and bow tie would greet you at the door as you entered and he would introduce
the film. Mum would sell tickets and snacks while the kids played ushers. And a stern Uncle Steve or Aunt Maude would patrol the aisles and ensure no misbehaviour took
The Light Cinema, Sittingbourne
place. It was the attraction and experience of being together, finding our identities, challenging the norm or just escaping
“Innovation is needed for the multiplexes of the future”
cramped living conditions. And, yes, enjoying a full version of a film often with average sound and scratchy prints, that could well be visiting their third or fourth venue, looped through a projector for the thousandth time. But it would bedazzle and delight an eager youthful audience that came in hordes, and not just on weekends but throughout the week, too. Alongside our leaky but bewitching old cinema palaces we had the new phenomenon (at least in Australia and the US) of drive-in cinemas with their massive screens and individual sound systems. These became an opportunity for the whole family to squeeze into the car, park up, consume burgers, fries and hot dogs along with sweet treats and ice cream all snuggled up to enjoy - what exactly? - being together? Being entertained? Being out? Being indulged? The story of the film? I’d say all of it - every aspect.
4 4
>
0 3 / 2 2
www.cinematech.today
As a family of eight kids, plus mum and dad, there were 10 of us, squeezed into the family station wagon and in that
A Place To Be
era that was the same as many other families. Some of us gorged and slept, others argued, while a few would focus
Yes, cinema screens need to be technically excellent. But I maintain the
on every word and frame of the film. A visit to the local
cinema itself must also strive to be a place where guests of any age can
drive-in became a weekly family occasion.
come and feel welcomed, inspired, entertained and released from their
Speaking from Experience
day-to-day lives. As the co-founder of The Light Cinemas in the UK, which celebrated
For much of my career I, like Johnny Appleseed, populated
its 10th birthday last week, I am proud of what [the company] has
the globe with multiplexes on behalf of Village Roadshow
become. Its management and style gives freedom to our largely late
and the Kirby family (a great example of the post-war mom
millennial / early Gen Z team to create cinemas and destinations of the
& pop operations that kept growing!)
future, using not only technology but placemaking design. This then
My role as International VP of Development meant that
extends to and facilitates other leisure activities, welcoming
my team and I rolled out megaplexes under the Village
personalities, social events, esports and so much more. The Light is just
brand around the globe in Australia and New Zealand then
getting started, unfettered by ‘old box’ thinking and my advice would be
across to Singapore (Golden Village), South Korea (CGV -
for other cinema companies to do the same.
Cheil Golden Village), India (PVR - Priya Village Roadshow),
As an early start-up challenger brand we fail if our next cinema is
Malaysia (TGV - Tanjong Golden Village), Hungary (Intercom
just like the last. But it is our first and early cinemas that have created,
Village), and Argentina (Village). And across Europe we
and continue to generate, the enthusiasm, joy, personality and regional /
executed Warner Village cinemas in the United Kingdom,
local community identity. This is what all of us - not only the boomers,
Germany, Ireland, France, Italy, Czech Republic. Countless
Gen Z, millennials but also the pre-war Silent Generation and the
other territories were explored with over 150 multiplexes
up-and-coming Generation Alpha - know and love!
delivered at a rate of one per week. And at least 10 times that number were investigated, designed, dismissed or lost
Let’s do this together!
to other competitors. www.cinematech.today
0 3 / 2 2
>
4 5
U N I C
V I E W
2021: Still No Picnic for the Industry Guillaume Branders, Senior Industry Relations Manager, UNIC
I
n 2021, European cinemas welcomed
same period in 2021, box office revenues were on average
close to 600 million visitors, grossing an
35% below pre-pandemic levels - but major territories such
estimated €3.7 billion at the box office
as France (-22% for H2 2021 compared to H2 2019) and the
- respectively a 38% increase (visitors)
UK (-26%) have demonstrated the strength of the sector’s
and a 42% increase (box office) on the
recovery in recent months.
previous year. And this was when most screens across the
These positive results were mainly driven by major
region were shut for the first half of the year and were then
international titles. “Spider-Man: No Way Home” in
operating for the following six months under limited
particular served as further evidence of cinemas’ capacity
occupancy and additional restrictions.
to attract audiences and create global events even during
French cinemas were closed for over 160 days, spread
challenging times. And as happened in 2020, local titles
over two national lockdowns in 2020, and for another 138 in
played an essential role in the recovery process. National
2021. As of early February 2022 a full ban on F&B sales was still
films’ market shares were higher than usual across the
active, in addition to a mandatory sanitary pass proving
region, with local titles featuring in the box office top five of
vaccinated status, with a required third vaccine dose for
many territories including but not limited to France, Czech
cinema-goers aged 16 and above. In the Netherlands,
Republic and Denmark. Detailed data on the European
cinemas were closed for 100 days in 2020… and for almost
cinema industry in 2021 will be included in the UNIC Annual
200 in 2021, only reopening on 26th January 2022, with a
Report, to be published in June 2022.
10pm curfew still in action at the time of writing.
There is no doubt that 2022 will be a pivotal year for the
These two examples illustrate how 2021 wasn’t in any way
industry. Colleagues at Gower Street Analytics, who have
an easier year for the sector. Many experienced similar or
provided regular public updates on the share of opened
even longer periods of closures, in addition to constantly
cinemas globally and evolving local recovery stages, have
evolving restrictions which heavily impacted operations and
forecasted a tentative estimate of $7.8 billion (+75% on 2021)
contributed to staggered recovery progress.
and $33.2 billion (+55%) for EMEA and global box office
Undoubtedly, the impact of the COVID-19 pandemic on the
European
cinema
industry
remains
significant.
respectively.
Compared to results for Europe in 2019 - a particularly
Research & Resources
successful year - 2021 admissions were still lagging by 56%,
In addition to sharing the above figures earlier this year,
while box office was down by an estimated 57%.
UNIC has been actively collecting data on the impact of
A Spider-Shaped Success Story Comparing results for the second half (H2) of 2019 with the 4 6
>
0 3 / 2 2
COVID-19 on the European cinema industry. Publiclyavailable research can be accessed on the UNIC website, featuring exhaustive information on opening status, www.cinematech.today
B OX O F F I C E TA K I N G S
ACROSS SELECTED EUROPEAN NATIONS 2020-2021 (IN MILLIONS & IN LOCAL CURRENCY) SOURCE: UNIC, EUROPEAN AUDIOVISUAL OBSERVATORY AND MEDIA SALES 900
2021
2020
20-21 CHANGE
19-21 CHANGE 800
700
600
500
400
300
200
100
107.0
80.7
24.7
12.7
93.6
44.6
ALBANIA
BULGARIA
CROATIA
+32.7%
+94.5%
+109.9%
-69.8%
-49.7%
-40.2%
654.6 627.2 636.5 432.6
47.2
29.9
678.4 557.7 530.9 357.2 252.3 172.3 802.5 676.3
FRANCE
IRELAND
NORWAY
POLAND
SPAIN
SWEDEN
+4.4%
+47.1%
+57.6%
+21.6%
+48.6%
+46.4%
+18.7%
-39.9%
-56.1%
-59.8%
-48.0%
-53.6%
-59.6%
-57.6%
DENMARK
0
available support schemes, national reopening campaigns
contributed to adding new items to UNIC’s agenda and, in
and other relevant facts for the 39 territories covered by our
particular, sustainability; from both an environmental and
association in Europe. This information has been used
financial perspective. This topic will be discussed at length
throughout the past two years by UNIC, as well as by
during different workshops in March in Brussels. The expert
members,
European
groups will be exploring a broad range of current issues,
authorities to ensure that cinemas remain at the heart of
from changing audience trends to supply chain disruption.
to
efficiently
lobby
local
and
current and future recovery plans.
And A Welcome Back to Brussels…
Sangria and Paella Time CineEurope 2022 is scheduled for 20-23 June and will, as
UNIC’s annual Cinema Days are back, this year on 28-29
usual, be taking place at the CCIB in Barcelona. We will be
March in Brussels. The event, which has been taking place
bringing
every year since 2014, unfortunately had to be cancelled in
presentations
physical form in 2020 and 2021. Bringing together an
distributors, high-level panels and focus sessions, as well as
exclusive group of key European and international industry
the biggest cinema trade show in Europe. Cinema
figures for two days of seminars and workshops, the
operators, content providers, manufacturers, data analytics
Cinema Days serve as a long-awaited opportunity for
companies and many other stakeholders from the cinema
friends and colleagues to get together in an informal
value chain will be attending the show for four days of
environment and exchange insights and best practices
learning and networking. We are looking forward to seeing
from the past years.
many of you in sunny Barcelona!
you
an from
exciting major
programme, US
and
featuring
European
film
This event will also gather our expert groups on cinema marketing, retail and technology. Since March 2020, we have kept the groups engaged via a series of virtual meetings and workshops that have served to demonstrate the sector’s ability to adapt to challenging times and ensure its swift recovery. These meetings and workshops have www.cinematech.today
00 39 // 21 8 2
>
4 7
U K C A
V I E W
UK Cinema Association Looks Forward to Its 2022 Conference Phil Clapp, Chief Executive, UKCA
I
t seems odd to be talking about
to encourage those audiences to return - will be one key focus,
another
informed by additional research from agency Red C.
UK
Cinema
Association
(UKCA) conference so soon after our last edition in October. But a desire to
Developing British Content
return to some sense of normality –
Another session will reflect one of the key takeaways from the
with the event ordinarily taking place each spring – means
last two years: that more needs to be done to develop British
that we’re looking forward to a gathering of colleagues from
independent films. While no territory was undamaged by the
across the industry in just a few weeks’ time.
pandemic, and in particular the absence of major studio titles
Our 2022 conference, titled “Re-embracing the Big Screen
for much of 2020, it is undeniable that many other European
Experience: Audiences + Content”, will take place on 5-6 April
territories were able to rely much more heavily on their
at the Picturehouse Central in London. As the name suggests,
domestic slate. But this was something UK cinemas were
the two days’ focus will be to recognise the strength of the
seemingly unable to do.
recovery of the sector as it has emerged from the shadow of
This is, of course, not a problem to which there is an
the pandemic. But also to identify what more might be done
immediate or short-term fix, but a more systemic issue
to encourage those who have not yet returned to the cinema
regarding the support and distribution of such titles. We’re
to do so.
therefore delighted that as part of the programme, the new
Our 2021 event arrived at a time of increasing confidence
Director of the BFI Film Fund, Mia Bays, will present her
in the recovery of the sector, driven by the extraordinary
proposals to address that challenge, and share some key
success of “No Time to Die”, released a few weeks prior. Since
upcoming films supported by the BFI.
that time, that sense of optimism has, if anything, increased,
In addition, for the first time, the conference will also
with a number of major box office successes - not least
include a half-day “One Community” event. Developed and
“Spider-Man: No Way Home” - and an increasingly strong slate
delivered by colleagues at the Cinema Technology Community
of major titles stretching out across 2022.
(CTC), this is perhaps something of particular interest to
But for all that positivity, there is clearly still work to be done.
readers of the CT Magazine.
Findings from the latest wave of the Metrixlab survey of
Whatever the subject matter under discussion though,
audience attitudes, commissioned by the cross-industry
much of the value of our event is due to colleagues from across
body Cinema First, confirm that older audiences are still
the industry coming together to network and share thoughts
somewhat reluctant to return, shown by perhaps lower
and experiences, including colleagues from film distribution
returns from many recent “events season” films than might
and those working across the wider media, retail and
have been hoped.
technology sectors.
This aspect of the recovery - and what more can be done www.cinematech.today
More Info cinemauk.org.uk/ the-big-screen experienceaudiences and-content
We very much hope to see you there. 0 3 / 2 2
>
4 9
E C A
V I E W
Building Back and Turning 10: An ECA Update Grainne Clarke, Managing Director, Event Cinema Association
W
hen looking back at last year, box office
encouraging to see audiences return en masse to the cinema
(BO) figures for event cinema didn’t
for big tentpole titles such as “Spider-Man: No Way Home”,
quite return to the expected, and hoped
which achieved soaring success.
for, levels. December 2021 was the
A full analysis of the event cinema box office can be found
biggest month for event cinema since
on our website, but below left is a snapshot of the key stats
before the pandemic taking £2.2m, though 2021 finished 45% down on 2020. More positively, if you take July-December (when cinemas
from 2021.
Celebrating 10 Years!
were open during both years) then BO is up 122% on the same
While we all still face many challenges, 2022 already feels like
period in 2020. But more broadly-speaking, it was definitely
the year we can start to effectively build back, ensuring we entice all audiences to return to the cinema to enjoy a wide
E V E N T C I N E M A 2 0 2 1
UK & IRELAND OVERVIEW
range of content. There is a strong pipeline of product for 2022, and proactive and collaborative marketing will be key to ensuring we reach and grow audiences for any and all content screened in cinemas.
£6.7m 2021
2021 box office for event cinema was £6.7 million for the UK and Ireland. 33% of event cinema box office was generated in December with the main titles being “Christmas with Andre”, “Anything Goes” and “The Nutcracker”. 68% of the total event cinema box office was generated by the top 10 titles of the year.
Excitingly, 2022 marks the Event Cinema Association’s (ECA’s) 10 year anniversary since it was established and across the year we will certainly be celebrating this milestone. We have already mapped out a series of key events that the ECA will either attend or deliver and we are very much looking
1%
of total box office
Market share is the lowest we’ve seen for event cinema in the last decade. Where it has strongly held 3% of total box office previously, 2021 saw it drop to 1%. Cinemas were largely closed from January to May with most cinemas reopening in July, so 2021 finished 45% down on 2020. But if you take July-Dec (when cinemas were open both years) then BO is up 122% on Jul-Dec 2020.
forward to seeing many of you over the year.
Key Dates A pril 5-6 UK Cinema Association (UKCA) Annual Conference (London, UK) A pril 25-28 CinemaCon (Las Vegas, US)
57
new releases
May (date TBC) ECA Slate Day (London, UK) Where we would typically have over 130 event cinema releases in a year, 103 titles were released in 2021, and only 57 of them were new. The highest growing genre in 2021 was concerts, which accounted for 54% of the event cinema box office.
J une 20-23 CineEurope (Barcelona, Spain) September
7 ECA Annual Conference and 10-year
celebration (location TBC) O ctober 25-29 MENA Cinema Convention (Dubai, UAE)
5 0
>
0 3 / 2 2
www.cinematech.today
New Opportunities for Event Cinema Event cinema has a proven ability to attract new and niche audiences. In 2020, 23% of audiences that attended event
H O W L I V E T R A N S M I S S I O N WORKS
cinema content were brand new to the cinema. We’ve also seen audiences’ appetites to experience a
Live Event
variety of content evolve and expand, and technological Cinema
advances have enabled even more opportunities for event cinema. Over the last two years in particular, the ECA has Service Provider
started to see new strands of event content attract younger audiences to the cinema. This is certainly an area the ECA will monitor, explore and discuss with the industry.
Managed Satellite Service Managed IP Service
The global growth of anime and the utilisation of PLFs
Satellite Receiver IP Media Device
(ScreenX, D-Box, 4DX), for event cinema content, gaming, and live sporting events, have clearly highlighted successful new ways of enticing new and, indeed, younger audiences for a completely unique experience. IP delivery is again showing promise in terms of a range of
At present, the major live broadcasted events are offered
opportunities, including more control over the quality and
through satellite
stability of content delivery, the ability to stream in 4K, and the
There are no IP-only events for major releases
option of improving audio quality. And cinemas can integrate
IP receivers can still deliver satellite events
YouTube, Twitch and Zoom – a great chance for operators
BOTH satellite and IP are able to stream events
looking to develop gaming at their sites while also providing an alternative solution for live events without the reliance on
Membership
satellite delivery. The associated costs and internet connectivity
As we begin to look forward, we’re focusing on delivering
are still hurdles for cinemas to overcome, but the ECA is keen
events and collating new data analysis to share with our
to explore and share the emerging possibilities with our global
members. But our reliance on membership has become more
members.
important than ever for us to continue our work. Membership was paused over the pandemic but during
ECA and CTC
the last nine months we have started to rebuild our global
Over the last year we’ve been working closely with the
community and now have members and individuals from
Cinema Technology Community (CTC). As a result, two
over 120 different organisations.
significant pieces of work have been produced; one piece is
We fully appreciate that the road to economic recovery is a
a set of materials to help exhibitors improve the delivery
long one and in the hope of ensuring that cost isn’t a barrier for
standard of live broadcasted events. And the second is a
those looking to join the ECA, we have once again reduced our
white paper on event cinema options for exhibitors,
membership fees.
covering off the necessary considerations in order for cinemas to screen live content. The test materials will be launched at the UK Cinema
Membership
2020 annual fee
New annual fee
All companies
£500 (+VAT)
£200 (+VAT)
£200 (+VAT)
£100 (+VAT)
Association Conference (UKCA) in April. Feedback so far shows
Individuals & cinemas
that the assets have been really well received, and we hope
(10 sites or fewer)
many members can benefit from the hard work that has gone into helping to improve the delivery of live events. Following on from the white paper, we know that there is still a lot of confusion over delivery options and which receiver
For more information or to become a member, please contact info@ eventcinemaassociation.org or visit the website and complete the member form at www.eventcinemaassociation.org
is needed to broadcast live events. Courtesy of the Cinema Technology Community, the top right image illustrates how live transmission works. Should you need to upgrade your receiver, you can opt for either satellite or IP – please let us know if you would like more information:
www.cinematech.today
00 39 // 21 8 2
>
5 1
C T C
U P D A T E
Creating the Conditions to Flourish Richard Mitchell, President, Cinema Technology Community (CTC) A STRONG final quarter for 2021 provided the industry with
checks, event cinema broadcast testing and much more.
a much-needed lift and gave significant proof that
CTC will once again partner with the UK Cinema
consumers had the confidence to get off their sofas and
Association (UKCA) to provide a range of technology-focused
return to cinemas to see long-awaited movies.
sessions at their upcoming conference (April 5-6) in London.
And while the opening months of 2022 have proved a
These will form the bedrock of CTC’s One Community Day
little underwhelming from a content perspective, the
which we will then share online with our global membership.
strength of the rest of the year’s slate has the potential to
We also have plans in place to restart our training courses both
provide a significant stepping stone back to pre-pandemic
in-person and using a range of e-learning materials. And we’ll
box office levels. So it’s essential that the industry comes
continue to educate and inform through a range of white papers, and a second installation of our
together and shifts its focus from survival to growth. But achieving that won’t be easy. The pandemic has created a skills shortage in our industry, the world is
Join our cause
series “Tech Talks”, over the coming months.
currently faced with component and chip shortages, and a
Behind everything that we
Throughout the pandemic, CTC has
worsening political situation in Eastern Europe creates a
do at the Cinema Technology
supported the industry and with a new
concerning backdrop for the entire world.
Community is a passion for
normal now here, we’re not taking a
ensuring
step backwards. In the coming weeks
Despite the challenges, prepare we must. At Cinema
that
the
moviegoers
Technology Community (CTC) we’re beginning to roll out our
have
best
cinema
we’ll be closing off our free Community
2022 programme designed to support our near 750-strong
experience possible. If you
Membership scheme and announcing
global membership to execute their growth plans. We want to
share that ambition, please
a
share knowledge and expertise across the industry on a wide
join our community today by
structure, allowing the industry to
range of topics including cyber security, 3D equipment spot
heading over to our site:
continue
cinema-technology.com
knowledge and expertise while placing
revolutionary to
new
benefit
membership from
CTC’s
us on a better footing to provide the CTC EXECUTIVE TEAM Richard Mitchell (President), Graham Lodge (Vice President), Mike Bradbury, Sandie Caffelle, Michael Denner, John Dowsland, Peter Knight, Sarah Lewthwaite, Adam MacDonald, Saul Mahoney, Andre Mort, David Norris, Markus Overath, Alessandra Pavan Bernacchi, Grainne Peat, David Pope, Toni Purvis, Simon Tandy, Patrick von Sychowski, and Paul Willmott.
5 2
>
0 3 / 2 2
technology content the industry wants CTC ADVISORY COUNCIL Tom Bert (Barco), Mark Christiansen (Paramount Pictures), Brian Claypool (Christie Digital), Theresa English (TK Architects), Ruth Hinton (Vue International), Mark de Quervain (Showtime Analytics), Jan Rasmussen (Nordisk Film), Dominic Simmons (BFI), Sriram Sistla (Harkness Screens), Alice Tentori (Digima), Julia Vinokurova (RealD)
and needs. Lastly, with the recent International Women’s Day we released our second Women in Cinema interview series, recognising the importance of diversity and inclusivity in our industry. www.cinematech.today
mne
We help you screen it Supporting cinemas, we design, sell, install and maintain cinema technologies and seating.
w: www.omnex.co.uk
t: 0161 477 7633
e: info@omnex.co.uk
Q
&
A
Diana Stratan Project Manager, UNIC CT: Please introduce yourself, your role and
the financial burden of the pandemic on our
project, growing it from an idea to where it is
your background.
members. So some of the exciting projects that
now. The community that we are building
I joined the International Union of Cinemas
we started before had to be slowed down. But
around it is extraordinary and empowering,
(UNIC) in 2016. When I joined, I was relatively
the signs show that we are building back
and I am happy to see our programme inspiring
new to the business as I was coming from the
stronger than ever, which is great.
other initiatives within our industry. On a more
nonprofit world. However, before UNIC, as part
Aside from that, while much progress has
personal level – for having my own back in
of an NGO, I organised screenings and post-
been made compared to, let’s say, 10 years ago,
situations that didn’t go my way and staying
movie discussions for disadvantaged youth. So,
we still lack diversity and inclusion within our
true to my values.
I definitely knew the power of a movie to start
industry: on screen, behind the scenes, and in
conversations, inspire and transform lives.
leadership roles. More diverse representation
CT: Tell us more about the UNIC Women’s
As Project Manager at UNIC, I am primarily
requires effort to attract and retain diverse
Cinema Leadership Programme…
responsible for organising and managing our
talent. We have to work together on this and
The Women’s Cinema Leadership Programme
main events: the UNIC Cinema Days in Brussels
make our industry more inclusive.
is our flagship initiative to help close the gender
and CineEurope in Barcelona. I am also
The good news is that we see more and
coordinating the UNIC Women’s Cinema
more initiatives being developed within our
our
Leadership
sector, which is wonderful!
programme in 2017, the numbers showed that
Programme,
our
mentoring
scheme. But because we are a small team in Brussels, we each do a bit of everything so there’s no time to get bored. CT: What’s your favourite thing about the
gap in senior management positions within industry.
When
we
launched
the
women occupied less than 7% of leadership
“I’m inspired by women who hustle and break stereotypes”
cinema industry?
roles in the exhibition sector. So we embarked on a mission to tackle that. In short, the programme takes the form of a
one-year
dynamic
mentoring
journey
providing “up and coming” female executives
The people, definitely! The passion and drive
CT: Who or what inspires you and why?
working in the cinema industry with an
that you see in our industry is truly special. It’s
I am easily inspired. But generally speaking, I
exclusive opportunity to network with and
an energy that you cannot find anywhere else.
am inspired by women in the industry who
learn from outstanding women leaders from
People breathe cinema and are dedicated to
hustle, break stereotypes and succeed in a
across the cinema landscape. Community
constantly exploring, innovating and making
male-dominated world. I find them fascinating
building is one of the programme’s most
the big screen experience ever greater. Industry
and am always curious to discover their stories
essential features. We keep current and
events are always an enjoyable place to be (and
and learn from them. Take a look at the latest
previous participants engaged via monthly
to organise). And also, let’s not forget the
Celluloid Junkie list of Top 50 Women in
newsletters, networking events and more.
privilege we have of watching movies as part of
Cinema, and you can see more than 50 sources
our work.
of inspiration in one place.
inspiring women leaders - and is still growing!
CT: What do you find challenging about the
CT: What’s your proudest achievement to
“Champions of the Programme” who, as joint
industry that you’d like to see change in the
date and why?
sponsorship partners, will be supporting
coming months / years?
On a professional level, I am proud of what we
UNIC’s mission to achieve a more diverse and
Of course, COVID-19 has been challenging our
have achieved with the UNIC Women’s Cinema
inclusive cinema industry.
industry for two years now. We are in the
Leadership Programme. I am honoured to
recovery phase, but we cannot forget about
have played a key role in the evolution of the
Our community includes more than 80 And we just announced Vista and IMAX as
5 4
>
0 3 / 2 2
Applications for the sixth edition of the programme are now open. www.cinematech.today
www.cinematech.today
Free online access to current and archive issues, news and articles.
Read
Download
Copy
Share
ccib barcelona
20-23
june 2022
C O N V E N T I O N A N D T R A D E FA I R CENTRE CONVENCIONS INTERNACIONAL BARCELONA (CCIB) CINEEUROPE.NET
O F F I C A L C O R P O R AT E S P O N S O R