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CINEMA SYSTEMS
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Glimpses of Theatre World
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Economy Showing: Downslide In 3D
Muvico's Showbiz in all-4K
CINEMA SYSTEMS
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Secrets of Mummies Projection SeriUnravelled in 3D Digital
The New Digital Asia
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A Digital Premiere & An Epic CINEMA SYSTEMS
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Projection Series-XXIII
FIRST PERSON
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This issue of TW has two sets of page numbers - International pages TW-1 to TW-82 for TW, and India pages TM-1 to TM-84 for TM. TM is inserted between pages TW-68 and TW-69 of TW.
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The BIG Honour!
Film Projection in 16mm
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Review - ShowEast 2008 Preview - CineAsia 2008 Preview - Cinema Today 2009
entertain world F U T U R E R E L E A S E S
ANNIVERSARY SPECIAL
CineAsia Macau - December 2008
Completing 10 years of dedicated industry service! It’s been persevering; it’s been challenging; It’s been reassuring; and it’s been fulfilling. It’s a moment of pride, and, it’s a moment of Thanksgiving too. Theatre World thanks all its advertisers, readers, and well-wishers Who stood by it all these years, and Continually energise our resolve To do more and do it better!
TW TM TheatreWorld
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e Mindshare MMindshar TW EDITORIAL
Yesterday, Today, Tomorrow When we launched Theatre World 10 years ago Indian cinema exhibition was vastly different. Cinema exhibition was dominated by single-screens that were trying to upgrade their sound systems from analog to digital with some also changing their consoles from arc-carbon to xenon. Murmurs of multiplexing were being heard with PVR having opened the country’s first multiplex at New Delhi a couple of years earlier. The most vibrant cinema exhibition region was South India and anybody who was a somebody in his town or village would construct a singlescreen theatre. However, the single screen was shunned by the urban middle class and closing down gradually.
Today in India, multiplexing is well accepted with Mumbai-based multiplexers showing the way. Multiplex is the numero uno hangout place for the urban youth and the middle classes are back so much so that Bollywood makes what is popularly known as ‘multiplex movies.’ While South remains the most vibrant region, the cinema exhibition scenario is beginning to be dominated by the big boys from Mumbai who are snapping up single-screens fast and furious. Digital sound and xenon consoles is a given. Today the murmurs are about digital cinema (not to be confused with electronic cinema that took off with great fanfare but now seems to have lost steam).
Theatre World was launched in 1999 on a whim and a fancy. There was no business plan just passion. I did not think then that pure passion play would take us to 40 issues in 10 years but it has and looks like a good thing going that will surely last the next decade of its existence if not more. Coming to know of a Films Fair show at Hyderabad we packed a few copies of the concept edition and got it launched by none other than Chandrababu Naidu, then chief minister of Andhra Pradesh, the man credited with putting Hyderabad on the world map.
What is it going to be like tomorrow? In the next 10 years cinema exhibition will have to overcome numerous challenges bedevilling the industry. And for this, the multiplex owners will have to get off their high horses and come together on an industry platform that addresses their issues. For sure, there is supposed to be a Multiplex Association of India but it is a non-starter. An association that enables a maturing industry to overcome challenges is the need of the hour. There is also a clear case for consolidation. The biggest national circuits by current screen count are Adlabs, PVR and Inox in In our enthusiasm to spread the that order. The next three are Fun, good word that here was an Theatre World Launched! (L-R) Fame and Cinemax with almost industry first, a publication Chandrababu Naidu, Pramod Mahajan, same screen count. There are plenty Sandeep Mittal, Mario Benedict dedicated to cinema exhibition, we of regional circuits with national printed 10,000 copies of the first four aspirations like Broadway, Era, SRS, Wave etc. India issues in 1999 and mailed to each of the single-screens should see 3-4 national players. of India. There were supposed to be 12,500 screens with some 2,000 defunct and another 500 in remote regions. The challenges include rapid strides in home To our disappointment we got a very poor response of entertainment with DTH television and state-of-the-art less than 1,000 and we knew we had a challenge on our home theatres with the impending Bluray improving hands (for the record, we are yet to recover those initial picture quality dramatically, sports as entertainment losses). However, it steeled us to ensure that Theatre with T20 cricket and IPL-type series, terror attacks on World not only survives its baby steps but grows to public places that includes malls (the recent terror become an industry platform and there is some attacks on Mumbai hotel saw malls and multiplexes shut satisfaction today that we have achieved our objective. for 3 days), absence of good content that can give the movies a longer lease of life at the theatres, assimilation Every few years we got written off by the pessimists of cutting-edge technologies including digital 3d etc. and the last time our epitaph got written was when However cinema exhibition will survive all this and another publication commenced in 2003. Our more, as it has done over a century, and remain a quarterly format and superior production values were viable destination entertainment resource for a long ridiculed and cited as drawbacks but we persevered time to come. For sure, Theatre World will be around and the results are there to see. The content and the to get it all to you. advertising says it all. I can immodestly say that Theatre World is an industry standard not only in India and Asia but the world. Theatre World is the first magazine of choice and the only publication from Asia, represented without a break, since 2001 at the Sandeep Mittal four major industry shows – ShoWest, CinemaExpo, Editor / Publisher ShowEast, CineAsia Theatre World condoles the loss of life during the recent terror attacks on Mumbai’s hotels.
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ANNIVERSARY SPECIAL Value - IRS 150 (US$ 15)
TW TheatreWorld
Issue # 40 / December 2008
Never doubt that a small group of thoughtful committed people can change the world. Indeed, it is the only thing that ever has.
CONTACT DETAILS POSTAL ADDRESS ‘Sai Darshan’, 231, 7th Cross, Indiranagar 1st Stage, Bengaluru 560 038, India COMMUNICATIONS Phone +9180 2521 5107 / 2527 2812 Fax +9180 2520 5094 EDITORIAL Bhavanashi Ramakrishna (Ram) ram@sandy.in Mobile +9198 4587 2794 ADVERTISING Bobby Chetia bobby@sandy.in Mobile +9198 9250 4871 CIRCULATION Yashodhara S info@sandy.in
TEAM SANDY (in alphabetical order)
CINEMASCOPE
Bhavanashi Ramakrishna Bobby Chetia Divya Rajgarhia Mohanraj V Raghavendra T Yashodhara S Positives & Print Ramya Reprographic, Bengaluru Published by Sandeep Mittal on behalf of Sandy Media ‘Sai Darshan’, 231, 7th Cross, Indiranagar 1st Stage, Bengaluru 560 038, India Phone +9180 2527 2812 Fax +9180 2521 5094 info@sandy.in www.sandy.in Regional Offices ‘Sai Prasad’, 51 Regency Chambers, National Library Road, Bandra (W), Mumbai 400 050 Phone +9122 2643 9732 Telefax +9122 2640 5023 ‘Sai Krupa’, 67 Masjid Rd, Jungpura Bhogal, New Delhi 110 014. Phone +9111 2437 8061 Telefax +9111 2437 4848 ‘Sai Leela’, 71, F024 Stonedge Tower, 1st Floor, 1st Avenue, Ashok Nagar, Chennai 600 083. Phone +9144 2474 0907 Telefax +9144 2474 0908 RNI # KARENG02795/10/1/2002-TC
Layout & Graphic Design Raghavendra T
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It’s been ten years now since TW (TheatreWorld), began showcasing the Show Business in its own inimitable style. Evidently, it’s been a kaleidoscope of the global motion picture exhibition industry, as well as an effective interactive platform between the industry and the wide spectrum of professionals associated with it: architects, acousticians, interior designers, technocrats of sound and projection, ticketing, concessions consultants, and, of course, the cinema builders! Due to the kind of content it has been churning out issue after issue, there had been a persistent demand from discerning readers that the magazine should have a letters column through which they could express their views and share information. Admittedly, we did not realise that our effort would be valued so high, which was why we did not contemplate having a letters column so far. It’s been a fulfilling factor too for us. On completion of a decade of striving existence, we are pleased to commence a Cinemascope column under which our discerning readers can share their views. We invite all our readers to send their opinions as well as suggestions relating to the industry and our effort in making it better. It may kindly be noted that for convenience of lucidity, the letters may be edited suitably, and Cinemascope retains the right to accept or reject any letter depending on the merit of the subject discussed. So, please do send in your views to Cinemascope. Mail your feedback to ram@sandy.in
Theatre World is a quarterly publication, on the motion picture exhibition industry, for private circulation. It reaches out to subscribers, mainly theatre owners and trade professionals in India, also subscribers in select Asian cities. Additional copies are being promoted at major international industry events. Theatre World seeks the healthy promotion of the theatre industry through dissemination of useful information. Some of the information is compiled from industry sources, trade journals, company brochures for the benefit of readers, especially, theatre owners. Theatre World acknowledges with thanks the authors and publishers of these printed materials. Views expressed in the articles are those of the authors and not necessarily of Theatre World. Theatre World is a trademark under registration. The contents of Theatre World are under copyright registration. All rights reserved. Reproduction by any means in whole or part without written permission is prohibited. Unsolicited printed material is welcome but no responsibility is undertaken for the same and will not be returned. Theatre World does not take responsibility for the absolute accuracy of information published.
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Christie Surpasses 5,000 Milestone Christie Digital Systems has surpassed the historic 5,000 digital cinema milestone, posting a record 5,197 completed installations worldwide just three years after launching the world's largest digital cinema deployment plan. "Surpassing the 5,000 milestone is a remarkable achievement, not only for Christie, but for the cinema industry itself. In 2005, there were only a handful of installations in the entire world and many people questioned the long-term viability of the move to digital," remarks Jack Kline, president and COO of Christie Digital Systems. "As the market faces more competition, it's helping to drive innovation and we're seeing interesting growth opportunity around the world. The long term prospects are strong and we look forward to maintaining a steady pace of installations for years to come." According to him, Christie digital cinema contracts are marked by deployments on a large-scale, the first of which was the launch of the largest deployment in history - the 4,000-installation contract with AccessIT through the groundbreaking Christie/AIX funding plan. This agreement led to the fourth largest exhibitor Carmike Cinemas in the United States to "go digital" in 100 per cent of its 2300 screens. "Christie/AIX was a landmark achievement for the industry," recalls Bud Mayo, chairman and CEO of AccessIT. "With Christie's strong product line, service and support, our server partner, and AccessIT's software and network technology, we provided the world with the first viable network technology and business model for the successful deployment of digital cinema. The Christie/ AIX deployment plan is recognized today as having sparked the digital cinema revolution." In addition to AIX, other major digital cinema deployments for the projection major that marked 100 per cent conversion include: •
180 screens for Arts Alliance Digital Cinema (AADC), which selected Christie projectors for the roll-out of the digital screen network for the UK Film Council. This digital screen network marked the world's first digital cinema deployment on a large scale.
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400 screens for Arts Alliance Media (AAM), which selected Christie as the exclusive digital projector provider for French cinema chain Circuit George Raymond (CGR) Cinémas. The agreement also saw CGR Cinémas become the first European cinema network to convert completely to digital cinema exhibition.
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193 projectors for XDC's first large-scale deployment in Austria. The agreement with Cineplexx Kinobetriebe GmbH, Austria's largest cinema chain, will result in 100 per cent conversion of the circuit's 193 screens.
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200 projectors as part of an exclusive contract with Scrabble Entertainment (SE), launching India's largest single digital cinema deployment. This was a historic development that finally brought the digital cinema revolution to India.
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100 projectors for the Shanghai Film Group (SFG) Corporation's United Circuit in China.
Christie was also part of Canada's largest digital cinema conversion of 25 theaters across the country for Cineplex Entertainment, the country's leading cinema operator. One of most credible installs for Christie tilldate has been the install for Warren Theatres' spectacular new 14-screen multiplex in Moore, Oklahoma. The Moore Warren Theatre, said to be the most expensive in the history of the state, is also one of the largest, with luxury accommodations and screens up to 80 feet wide and four stories tall, is arguably the most luxurious alldigital multiplex.
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• GLOBAL TALK •
Digital 3D Upgrade at Constantin Screening Room After Warner Bros. Entertainment, now the major German film producer and distributor Constantin Film had a D-Cinema system installed at their screening room in Munich. At the beginning of the year, Kinoton had integrated a compact DCP 30 SX digital cinema projector into the screening room of Warner Bros. Entertainment in Hamburg. The digital projector shares the room in front of the projection window with an electronic FP 30 E film projector. Now the renowned European film producer and distributor Constantin Film has gone the extra mile: The DCP 30 S digital cinema projector recently installed at their screening room in Munich features an integrated Dolby 3D system that enables it to present stereoscopic pictures in full 2K resolution. This installation corresponds with Constantin Film's plans to produce the first German 3D animation movie, according media agencies. At the same time, the new D-Cinema
system perfectly complements the existing professional digital projection system at the Constantin Film screening room which can reproduce various digital formats from different sources, e.g. Digibeta or DVDs. Nonetheless, for Constantin Film and Warner Bros. film projection is not by far off the stove yet: Only three years ago, Kinoton had installed an electronically controlled studio film projector at the Constantin screening room. This projector is suitable for 35mm movies as well as for the typical 3-perf. post-production format. This flexibility regarding digital and analog projection formats is important as Constantin use their screening room as a reference cinema as well. Here, filmmakers can view their finished works and check if the outcome of the shooting and the post production process met their expectations. After this, the new movie can go into the exploitation chain of the entertainment industry.
RealD Goes Green with Bolt When Walt Disney Pictures' newest animated comedy adventure Bolt opened on 21 November this year, audiences in over 1,000 theatres across the US not only enjoyed a family film about an action-star dog who believes he has superpowers, they were also able to see it in RealD 3D, and then - with no superpowers required - helped save the earth by recycling their 3D glasses in the theatre itself. With the opening of Bolt, RealD expanded a comprehensive eyewear recycling programme, available for moviegoers to deposit their glasses after seeing the movie. However, moviegoers can keep their glasses as a souvenir to remember their RealD movie experience. Since RealD launched as a company, recycling its glasses has been a goal. When Journey to the Center of the Earth opened in July, it began a successful pilot programme with several exhibitor partners, leading to the new comprehensive programme. There are over 30 3D movies already announced to be released within the next three years. "Like any successful recycling programe, it's about making it easy for people to recycle," stated Michael V. Lewis, RealD chairman and CEO. "We appreciate the participation of our exhibitor partners and know that audiences will appreciate the convenience as well." For the super-dog Bolt - for whom voice was rendered by John Travolta - every day is filled with adventure, danger TW-14
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and intrigue-at least until the cameras stop rolling. When the star of a hit TV show is accidentally shipped from his Hollywood soundstage to New York City, he begins his biggest adventure yet-a cross-country journey through the real world to get back to his owner and co-star, Penny (voice of Miley Cyrus). Armed only with the delusions that all his amazing feats and powers are real, and the help of two unlikely travelling companions-a jaded, abandoned housecat named Mittens (voice given by Susie Essman), and a TV-obsessed hamster named Rhino (voice given by Mark Walton) -- Bolt discovers he doesn't need superpowers to be a hero. Directed by Disney veterans Chris Williams and Byron Howard, Bolt is a hilarious, fun-filled, actionpacked animated comedy adventure in Disney Digital 3-D.
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• GLOBAL TALK •
Imax's Big Pitch: 5 More Theatres Making a strong pitch in different movie geographies, Imax Corporation signed deals with big exhibition chains in Europe involving setting up of four Imax theatres, followed by one more in the US.
$995 million worldwide Box Office More than $62 million in giant-screen
The deals signed include two for the Triumph Group of Companies, a leading media, entertainment and film production company in the Ukraine, two for ODEON Cinemas Ltd., Europe's largest exhibitor, and one for Lincoln Square Cinemas in Washington State. In Ukraine: In a landmark deal, the Triumph Group of Companies signed an agreement with Imax to add to the company's roll-out of Imax(R) theatres in the country. Kinokompaniya Triumf, which already had a deal to install two Imax theatres in the Ukraine, has signed on for a third theatre to be installed in Kharkov in 2011, with an option for a fourth theatre to be installed in the capital city of Kyiv. Triumph installed its first Imax theatre in Kyiv recently, and its second system, which was upgraded to a digital projection system pursuant to the parties' new agreement, is scheduled to be installed in the city of Odessa in 2010. The current deal is part of an overall increase in the European exhibitor's interest in the Imax business, fuelled by the introduction of Imax's new digital projection system. There are now a total of 13 Imax theatres scheduled to be operating in Russia and the Commonwealth of Independent States (CIS) by 2011. "Our new Imax theatre in Kyiv has already delivered impressive results with extremely happy customers as well as strong ticket and concession sales," said Andriy Shpyg, general director of Triumph. "Now we're very excited to expand with more Imax locations," he said, adding "after just 20 days of operation, we sold 17,000 Imax tickets at a premium price, which demonstrates that The IMAX Experience(R) drives incremental attendance and revenue." With Odeon: Odeon Cinemas Ltd. announced an agreement to install two Imax (R) theatres in Great Britain. The deal marks Imax's second European theatre announcement in two weeks. Under the terms of the sale, Odeon Cinemas will install an Imax digital projection system at the Odeon Greenwich multiplex in London, and another at the Odeon Wimbledon multiplex in South-West London. Both are scheduled to be completed in December 2008. "The economical advantages of Imax's new digital projection system combined with the ongoing success of our existing Imax theatre in Manchester has made the decision to expand our Imax footprint very easy," said Rupert Gavin, CEO of Odeon Cinemas. "The Imax theatre business has proven to be a very reliable source of incremental attendance and revenue, and the earning potential increases with Imax digital." Lincoln Square Cinemas: Lincoln Square Cinemas will install an Imax(R) theatre in the top performing multiplex in Washington State. Under the terms of the agreement, Lincoln Square Cinemas will install Imax's new digital
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projection system at its flagship multiplex in Bellevue, Washington during the second quarter of 2009. "We take great pride in our commitment to providing the best experience for our customers, and we're very excited to incorporate the Imax brand and The Imax Experience (R) into our operation," said Phil Harris, Founder of Lincoln Square Cinemas. "Imax's digital projection system has made it much easier for us to get into the Imax business, both economically and logistically, and the immersive power of IMAX will make it much easier for our customers to get into the movies - literally." Imax Co-Chairmen and Co-CEOs Richard L. Gelfond and Bradley J. Wechsler added "our digital projection system is creating new opportunities for us with respected regional exhibitors such as Lincoln Square Cinemas, and it's fuelling significant growth of our network." " To date, Imax has signed contracts for more than 200 Imax digital projection systems, with 34 currently in operation and approximately 45 scheduled to be in operation by year end. 'Big' Pictures in Store for Disney: The Toronto-based large format cinema major announced a comprehensive pact with Disney Studios to release five 3-D movies in Imax theaters simultaneously with their openings in conventional venues. The deal follows Imax's success from a long-running relationship with Warner Bros. and more recent day-and-date arrangements with other studios. The Disney agreement will come into force with the 6 November, 2009, release of Robert Zemeckis' 3-D animated feature A Christmas Carol. "Imax has a great track record and a loyal following when it comes to presenting epic entertainment," Chuck Viane, Disney distribution, said. "We believe we have a unique and exciting slate of movies that lend themselves to the Imax format." Imax has been aggressively working to transition from an emphasis on space and nature films to the regular release of commercial Hollywood tentpoles in its proprietary giant-screen format. In a related move, Imax is converting hundreds of its auditoriums to digital projection in a transition to digital 3-D exhibition.
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• GLOBAL TALK •
AAM's Success with Satellite-based Delivery Arts Alliance Media (AAM), Europe's leading provider of digital cinema technology, content and deployment, has successfully transmitted the 2008 Palme d'Or winning movie, Entre Les Murs, in a full digital cinema package (DCP) via satellite, directly to the library server at Circuit George Raymond (CGR) Cinemas' Megaplex site in Villenave d'Ornon, Bordeaux. CGR Cinémas is one of France's largest cinema chains. The test transmission, of Entre Les Murs, distributed by Haut et Court, took place recently with AAM using their new content delivery platform - Arqiva's Content Delivery Network. The 216 GB file was transmitted and loaded onto the server at CGR Villenave d'Ornon without any
operator intervention. Satellite transmission of digital movies to cinemas is widely seen as the future of distribution, moving on from the current system of shipping digital cinema processed films on hard drives, resulting in considerable time and cost savings. Rich Phillips, AAM's head of technical operations, commented "this is a first for AAM, and we are pleased to have established the capabilities of our Content Delivery Platform, and believe that this test demonstrates the potential for future satellite delivery of content to cinemas." Barrie Woolston, commercial director at Arqiva Satellite & Media, added "Arqiva's extensive satellite expertise means that we can partner with AAM to provide delivery services for digital cinema releases, and also provide satellite support for live events into cinemas." Arts Alliance Media has installed 374 digital cinema screens to date, including over 100 in France as part of the conversion of all CGR's 400 screens to digital.
Sony in Pact with Fox, Paramount Twentieth Century Fox, Paramount Pictures, and Sony Pictures Entertainment have entered into separate non-exclusive digital cinema deployment agreements with Sony Electronics' Digital Cinema Solutions and Services (DCSS) group. The agreements relate to supplying exhibitors with feature motion pictures in digital form in order to promote the use of digital cinema projection systems. The new agreements will provide certain operational and financial resources to encourage exhibitors to implement digital cinema systems that will feature Sony's DCI-compliant 4K SXRD projection technology. The separate
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• GLOBAL TALK • agreements vary among the companies and extend to digital cinema efforts in certain countries in North America, Europe and Asia. The Sony DCSS group was formed to provide turn-key solutions for exhibitors that will enable them to efficiently convert their operations to digital technology. In addition to digital projection system deployment, Sony's DCSS group will be in a position to offer critical services for exhibitors such as installation and maintenance, along with customized solutions and high-level service support - which can all be provided by a turn-key Sony DCSS solution.
According to Jeff Blake, chairman, worldwide marketing and distribution for Sony Pictures Entertainment, "as digital cinema programming becomes more prevalent in the marketplace, consumers will experience entertainment in bold and exciting new ways with superior state-of-theart sound and picture quality, as well as the deployment of alternative forms of content." Sony Pictures recently launched The Hot Ticket, dedicated to exploring and creating alternative programming for digital presentation in theatres.
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In a joint statement, Bruce Snyder, president of domestic distribution of Twentieth Century Fox and Paul Hanneman and Tomas Jegeus, copresidents of Twentieth Century Fox International said, "Fox is committed to supporting the highest-quality solutions for exhibitors as they make their transition to digital cinema on a global basis. It is important that exhibitors worldwide have the widest choice of solutions available to them. By working with Sony and its range of available technology, experience and stability, our goal is to continue to make the transition to DCI-compliant digital projection systems as smooth as possible. We're proud to be working with Sony DCSS to further advance digital cinema on a global level." Jim Tharp, Paramount Pictures president of domestic theatrical distribution added: "Paramount is committed to maximizing new, creative opportunities to encourage the conversion to digital projection and to broadening the availability of high quality 3D cinema. Our collaboration with Sony's DCSS team is a great step toward that end. We look forward to continued cooperation in the future." Sony's 4K projection technology will also contribute to the deployment of alternative content - including gaming, sporting events and music concerts - in order to develop more revenue-generating opportunities for exhibitors as the industry transitions to digital delivery.
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Lin Yu Vice President of Sales, Asia Pacific Christie Digital Systems
Congratulations to Theatre World (TW) for being around for 10 years. TW has been a delightful read with its extensive coverage on the developments in the region as well as around the world. Over the years, it has evolved but continued to serve its mission to provide the latest information on the cinema industry in terms of technology and news. We would like to thank TW for its great stories and support over the years. We look forward to seeing TW celebrating its next 10 years and more to come.
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Guy Hawley Senior Director, International Sales Dolby Laboratories
Congratulations to everyone at Theatre World on your tenth anniversary. The last decade has been a time of great advance for the cinema world and Theatre World has proved to be an invaluable source of information for professionals in the cinema exhibition and technical design industry. The mix of international and domestic news, views and articles have always been informative and entertaining, providing subscribers with vital reading and insight into the Asian Market. Congratulations once again and we look forward to the next 10 years.
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Doremi‘s New DCP-2K4 Digital Cinema Server Doremi Cinema, a leader in digital cinema technology, today announced the launch of its latest Digital Cinema Server, the DCP-2K4. Building on Doremi’s DCP-2000 platform, which was the first JPEG2000 payback server on the market, the DCP2K4 provides the same robust feature sets and performance of the DCP-2000 with added ingest inputs, which gives exhibitors flexibility on the receipt and ingest of content for digital playback. In addition to ingest via USB and Ethernet, the DCP-2K4 contains a DVD player for small package ingest and a pluggable CRU for file ingest at SATA 2 speeds. Features, trailers, policy reels and other content from national and local advertisers are quickly and easily ingested and scheduled for playback. ”The engineering knowledge that comes with over 5200 DCP-2000 server installations is invaluable. Michael Archer, VP, Digital Cinema at Doremi comments. The DCP-
2K4 configuration is another opportunity for Doremi to provide exhibitors the very best in digital cinema technology”. DCP-2K4 includes CineLister software for easy movie clip and play list administration and features Cinelink II and forensic watermarking. The DCP-2K4 features 1 TeraByte of RAID5 storage in a 4RU chassis with redundant power supplies. For more information about Doremi’s new DCP2K4, visit www.doremicinema.com, or call +1-818-5621101 and talk with one of our sales professionals.
JBL’s NextGen. D-Cinema Loudspeakers Continuing to provide cinema exhibition venues and postproduction facilities with unprecedented audio performance and advanced technology, JBL introduced the second generation of its award-winning ScreenArray digital cinema loudspeakers. These “next generation” ScreenArray systems feature the new large-format 3-inch neodymium, titanium diaphragm, high-frequency compression driver for ultra high performance. This new high-frequency driver is coupled with the new patented high-frequency horn featuring Screen Spreading Compensation to correct for high-frequency dispersion through perforated screens. The new low-frequency sections feature the patented Differential Drive, Direct Cooled, 15-inch woofers for improved power handling and reduced distortion. All of the new ScreenArray series models have new Optimized Aperture waveguides for ultra low distortion and extremely uniform frequency response. Each system has improved, patented, crossover design using the most advanced computer modeling. The next generation of ScreenArray speakers consists of the 4732, 3732 and 3731 3-way systems that are available in both triamplified and biamplified versions, and the 4722 and 3722 2-way speakers that are available as both biamplified and fully passive systems.
“The new ScreenArray loudspeaker models build on the success of their revolutionary predecessors, while at the same time truly representing the next generation in cinema loudspeaker technology,” said Chuck Goodsell, director of cinema marketing, JBL Professional. “With these new models, the bar has been effectively raised for sound quality in the most state-of-the-art theaters around the world.” New Digital Surround Cinema Loudspeakers: JBL introduced two new Digital Surround Series loudspeakers as latest additions to its award-winning line of cinema loudspeaker systems. The two new surround models, the 8320 Surround and the 8350 Surround, join the popular 8340A Surround loudspeaker to provide an ideal surround sound solution for every digital application. The new JBL 8320 compact surround loudspeaker boasts 150 Watts of power in a very compact molded enclosure. The 8320 low-cost system features internal Thermomaster technology, which allows for unprecedented high-frequency power and an 8-inch longthrow woofer for extended low frequency. The new JBL 8350 high power digital cinema surround loudspeaker offers 350 Watts of power and very high sensitivity for digital presentations that require extended
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• PRODUCT WATCH •
dynamic range. The high-frequency section features a titanium compression driver with a constant coverage horn for high output capability with very even high frequency coverage. The JBL 8340A Surround has been the choice of theaters and post-production venues throughout the world and remains the standard of the new JBL Digital Surround Series. The new 8320, new 8350, and 8340A Digital Surround Series models are THX-approved.
“The addition of the new JBL 8320 and JBL 8350 Digital Surrounds to the JBL Cinema line ensures that the Harman Cinema Group can meet the requirements of every cinema application and price point throughout the world,” said Goodsell. “With JBL ScreenArray screen channel systems and the new Digital Surround Series powered by Crown DSi amplifiers, the Harman Cinema Group provides the most advanced total cinema sound solution in the cinema industry.”
DTS’ New Product Range for D-Cinema DTS Digital Cinema is bringing to the digital cinema industry three new products of robust performance. The new products include the DTS Digital Cinema DCinema Server, the new XD20 Media Player, and new Theatre Management System (TMS). The new DTS Digital Cinema D-Cinema Server is a market leading Screen Management System (SMS) designed for the playback of D-Cinema content in the cineplex. It integrates fully with the DTS Theatre Management System and is designed to meet the requirements outlined by the Digital Cinema Initiative (DCI). The server is designed to be highly robust and reliable; proven by the already substantial install base. It offers a flexible user-friendly interface, plug and play ingest, and simple scheduling of JPEG2000 and HD-MPEG2 content. Supporting 2K and 4K resolutions, the DTS D-Cinema Server is compatible with all available 3D systems and can provide control of external captioning devices. XD20 Media Player: The DTS Digital Cinema XD20 Media Player features award winning digital media playback solutions for both film audio and high definition video. The XD20’s feature-rich functionality includes eight audio channels of synchronized digital surround sound, 96/24 playback, enhanced video up to
1920 x 1080p for alternate content, built-in networking and pre-show programming capability and optional Access technology for subtitling, captioning, and audio description. The unit’s internal hard drive can store over 500 hours of film soundtracks, 88 hours of pre-show video and stills and 17 hours of high definition content all of which can be loaded via network or through the DR-1, an external DVD drive unit. The XD20 can also decode Dolby AC-3, DTS Coherent Acoustics and PCM soundtracks from video sources. Theatre Management System: The DTS Theatre Management System (TMS) is a software platform that enables users to control, manage, and orchestrate their digital operations. The system networks site servers, D-Cinema players and projectors into a digital network with fully integrated management services to support all player devices. The system handles the ingest and movement of content, management of system users, control of d-cinema hardware, construction of playlists, import or creation of show schedules and access to reports and logs. Additionally, the application allows real time status updates of network and hardware health, management of key expiration schedules, which all can be accessed from anywhere in the world through a web based interface.
GDC Unveils New Digital Cinema Servers GDC Technology recently introduced two new digital cinema server models, its fourth generation digital cinema playback servers designed to fully comply with DCI specifications and FIPS-140 security requirements. The two new models SA-2100A and SA-2100T are advanced versions of the highly successful model SA2100, retaining all its features that include: 2K/4K DCI MXF JPEG2000 playback, DCI MXFJPEG2000 3D playback, MPEG2 MXF Interop playback, CineLink II link encryption, CineCanvas image and subtitling management, FIPS-140 security features, DCI-approved forensic watermarking, HDTV live streaming/store-andforward capabilities, highly stable Linux-based
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operating system, touch screen user interface and ingest of Digital Cinema Packages (DCPs) via physical media, network and satellite. SA-2100A and SA-2100T offer increased storage capacity and flexibility, and come with a number of new features.
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A Decade of Difference! “To know how to grow old gracefully is the master work of wisdom and one of the most difficult chapters in the great art of living.” - Amiel We quoted these famous words when we introduced India’s oldest operational cinema to the readers in our second issue in January 1999. Ten years from where we began our journey, we rediscover the relevance of the dictum. For, the way Theatre World grew year by year, transforming from a ‘new kid’ publication to a reference guide to the cinema exhibition community, globally. Traversing through difficult times, meeting the challenges of deadlines, nay, demands of the day, and rising to the occasion, Theatre World has come a long way. Five years is generically considered one generation in today’s fast-paced world that is also surcharged, if not surmounted, with a gadgetry battery. Going by that, we are past two generations, and moving into the ‘next generation’ of gadgetry. At this point in time, as we resolve ourselves to be a preferred gadget by every reader and follower of cinema industry, we take pride in presenting a glimpse of what we have been, all these years. This is not a statement of accomplishment, it’s an effort to rediscover ourselves, and stay tuned and committed to what we believed. Focus on the ‘I.’- Introduce, investigate, introspect and, improve the intellect- in the line of our action.
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• SPECIAL FEATURE •
1998
The concept edition: Released as an Exclusive Newsletter on Theatres & Acoustics, the very first issue of Theatre World gave a brief account of cinemas and their acoustics. In focus here is Cinemax & Cinemagic, Mumbai
1999 January
The inaugural edition: The January 1999 featured something few would have laid their hands on: India’s oldest running cinema- Elgin Talkies. The1896-built entertainment venue-turned-cinema has been running uninterrupted till date.
1999 September
Newsletter evolved into Newsmagazine: The publication, now bulkier and glitzy, began addressing issues of diverse nature but of interest and benefit to cinemas- ranging from focus on patrons’ interests to maintenance of washrooms; It had columnists from international community
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• SPECIAL FEATURE •
1999 December
Hand in hand with industry: As Indian cinema evolved, so did Theatre World. The December issue featured ‘technical aspects of auditorium design’ by David Mesbur, one of the globally-acclaimed duo of Mesbur-Smith Architects
2000 March
Size does matter: Having seen ‘Jurassic Parks’ and ‘Titanics,’ being Big naturally appeals, but needs techno-knowhow. Theatre World, now a holistic Asian Perspective on motion picture exhibition industry, here broaches the evolution of digital cinema. Russel Scott, an eminent in the field presents a perspective.
2000 June
The ‘Magic’ of Theatre World: With an exclusive India section, the magazine not only grew in size, but also in scale to explore the future of cinema- if it was evolution or revolution, as debated in this issue by John Baily. The publication is already a forum for global opinion, with regional touch
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• SPECIAL FEATURE •
2000 September
An Agent of Change: Having begun growing in size and scale, Theatre World presents to the industry the professionals who were making a difference. Sametime, began throwing more light on technical knowledge. Here, Iaon Allen of Dolby presents the impact of screen size on picture and sound, for the benefit of exhibitors wanting to get their basics right.
2001 March
Multiplex mechanisms: As multiplexing began expanding pan-Asia, most markets needed to get their information right. This issue presented one aspect of that - technical cosiderations for cinema design of multiplexes. The feature was presented by Ian Gooding, one of the authorities on the subject
2001 June
India’s ‘Big Picture’ begins: World’s largest large format Dome Theatre is created in Mumbai, by Manmohan Shetty, one of India’s daring dreamer and achiever too. Theatre World acknowledges the ‘big’ exploit as its cover story
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• SPECIAL FEATURE •
2001 September
Asia goes digital: It is a phenomenon by itself; Hiroshima explodes, not with atom bomb, but with ‘T-Joy’! The joy of being the world’s first commercial digital cinema site. Theatre World, now acknowledged as technology resource magazine, shares the Technology-Joy!
2001 December
Principals & the Principles: As India, and other Asian geographies begins to form new multiplex contours, they needed the vital design guidelines of international order. David Mesbur comes back with his pack of principles for the aspiring entrepreneurs.
2002 March
The Newsmaker of the Big Screen: Theatre World, having carved its niche, begins to acknowledge and award change multipliers who contributed significantly to the genuine growth of the Industry. The first, and the ultimate choice was one- Manmohan Shetty.
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• SPECIAL FEATURE •
2002 June
The art deco flavour: It’s not just technology and business of cinema that Theatre World talks about. It also showcases the art deco flavours of cinema- like this one, on the outskirts of Kolkata.
2002 September
The multiplex metamorphosis: As Indian cinema building began expandin all around, the diverse processes of developement too began undergoing a metamorphosis, for a better tomorrow. Theatre World is alert in tracking the change, both for the multiplexes, and for the conventional single-screeners
2002 December
The cinematic splendour of South India: It’s been the leader, it’s been grand, and it’s been rich. Home to some of the best cinemas (in Asia!), South India offers a point or two of cinema business. Theatre World captures it, for its global audience.
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• SPECIAL FEATURE •
2003 March
Going places, literally: Even as it closely followed the technolgoy traits of cinema - like this one, India’s first Imax 3D theatre - Theatre World began going (to) places. For the first time, it partnered with CineAsia, Asia’s premier cinema exhibition forum, thereby laid a road for knowledge excahnge
2003 June
Novelty thy name: Even as mutliplexing was gaining momentum, Indian traditional cinema continued the ‘novelty’ it pursued so religiously. Theatre World presents just one leaf out of the big, never totally read book that India is.
2003 September
The ‘big’ dream of cinema business: As India’s new cinema began to grow on professional lines, than on proprietary line, it gave conducive environment for professional, technology services. And Theatre World is there to take note and present to those who do not know
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• SPECIAL FEATURE •
2003 December
The Light of Technology: A technolgy resource publication for Asian cinema, Theatre World throws light on all aspects of the operation. This time on screen lighting, presented by Terri Westhafer
2004 March
Revisiting the past: Theatre World completed five years. It revisits some of its moments of glory, as also those of the Indian cinema, its ‘grand’ sum and substratum.
2004 June
Digital & detail, by design: The technology of cinema (building) business is what the forte of Theatre World. Here, it presents both- an emerging technology concept and a design of a detailing concept, both meant to enhance the cinematic experience
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• SPECIAL FEATURE •
2004 September
Addessing the other side of technology: Stealing cinema fortunes has come to be as techno-savvy as making a cinema. Theatre World tracks this domain too, and presents a global opinion, towards finding a solution
2004 December
The new approach to be truly cinematic: Theatre World travels to places; generates and presents an opinion of technocrats as well as the end-users, the cinema operators. Bridging the both. Here is an opinion on new approach to digital cinema by Jason Power
2005 March
Charting new directions, of pride: Theatre World, in its humblest best, rejoices the high honours conferred on Indian genius. Ajjay Bijli, cheif of PVR was honoured with Special Achievement Award for his multiplexing blitzkreig, while Yash Chopra was conferred upon the Lifetime Achievement Award at CineAsia 2004
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• SPECIAL FEATURE •
2005 June
The birth of a ‘new’ industry: Always abreast with the trends and technology of the industry, with an Asian focus, Theatre World never misses a sign of significance. Here’s the birth of an industry the Indian Sub-continent: Multiplexing in Pakistan, & the Real Digital eXperience in India
2005 September
Tracking the magnificent multiplexplosion: Always at its best in trackinig the technologies of singificant cinema designs from the ground up to the finish, presents a distinct model of ingenuity the London Imax design by Peter Henson MIOA. - even as it analyzes the Indian multiplexplsion
2005 December
Striving for the long life of cinemas: Though abreast with the current trend of the cineplexing, Theatre World always respected and paid attention to the importance of the traditional standalone models. Here’s one, presented by Arijit Dutta, president of Easter India Motion Picture Association
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• SPECIAL FEATURE •
2006 March
Technology specs of world cinema: Always attentive on the global technology directions, Theatre World presents Europe’s largest digital cinema site, as well as specs for cinema screen
2006 June
Tracking the new motion show, passionately: Even as it presents how global cinema was improvising on patron services through technology, Theatre World tracks a new geography of cinematic rejuvenation- Bangladesh
2006 September
History, heritage and the (cinematic) honour: History bequeaths heritage which is part of the honour for cinema. Theatre World respects, revisits and tracks an important event in cinematic history: Restoration of Metro Mumbai, and a phenomenon called Fox
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• SPECIAL FEATURE •
2006 December
The Asian multiplex dazzle: Known for its focus on Asian perspective, Theatre World presents the cinematic brilliance shown by diverse geographies in the region. Here, it is as diverse as Bangkok and Bengal
2007 March
A drive into the cinema’scope’: As the hidden potential of South Indian cinema begins to show up, Theatre World is quick enough to drive in and explore the extent of the cinema scope. Here’s an account of the latent energies coming up.
2007 June
From technology to business of cinema: That’s what exactly Theatre World’s genre, and forte! Amply, and aptly demonstrated in this particular interaction with Nancy Feres, Worldwide Business Manager, DLP Cinema
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• SPECIAL FEATURE •
2007 September
Sounding the cinema market dynamics: The generic blend of technology and business of cinema is not only the underlying priciple of Theatre World, it come to the fore everytime, like this one- the changing face of a global trend and local strength
2007 December
A 4K date with cinematic history: A yet another expressively clear, demonstration of Theatre World’s focus on presenting the global developments in a manner that the industry admires and wants every time. Here’s the world’s first all-4K digital cinema, presented in all its brillaince.
2008 March
Getting bigger & brighter, in 3D: Showcasing the industry’s progression in large formats, and three-dimensions. A yet another demonstration of Theatre World’s focus on global trends, and regional relevance.
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• SPECIAL FEATURE •
2008 June
The Matrix of Revolutions: Committed to the cause of the industry, in the best possible manner, Theatre World brings to light, and often to life, all the essentials of the industry. Here’s a case of its focus on diverse, yet, dedicated efforts.
2008 September
An Exchange of Entertainment in 3D: The title says it all, finally! Theatre World had been an exchange of entertainment for professionals and proprietors across the entire spectrum of the cinema. The Asian genius that it is, it came of age!
2008 December
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AccessIT's Phase 2 Deployment Christie, Barco Join the Initiative Building on the success of the Phase 1 Digital Cinema Deployment Plan (DCDP), Access Integrated Technologies, (AccessIT) began its second phase of deployment across North America. The solution provider is joined in this initiative by leading projection solutions providers Christie Digital Systems and Barco Digital Cinema. The companies have recently signed agreements to this effect. Under the plan, Christie will provide up to 5,000 projectors for the previously announced DCDP phase 2 programme. As in the phase 1 plan, Christie will again provide turn-key digital systems featuring its full line-up of DLP Cinema projectors including the Christie CP2000-SB, Christie CP2000-XB, Christie CP2000-ZX and the latest Christie CP2000-M model for screens up to 35 feet wide. All models now feature the latest industry advancement, Christie Brilliant3D technology, providing 33 per cent more brightness in full 2K resolution for 3D content. "In phase 1, AccessIT and Christie made digital cinema a reality. Together we completed the conversion of more than 3,700 screens. In Phase 2, AccessIT is aiming even higher with a goal of installing 10,000 screens over the coming three years," said Bud Mayo, chairman and CEO of AccessIT. "It just makes sense to continue working with the company with whom we've shared tremendous success. We're looking forward to seeing the installations begin and we know that Christie will be an important asset to our Phase 2 objectives." "Together with AccessIT, we've had three successful years in digital cinema leading the transformation in the industry with the first network technology and business model," commented Jack Kline, president and COO, Christie Digital Systems. "Now, we're entering a new phase that will see rapid change in the landscape of commercial cinema and we're excited about the opportunities ahead." Pact with Barco Even as it continues to work with Christie, AccessIT intends to work with other digital projection major Barco as well. The network provider recently signed an agreement with the Belgian projection solutions provider to this effect. "We welcome Barco as a partner to AccessIT's vendor neutral deployment program. AccessIT's rigorous accreditation process includes product testing and a detailed examination
of all aspects of maintenance and installation services," said Bud Mayo. "Barco has shown it can meet our standards in both respects. This agreement allows us to begin phase 2 installations of Barco equipment quickly bringing new digital cinema screens to our growing network." Excited with the opportunity, Barco's vice-president (Digital Cinema), Wim Buyens said, "Barco is very proud to have been selected as a partner in AccessIT's Phase 2 deployment program. We view this as a validation of Barco's outstanding products and services by the world leader in Digital Cinema and look forward to building a long term relationship with AccessIT and its exhibitors." "We are delighted that AccessIT has chosen to partner with Barco for the next phase of their Digital Cinema deployments," said Todd Hoddick, who leads Barco Digital Cinema in North America. "We will ensure AccessIT and our exhibitor partners get the most out of their business by providing a well designed family of projectors that are easy to use and by making a market-leading investment in the training and support of our customers."
AccessIT to Power Premiere Cinemas AccessIT announced that Premiere Cinema Corp. (Premiere) will become the second theatre chain to participate in its Phase-2 Digital Cinema Deployment Plan (DCDP). Premiere's digital cinema deployment will initially comprise 171 of their screens from 13 locations across Texas, Florida and Alabama. Conversions are anticipated to begin in December. Premiere joins Dickinson Theatres whose 310 screens were recently signed to be a part of AccessIT's Phase-2 DCDP for a total of close to 500 screens already committed in the Phase 2 -plan to date. "We are pleased to welcome the Premiere circuit to the AccessIT family," said AccessIT Chairman and CEO Bud Mayo. "We share a vision to improve the movie going experience and to provide choices for Premiere's customers that only digital cinema allows." "Premiere Cinemas is very excited to step into the digital cinema age and to do so with AccessIT, the world leader's technology and expertise. AccessIT's track record of success, their commitment to bringing the latest and best technology, and their alternative content and live broadcast capabilities make them the right choice for Premiere," said Gary Moore, chief executive officer of Premiere Cinemas.
FIPS 140-2 Level 3 Recommended for Qube Qube Cinema, Inc. announced that the Media Block used in its Qube XP-D digital cinema server has been recommended by InfoGard Laboratories for the Federal Information Processing Standards (FIPS) 140-2 Level 3 validation certificate. TW-40
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The FIPS 140-2 Level 3 certification for the Media Block is a key requirement of the DCI Specification. The National Institute of Standards and Technology (NIST) established the Cryptographic Module Validation Program (CMVP) that
ANNIVERSARY SPECIAL
validates cryptographic modules to Federal Information Processing Standards (FIPS). FIPS 140-2 is the security standard adopted by Digital Cinema Initiatives (DCI) to specify security-related requirements on physical security, software, interfaces, key management and cryptographic algorithms. InfoGuard Laboratories is an accredited Cryptographic Module Testing Laboratory under Code 100432-0 of the National Voluntary Laboratory Accreditation Program (NVLAP), a system set up by the National Institute of Standards and Technology (NIST) for accrediting laboratories. FIPS 140-2 Level 3 compliance is the highest security level specified in the current DCI requirements that protects the digital content in the servers from unauthorized access. The FIPS 140-2 recommended solution shall be the cornerstone of cost-effective, reliable and secured digital cinema systems accepted by all in the industry. Confirming the recommendation, Ken Kolstad, General Manager, InfoGard said, "InfoGard has successfully completed the FIPS 140-2 Level 3 validation testing on the JPG2K module, which is used within the Qube XP-D Server. We have submitted the test report to the CMVP with our recommendation for issuance of a validation certificate." This recommendation by InfoGard, the most experienced FIPS 140-2 laboratory and consultant in the industry, is a
key milestone for Qube Cinema's Qube XP-D digital cinema server in its path to full DCI Certification. The official NIST validation process is expected to take about six months. Qube Cinema will progressively update all Qube XP-D digital cinema servers in the field to the new Media Block. Starting December 2008, all new Qube XP-D servers will ship with this new Media Block. "We are extremely happy with this achievement and will continue to work diligently to achieve full DCI compliance as well," said Rajesh Ramachandran, President and CTO of Qube Cinema, Inc. "With this FIPS 140-2 recommendation added to its powerful and flexible feature set, the Qube XP-D digital cinema server becomes an even more attractive proposition in the market." GDC too in the Running: GDC Technology also announced that the JPG2K media block in its family of SA-2100 digital cinema servers has been recommended for the FIPS 140-2 Level 3 Certification. "InfoGard has completed a scrupulous FIPS140-2 Security Level 3 validation test on the JPG2K board used in GDC digital cinema server," said Ken Kolstad. "We have submitted our validation test report with confidence that the JPG2K board used in GDC digital cinema server will receive a FIPS 140-2 Level 3 validation certificate."
Doremi Cinema Inks Licensing Deal with Dolby 3D Doremi Cinema LLC announced its DCP-2000 JPEG2000 Digital Cinema Server has been approved as a licensee of Dolby 3D Digital Cinema, giving exhibitors even more options when screening 3D content.
Doremi Cinema's DCP-2000 servers are installed in over 5500 screens to date worldwide. Because of its extreme interoperability, the DCP-2000 can support all the latest 3D technologies.
"As early pioneers in digital cinema, Doremi has been very committed to developing flexible playback solutions for theater owners," comments Michael Archer, vicepresident of Doremi Digital Cinema. "We are fortunate to partner with technology companies like Dolby, whose 3D technology further propels the incredible popularity and growth of digital cinema."
"We are very happy to have Doremi Cinema as a 3D licensee," comments Page Haun, senior director of marketing-cinema, Dolby Laboratories. "As Doremi is one of the industry's leading server manufacturers, we welcome the opportunity to bring the Dolby 3D solution to exhibitors who are looking to provide a premium 3D experience to movie-goers around the world using a Doremi server."
Dickinson Theatres Inks Deal with RealD Dickinson Theatres announced an agreement with RealD 3D, the world’s largest digital 3D experience provider, to install the latter’s next-generation 3D systems to 100 Dickinson Theatres. ”We are thrilled to bring our customers into the 21st Century 3D technology as a partner with RealD”, said John Hartley, CEO and president of Dickinson Theatres. “Beginning in January of 2009, there will be 13 movies released in 3D technology. We are proud to be a part of
this exciting revolution in motion picture entertainment with Real D.” Michael V. Lewis, chairman and CEO, RealD, said, “we are very proud to be a continued provider for Dickinson Theatres. With all of the upcoming films to be released on the RealD platform, including Disney’s Bolt on November 21, this partnership ensures that exhibitors and audiences can truly believe in the future of cinema.” December 2008
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Jim Murray Director International Business Development Doremi Cinema
Congratulations Sandy, to you and your team on the success of Theatre World magazine these past 10 years. It has been a thrill to see the amazing growth of Bollywood over the decade, and Theatre World has been there every step of the way. Doremi too shares in the exciting developments in the cinema industry in Asia, and use Theatre World magazine as an important and trusted resource. Once again, congratulations, and wishes. For another ten successful years. Sincerely, Jim and all your friends at Doremi Digital Cinema
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• SPECIAL FEATURE •
Economy Showing:
Downslide In 3D Even as the champions of digital deployment – solution providers as well as enthusiastic exhibitors – appear gung-ho about the rapid digitization of global cinema, particularly that of the North America, the ground realities project a different picture- the economic upheaval currently shaking global industries and businesses now appears to be dampening the pace of digital drives. On 1st of October last, the digital cinema industry received great push from the point where it originated- four of the seven Hollywood majors Disney, Paramount, Twentieth Century and Universal, plus the Great Entertainment Corp. have joined forces to power a massive digitization drive across the North America. The initiative envisaged rolling out as many as 20,000 digital cinemas spread over the US and Canada, at a whopping investment of over $1 billion. The initiative includes the 14,000 screens that are under the network of National CineMedia (NCM) – formed by the coming together of Regal Entertainment Group, AMC Entertainment, and Cinemark – besides other exhibition chains accounting for the rest of the figure. Blackstone Group LP and JPMorgan Chase & Co would lead the funding of this ambitious programme, Travis Reid, chief executive officer of the Digital Cinema Implementation Partners (DCIP), formed by the NCM for the purpose, was quoted as saying at the time, which was already delayed due to various reasons. A timeframe of 30 to 36 months was set as target date for the completion of the programme. However, before the initiative gained momentum, it appears it hit the (economic) roadblock. The very first indication came from none other than main member of the NCM, and the world’s largest cinema chain operator Regal Entertainment that operates a total of 6,782 screens from 551 locations across 39 states in North America. Mike Campbell, chief executive officer of the company, reportedly said the ambitious digital upgrade drive could be delayed, owing to the unprecedented downturn in the US economy. According to the media reports, the Regal CEO opined the current upheaval as one of the worst credit markets he had seen in years. More, Regal and JP Morgan too believes, that the programme would get financed once the market returns to something that is reasonably normal. That was more than enough to represent the air surrounding the already-delayed programme, say industry sources. Going
by the inference, the programme which is supposed to begin in January 2009, may not take off, or even if it does, may not carry forward at the rate it was planned, opine the market observers. It may be a little ironical that the very idea of digitization of the theatres took seeding in the culmination of various thought processes that includes the downslide in the American economy that had actually began over a year ago. That the theatres’ fortunes had been dwindling due to poorer footfalls quarter by quarter, they needed to invent, nay, invest in ideas that ensures the return of the patrons. If digitization was one means to reduce the costs of prints and delivery to the theatres, enabling them with 3D digital was found to be an effective means of getting back the crowds. According to the media reports, Journey to the Center of the Earth – the first live-action feature shown in latest 3D technology – gave box office collections that were three times to that collected from the 2D and conventional versions. Earlier instances of 3D releases weren’t dissimilar- indicating a shift in patrons willingness in favour of 3D. This willingness, was also considered to give higher collections for the operators since they could increase the ticket pricing too. On a higher platter, it was enthusing enough for the studios too, to announce that they would release at least 25 movies in 3D from 2009 onwards. Regal’s CEO went on record stating that there as many as 40 three-dimensional digital movies already announced for release over the next few years. DreamWorks Animation CEO Jeffrey Katzenberg, on the other hand, raised the bar stating all movies would be made in 3D someday. However, the ambitious roll-out of digital, and subsequent upgrade to 3D digital now seems to have transpired into a state of limbo with the economic downfall seemingly dampening the spirit of the funding agencies. Going by the current indications, the digitization drive is certainly going to be slowed down, if not halted temporarily.
Tailpiece: Notwithstanding the market fears and economic pressures, the DCIP is said to be trying hard to get the two missing Hollywood majors Warner Bros., and Sony Pictures into its fold so that the initiative musters the additional force and compelling enough for the funding partners to invest in the programme. December 2008
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Sperling Reich Director of Product Management DTS DCinema
There are times when motion picture exhibition can be overwhelming, especially given the industry’s transition into digital cinema. It is important to stay on top of the latest technological advances and industry news from around the world. In the past ten years, Theatre World has become an indispensable resource to anyone working in the cinema industry during one of its most important decades. Its focus on new and emerging technologies in sound and projection have proven invaluable to DTS Digital Cinema. Indeed, Theatre World has provided a bridge between the cinema industry at large and technology vendors such as DTS Digital Cinema who are developing the next generation of exhibitor specific solutions. The magazine has been instrumental in driving the growth of the industry in Asia, especially in India. DTS Digital Cinema congratulates Theatre World and the entire Theatre World team on its 10th anniversary. We look forward to the publication’s next ten years and a prosperous future together.
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• SPECIAL FEATURE •
The New Digital Asia Even as most ambitious technology exploits on the global exhibition horizon, particularly that of the West, have been faltering – owing to the dampening pressures of their economic downturn – it appears the industry of the East is staying better of the impact, at least for the time being! For, some of the economies that had been going strong for some time now are returning impressive figures of growth. Visit the new Asian cinema giants in digital domain: China, India, Korea, and more…! Theatre World, which took birth along with digital cinema and has been there all the 10 years since the beginning, presents – even as it celebrates its 10th anniversary – a perspective of the Asian phenomenon. – Bhavanashi Ramakrishna Since the time the concept of digital cinema began making rounds on Asian forums, and then roads into Asian geographies, East had been very characteristic. Sometimes it lounged forward to take lead and experiment; sometimes it tested the atmosphere of the cinema milieu; and sometimes it sat back and observed what’s is working how. Many a times, it stayed better of the situation, though rather late in stepping in. (Read Theatre World, June 2004, and June 2006). Today, while the industry in the advanced West is seemingly reeling under pressure, and fearing worst times ahead, it is brimming with enthusiasm, and rearing to explode onto the global domain, probably more competently! Now consider some of the important indices: •
China – supported by the State-owned China Film Group (CFG), the Chinese industry, today, on a moderate count, boasts about 1,000 digital installs. It is going from strength to strength too
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Korea – powered by the combine of the otherwise rivaling CJ-CGV and Lotte Cinema, Korean Cinema today boasts over 200 digital screens. There is promise for more
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India – though took off rather late, currently witnessing explosive growth: a total of around 58 installs. This is a figure of just few months. It promises to notch up as many as 1750 installs in another two years
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Singapore – led by Singapore Government-funded MDAIDA combine, and also the Engwah Cinemas, Singapore boasts around 34 digital screens. The island State has a manifold bigger vision, and money too, to power that
China: The most notable aspect of Asian rejuvenation is the State-funding drive- the best example served by the Chinese government. The CFG, which heads the country’s digital mission, organizes funding through various accessory bodies and firms. A strong, committed and futuristic regime that is supported by an even strong economy running as the backbone of its development, the Chinese entrepreneurism in entertainment has been one of most aggressive models.
Other markets like Thailand and Indonesia, have comparatively been sedate, but hold promise for future What Makes Them Tick... December 2008
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• SPECIAL FEATURE •
Cj Cgv, South Korea
South Korea - CJ-CGV and Lotte Cinema - joined hands to herald a joint-initiative for digitizing the Korean Cinema. The two cinema majors have reportedly formed a 50:50 joint-venture a year ago to accelerate digital cinema deployment in a country.
Dadi Digital Cinema, China
The Chinese digital roll-out was actually supposed to hit 1,000 mark way back in 2004, had the SARS outbreak not put hampers on its mission (Read Theatre WorldDecember 2003). Keeping in view the coming of 2008 Olympics, the Chinese regime continued the drive postSARS recovery, upgrading its existing cinemas to digital, besides creating new, all-digital sites. It is a little intriguing about the segregation of E-Cinema and D-Cinema in China, for, an industry survey report in 2007 said there were only 111 DCI-level 2K digital screens in China. The report, however indicated at a far bigger promise since the CFG wanted “all the cinemas to be in 2K” by the 2008 Olympics. Another report around the same time estimated that the then existing number of 3,000 screens in China would be doubled by 2010, and all of them hold promise for 2K digitization, since the Chinese’ focus was on global attention and industry growth. (Read Theatre World, March 2007)
CJ CGV leads the Korean cinema market with as many as over 425 screens while Lotte Cinema has been a competing second with around 300 screens. Together, they account for almost 50 per cent of the country’s screen count- a factor that made it arguably easy for negotiations with local as well as foreign distributors, should the joint-entity stand a single source. The mission of this joint-venture - reportedly called ‘Dcinema Korea’ – was to select, order, test equipment such as digital projectors and cinema servers. The company was said to be starting with about $3.3 million capital investment. The significant aspect of the initiative, besides it very nature of genesis, is its reported resolve to make digital cinema equipment available to theatres at onethird of the current costs, and transfer ownership of the equipment to the respective theatres after 10 years. That’s a model of Asian activism! (Read Theatre World December 2007) India: Though started off rather late, India, actually promises to excel all other Asian exploits- thanks to the
Even outside the CFG, there are independent organizations like Shanghai Film Group which committed at least 100 screens in 2K digital with Christie. There are sundry groups again to chip in with individual roll-outs. Overall, it’s the Chinese administration that is moving the mission forward. Korea: In what was considered as a first-of-its-kind booster for digital cinema, as also one of the best examples of Asian activism, two competing exhibition majors in
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Adlabs Digital, Noida
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• SPECIAL FEATURE • two distinctive initiatives in the country. One- by Scrabble Entertainment, a Mumbai-based digital cinema solutions provider, and two- by Adlabs Digital, a digital cinema entity under Anil Dhirubhai Amabani (ADA) Group, second biggest corporate entity in India. Scrabble Entertainment, which came into being in 2007, has flouted the VPF model that made possible things supposedly impossible in the US. Together with global projection major Christie, Scrabble quickly capitalised on the already rearing market. Result, a quick fire of 30-plus installs. The company projected a roll-out of 350 digital screens in the first year itself, and thrice the figure in the next two years. It is joined in this initiative by Qube Cinema, a Chennai-based digital cinema server manufacturer.
Cathay Cinema, Singapore
That the Indian multiplex chains are now opening up, the picture for Scrabble appears in all-digital glow. Adlabs Digital, on the other hand, powered by the corporate might of ADA Group, lounged itself independently into the 2K digital roll-out. Having done a test-bed of 21 screens, the company is rearing to roll-out as many 500 screen by 2010. (Read separate story in TM, this issue: Digital India) Singapore: The city-State has actually been the first to roll-out all-2K-digital multiplexes in the world. Recently, it rolled out all-4K-digital multiplex too. Funded by Singapore Government-owned combine of Information Development Authority (IDA) and Media Development Authority (MDA), the industry shot into fame in 2004 with its exploits of Digital Exchange (Read Theatre World, June 2004). After a brief lull, it again shot back with a drive to
digitize the entire country’s screen count of some 130 screens, in 3D! To get the industry’s approval for this ambitious measure, MDA has organised a 3D festival from 19-23 November. (Read Theatre World, September 2008) Should the industry come forward, which the MDA chief Kenneth Tan is hopeful, Singapore will be the first country in the world to be fully-digital. On the other hand, Thailand showed some aggression over the last few years with around 18 digital installs. Overall, Asian cinema boasts a total count of around 1,300 digital screens. That’s not a low score, considering the ground realities that mattered till recently, and the pace it picked up in the last few months. Long Live Digital Asia
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A Digital Premiere & An Epic The digital cinema deployment in North America is something like one of the most common daily chore of the industry activity, particularly with the momentum given by the packages of service providers, and equipment manufacturers. Here is a simple, tale of two cinemas involving Barco Digital Cinema. Barco Digital Cinema recently clinched what are argued to be two of the most prestigious installs in the digital roll-out initiatives in North America. The significance of the deals comes from the fact that both the cinemas are distinctive for their genesis as well as their architectural splendour, besides the way the technology was sought to be leveraged. One of the two prestigious cinemas is the characteristic 14-screen cineplex of the Texas-based Premier Cinema Corporation in Alabama, while the other is the Epic Theatres Clermont in Orlando. President and CEO of Premiere Cinema Gary Moore exults about the wonderment that was weaved into the 14screen cinema during its making: "As far as I know, this is the first theatre that does not have a mezzanine and, since we're all digital and there's not a film projector in sight, we don't need one!" Premiere bought a cinema structure that was underway when another company backed out. The beginnings of a mezzanine were in place, but they didn't finish off the second story. Premiere analyzed what was needed to prevent noise and vibration in the auditoriums, so they suspended a platform to hold each projector about ten feet above the floor at the top row of each stadium. "We invested in a lot of cabling to hook up the power supplies to a central command centre on the main floor," explains an excited Moore. "We thought the public would like to see the inner workings of a digital complex, so we illuminated the single room with black light and positioned windows so moviegoers could look in as they passed by. The technology itself has become quite a draw for customers." Todd Hoddick, vice-president of digital cinema at Barco, who has been very close to Premiere's full scale deployment, seeks to
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give and insight into the genesis of genre premiere. "Premiere has had our digital projectors in one of their Florida theatres for more than a year and has become very interested in pushing the envelope to design cinemas that capitalize on the benefits of digital. Their Tannehill multiplex is the first of many that Premiere plan to inaugurate with Barco and they promise that their Eastern Shore complex that opens soon will represent another, more advanced digital prototype. We commend Gary Moore and his team for their innovations and are very enthusiastic to continue supporting them." The all-new multiplex features several sizes of Barco projectors, depending upon the dimensions of the screen in each auditorium. Furthering the diversity, four of the 14 auditoriums are 3D capable. "We went into digital cinema last year with Barco in our Orlando location and have had nothing but happiness from our management staff and our operators. Premiere is heavy into marketing the new technology and the digital shift has been warmly embraced by our patrons," says Moore.
Digital Install of 'Epic' Clermont Epic Theatres, one of the aggressive cinema exhibition companies in the US, chose Barco digital systems for its latest 16-screen megaplex at Clermont. All the 16 screens will be equipped with Barco digital systems at the megaplex that is lined scheduled for commission in late February 2009. Epic Theaters of Clermont will be the first theatre in the Orlando market, designed from the ground up for complete digital projection and 3D presentation. The new, all-stadium seating multiplex is hyped to bringing the best possible out-of-home entertainment experience to the Clermont area.
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• CINEMA SYSTEMS • The new state-of-the-art theatre will open in time to play Dreamworks' highly anticipated animated film Monsters vs. Aliens in 3D. In addition to offering the highest quality 3-D presentations in select auditoriums, EPIC of Clermont will also show exciting alternative content. Guests will experience live entertainment on the big screen featuring top concert tours such as Hannah Montana and The Jonas Bros., operas including performances from the Metropolitan Opera and other entertainment such as professional sporting events. EPIC is operated by third and fourth generation motion picture exhibitors who focus on the latest industry technologies to provide customers with exceptional presentation and service.
"We are pleased that Barco was selected to bring EPIC entertainment to the Clermont area. Digital projection provides a number of advantages over film and Barco brings the quality and expertise needed for our first all digital facility," Clint DeMarsh, vice-president of purchasing for EPIC Theatres said. "Epic plans to deploy all digital complexes henceforth. In the next eighteen months, EPIC will more than double in size with the new construction that is planned." "Epic Theatres is one of Barco's most forward-thinking customers," explains Terri Westhafer, director of business development. "They are fully embracing the digital evolution and plan to open more all-digital multiplexes in 2009. Barco is proud to be a part of their growth and dynamic vision."
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Muvico's Showbiz in all-4K Muvico Entertainment - one of the major cinema exhibition companies in the US known for breakaway aggression for technology and different genre of cinema building - recently made yet another stride of its kind. The company decided to go all the way all-4K digital with Sony technology. TW makes a snapshot. Sony Electronics' Digital Cinema Solutions and Services group has signed an agreement with Muvico Entertainment that will outfit the characteristic US exhibition chain's existing and new complexes with Sony's 4K projection technology. Muvico's Rosemont- Ill was the first megaplex in the US to be fully equipped with Sony's 4K digital projection systems. Following what is claimed to be an incredible success of that install, Muvico made the decision to enter into this agreement with Sony. The rollout begins this winter with the opening of Muvico's Thousand Oaks, facility in California. The agreement covers existing Muvico theatres, which will be upgraded to the digital technology, as well as new locations that Muvico builds in the future. In addition to committing to Sony's 4K projectors for its full conversion to digital, the exhibitor plans to use a range of Sony products in its facilities. These include LCD displays in lobby and concession areas for digital signage, menu TW-50
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boards and full-motion video trailers; as well as VAIO computers, PlayStation gaming systems, security cameras and more. Muvico, a leader in the theatrical exhibition industry and one of the premier circuits in the US, operates 13 multiplex venues with an aggregate of 248 screens.
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• CINEMA SYSTEMS • "The 4K technology gives us a solid foundation for converting our chain to digital," said Mike Whalen, president of Muvico. "It provides our guests with resolution and picture quality never before seen on the big screen." According to the Muvico president, the technology also opens up so many new b u s i n e s s
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opportunities for displaying alternative content in Muvico theatres such as live concerts and sporting events. Having access to Sony's full product line will further improve the overall customer experience and our operations by delivering a more attractive and interactive presentation of products that are vital to the revenue stream of any theatre. "The fact that Sony can deliver all this for us as part of one fully integrated solution was very attractive to us," lauded the Muvico chief. Sony's DCSS group will work with Muvico on the integration, installation, maintenance and service support for this roll-out, providing the exhibitor with a complete turn-key solution for converting to digital technology.
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"Muvico's vision is that exhibitors need to offer more complete services, and they have been a pioneer in redefining the movie-going experience," said Mike Fidler, senior vice-president of DCSS. "They've extended their focus far beyond the auditorium and into the lobbies, restaurants, and more, truly turning the movie theater into a digital destination," he said, adding, "working with them to further the use of 4K technology, as well as maximize Sony's product and technology expertise, will simply elevate this experience to an entirely new level." The new Thousand Oaks location will feature Muvico's Premier Concept theme, similar to their Boca Raton, Florida and Rosemont facilities, offering such services as complimentary valet parking, reserved seating, a digital arcade, and access to a full-service restaurant and bar for guests 21 years and older.
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Nancy Fares Worldwide Manager DLP Cinema
It is heartening to know Theatre World has reached its significant milestone: ten years' professional contribution to the cinema industry. In the past ten years, the cinema industry started its revolutionary digitization journey and now is on the way to digital Cinema and 3D Presentation. Theatre World has witnessed the most important decade of the cinema industry and made significant contributions, especially when it came to new and emerging technologies of the industry. Theatre World's focus on digital cinema, accompanying its development from the early years to the mature stage, has been invaluable. It has opened a dialogue between the cinema industry and the technology vendors to achieve the appropriate solutions for the various segments of the cinemas, greatly driving the growth of digital cinema in India and Asia. My profound congratulations on its 10th anniversary and best wishes for a greater future to Theatre World.
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Secrets of Mummies Unravelled in 3D Digital
In what is considered as a demo of one of the most significant applications of digital cinema, two American institutions - in association with the Egyptian Supreme Council of Antiquities - have sought to unravel the secrets of the mystique called 'Egyptian Mummies' with 3D digital projection. The solution providers to this 'historic' demo were Barco Digital Cinema and Dolby Digital Cinema. TW seeks to provide a snapshot account. On 3 October 2008, the Dallas Museum of Art in Dallas-Texas, made a record of sorts, bringing a mystical lustre the place and the programmes often taken up there. The day was set for a demo of what could open a whole new domain of technology applications in unravelling the mysteries of human creations since measurable date in time, going back. The subject was the study of Mummies, in 3D. The topic was Egypt 3D: Secrets of the Mummies. The programme was made by Giant Screen Films, specialist in production and distribution of large format films/movies. The show was organised by National Geographic and Arts and Exhibitions International, in cooperation with the Egyptian Supreme Council of Antiquities. It was in conjunction with National Geographic's touring exhibition, Tutankhamun and the Golden Age of the Pharaohs. The Dallas Museum of Arts played the first of the three host cities for the ambitious edutainment programme of National Geographic.
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Barco Digital Cinema and Dolby Digital Cinema were given the honours of making the programme successful by demonstrating the strengths of their technology in three-dimensional digital projection, and feeding processed content to a 5.1 digital surround sound ambience. Two Barco DP-2000 digital projectors were used. The digital cinema presentation of Egypt 3D: Secrets of the Mummies is part historic journey and part forensic adventure, telling the story of one of the greatest archaeological finds in modern times. The DP-2000 3D projector, remarkable for its brightness without sacrificing resolution, modularity, serviceability or overall system flexibility, is claimed to be ideal for a wide range of screens up to 65 feet (20m) in width, and is also the most costeffective 3D projector on the market today. Alongside Barco, Dolby(R) 3D Digital Cinema presented its capabilities to further
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enhance the 3D experience through Dolby Digital Cinema servers. "Projection and presentation quality was critical in our decision," said Andy Wood, vice- president of business development, Giant Screen Films. "Egypt 3D was shot in 70mm and we wanted to retain the c l a r i t y, c o l o u r, a n d d e p t h o f t h e l a r g e - f o r mat original," he said, adding, "since many of the viewers will be experiencing digital 3D for the first time, it was imperative that we did not disappoint. According to him, the Barco DP-2000 projector did live up to the expectations. "It looks amazing and is built to survive the exhibition tour," he said. "We're thrilled with the selection and the viewers are blown away!" "It's an honor for Barco to have been selected by Giant Screen Films to present Egypt 3D," said Todd Hoddick, vice-president of Digital Cinema, Barco- North America.
It's an honor for Dolby 3D to have been selected by Giant Screen Films to present the movie Egypt 3D developed to accompany the exhibit." Dolby will maximize the Dolby 3D experience with Dolby Digital Cinema servers and Dolby DMA8Plus Digital Media Adapters, bringing a stunning and realistic 3D visual and 5.1 surround sound experiencewhich is what precisely required by a subject like the Egypt 3D... According to Bryan Harris, vice-president of marketing and sales, Arts, and Exhibition International, Tutankhamun and the Golden Age of the Pharaohs experienced tremendous success in that it attracted as many as five million visitors in five cities. "Being able to offer exhibition-goers the chance to view Egypt 3D in allows for a deeper exhibition experience," he said, adding, "and is yet another way for visitors to be wowed."
While projection solution was handled by Barco, presentation of content as desired by the developer was equally critical. "The premium Dolby 3D system was a natural choice for us," said Andy Wood. "We needed the clarity and depth to really pack a punch," he said and added, "Dolby 3D and Dolby 5.1 really came out on top. I can't think of a better way to take audiences to Egypt!" Says John Carey, vice-president of worldwide sales, products, and services at Dolby Laboratories: "The King Tut exhibit combines entertainment and educational dynamics, delivering a unique and exciting experience to the millions of visitors expected to attend the tour.
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Projection Series-XXIII
Film Projection in 16mm In the last issue, the third part of Unit-VI, we discussed various processes involved in 70mm film projection, magnetic sound tracks and test screening. As part of the continuing series on sound and projection formats, this time, in the fourth part of Unit-VI, we bring you the processes involved in 16mm film projection, inspection of film and sound formats, as also the projector mechanics. Though not many cinemas today may be using 16mm projection, TW considers a discussion on the format is relevant and interesting for those who do not have an understanding of the same Film projection in 16mm may have decreased, if not ceased to exist in today's digital age, it is still relevant to know, simply because it forms part of the basics and helps understand how other formats developed on the same. Today, 16mm projectors, if any, survive mostly in cinemas which show old films, some of which may only be available on 16mm. Similarly, locations that host conferences find that some 16mm training and instructional films are still in use. Another advantage of having 16mm projection equipment is the ability to show films made for television, some of which are filmed on 16mm, often with stereo sound on separate full-coat magnetic film. Typically, these are screened around the country at regional film festivals. For occasional film shows in small theatres, it is common to find a portable projector ready to be used on a robust stand when required, leaving more space in the projection room at other times. For cinemas which use 16mm more often and have the space, a floor standing type is more normal. The projector is permanently installed to one side
of either of the 35mm machines, as near to the center line of the screen as possible, to minimize sideways keystone distortion. It is important to realize that 16mm is a very different format to its big brother 35mm, and that the difference is not a case of simple miniaturization.
35mm film
16mmfilm
Originally, 16mm film had sprocket holes down both sides of the film and there was one per frame situated opposite the rack line. When sound was introduced one set was removed to make way for a married optical track, which is a miniature version of the 35mm track, or a magnetic stripe. The standard film speed is 24 frames per second but because the frame is physically smaller than 35mm, the linear speed of the film is slower.
16mm Format
portable and “professional” type 16mm projectors
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The standard aspect ratio is 1.33:1, suitable for showing older films. More recent films may be hard masked on the print to the desired ratio. This means that ideally the projector should be equipped with a range of suitable focal length lenses and aperture plates to give the correct picture height for each aspect ratio, as with the 35mm formats. As a compromise, the projector is often fitted
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• CINEMA SYSTEMS • instead with a zoom lens and a variable height mask plate. This arrangement can be used to give a continuously variable picture size and any desired aspect ratio. Cinemascope on 16mm is a little different to its 35mm counterpart in that the unsqueezed anamorphic image is the full 1.33:1 frame, so an aspect ratio of 2.66:1 is obtained when the film is projected. This in turn necessitates some cropping of the original picture during printing, assuming the movie was originated on 35mm. Because the aspect ratio and image size are often the same as those used for 35mm. Film, when projecting 16mm the image has to magnified much more, resulting in a noticeably poorer quality. Indeed, since we are enlarging the image magnified by a factor of about four times more than for 35mm, dirt and scratches are also magnified by that many times. It, thus, becomes even more important to handle 16mm carefully when making up and rewinding.
Make-up Making up a programme is a much simpler process than 35mm in that the film comes ready for projection on 40-minute spools. However, it is often worthwhile to put the film on to the cinema's own spools because the core diameter of the spool supplied may not be compatible with the settings of the cinema's take-up or feed (pay-off) spindle speed. 16mm films must, therefore, be inspected in detail on the rewind bench before projection, since they are often used in schools and private home cinemas where they may not have had the same care and attention as in professional cinema. The types of film damage that can occur are exactly the same as for 35mm.
Inspection During the inspection, the projectionist should check which type of soundtrack the cinema actually has, married optical or magnetic stripe, or separate full-coat magnetic film for double head projection. Apart from some films made for television, most 16mm films, that a projectionist will come across, will have married sound. In the case of an optical track, as with 35mm, the sound is read after the picture gate, but the sound-to-picture separation is 26 frames, as compared to the 21 frame separation on 35mm.
Sound Tracks The magnetic stripe can be either full track, completely replacing the optical track, or half track covering only half the optical track playable either way. The projectionist must, therefore, be aware of what the projector can handle and how to switch between optical and magnetic sound. If there is no married sound track at all on the film, then it is either silent, or intended for double head showing. Double head projection requires a projection capable of transporting and reading separate 16mm full-coat magnetic film, and requires you to load the sound film and synchronise picture and sound in the same ways as for 35mm film. There are just as many sound formats on full coat 16mm as on 35mm, and if the cinema is equipped for double head screenings, it is then worthwhile to become familiar with them. The projectionist may also discover during inspection that he is dealing with one of the special 16mm formats that exist, such as 'Super-16' where the sound track area is used for picture during shooting to fine a widescreen ratio for the new 16:9HDTV format.
Rehearsal Once the film has been prepared, it is worth having a rehearsal to check both picture and sound. Focus can vary dramatically as it is common to find the emulsion on the opposite side of the support, thus altering the depth of focus of the picture. During rehearsal, also make a final ratio check. Although in theory, it is impossible to project an out-ofrack 16mm picture because there is only one perforation per frame, the projectionist will find a racking lever or knob on the projector. This is used if the registration of the picture to the perforation is slightly abnormal. Often this lever moves the aperture up and down rather than the film as in 35mm. This means that the position of the projector has to be adjusted - not something your audience wants to see.
double head equipped 16mm projector
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should the projectionist change any of the 35mm settings of the cinema sound system. Another outcome of the reversed position of the emulsion is to alter the sound quality produced by an optical track, as it too will be out of focus. If the sound seems muffled or 'woolly', check to see if the emulsion is facing the screen and not the lamp house as normal. Many professional 16mm projectors have a lever to move the position of the sound lens to accommodate the reversed emulsion. If one is not fitted, the projectionist should not attempt to change the position of the optics himself.
The other part of the projector that is often different to its 35mm big brother is the light source. The smaller, portable type usually has a smaller lamp with its own built-in reflector. The projectionist should be aware of what type of light source he has, and should always carry spares as lamps can fail without warning and are not readily available. The larger projectors tend to have
Projector Mechanics The mechanics of 16mm projectors vary between the smaller portable types, and the free standing professional types, which work very much like 35mm projectors. The intermittent movement of 16mm film is often achieved with a claw movement rather than the Maltese cross we are more familiar with, though some of the lager professional models do have a 35mm-style intermittent sprocket below the gate.
typical 16mm projector lamp
integral rectifiers and small xenon bulbs which must be treated with as much respect as the larger ones used for 35mm. Since the 16mm projector is not used as much as 35mm, its maintenance can tend to be neglected. A weekly inspection will not go amiss, as there is nothing more embarrassing than finding an unexpected 16mm screening, and the equipment does not function correctly. This is simply because the projectionist did not get round to doing that little job he noticed last time he used it. Therefore, he should make sure it is included in his preventive maintenance schedule! professional 16mm projector with intermittent sprocket & switch
(To be Con’td)
...Contd. from page TW-19
Sony in Pact with Fox, Paramount "We couldn't be more supportive of our colleagues at Sony DCSS who are offering exhibitors a compelling digital cinema experience," Blake said. "These agreements continue to push the evolution of our industry to 4K, from acquisition through to exhibition." "We're excited to be working with Fox, Paramount and Sony Pictures to further facilitate the motion picture industry's global digital transition," said Mike Fidler, senior vice-president of of DCSS. "These studios understand the value of 4K technology along with
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providing an integrated range of services to exhibitors - from equipment installation, maintenance and alternative programming to security, digital signage and advertising," he said, and added, "a successful digital cinema business model requires a one-stop shopping approach that only Sony can provide, allowing exhibitors to maximize the benefits of the digital transition and to deliver an experience to the consumer that is beyond HD."
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The
BIG Honour!
Ever since the ‘big’ change in the Indian multiplex scenario, Indian entrepreneurship in the exhibition business took to new highs, charting one goal after the other. The biggest of them all, however, is here, coming its way this December- Exhibitor of The Year Award at CineAsia 2008, Asia’s most coveted industry platform. Standing tall amidst this whole ‘big’ transformation is Tushar Dhingra, the chief operating officer of the BIG Cinemas (erstwhile Adlabs Films). Theatre World (TW) talks to the truly tall, young and energetic Tushar Dhingra (TD), its First Person this time, - on the eve of the prestigious honour - on what’s big about his cinemas and the industry he came from. Excerpts: TW – Congratulations at the outset on being chosen CineAsia’s Exhibitor of the Year 2008. Big Cinemas is the first Indian cinema chain to get the honour. How does it feel like? TD – It is indeed an honour to receive this prestigious award for our contribution to the cinema business. We are glad that our dedication to the industry has been recognized. With BIG Cinemas, we will continue to sustain
customer satisfaction through this fast-paced expansion. TW – What it precisely means to you & Big Cinemas? TD – This award is special as it represents our efforts to raise the bar and revolutionise cinema viewing in India. We are the largest cinema chain in India, and will continue our rapid growth supported by pioneering initiatives to live up to our promise of providing the BIG experience to
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all moviegoers. Being the first Indian cinema chain to win this coveted award is truly a great motivation to the entire team. TW – What according to you would have made CineAsia to choose you as its Exhibitor of the Year 2008? TD – We believe it’s our aggressive initiatives into the business that put us in the global reckoning. Our ambition has been to revolutionise cinema viewing experience in India in a ‘big’ fashion. Ever since BIG Cinemas launched the first Imax dome theatre in India (the largest in the world) in 2001, we have been trying to provide this to our audiences, be it 3D, 6D, or megaplexes. Over the years,
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BIG Cinemas has created iconic destinations such as BIG Cinema Park in Agra, which brought to people the multisensory cinema experience in India through a sixdimensional show. BIG Cinemas is thereby the only cinema chain in India which screens movies in both 3D and 6D formats. BIG Cinemas is also soon launching the first megaplex in the country. Over and above, this being a late entrant in this business, we have been able to ramp up our business to be the largest and fastest growing cinema chain. Big Cinemas has recorded 300 per cent year-on-year growth for last three fiscals.
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We also have a fast growing international presence with over 200 screens across Malaysia and East, Mid West and West Coast US. All these initiatives contribute to our recognition. TW – What brand value you think this recognition will bring to Adlabs? TD – It further elevates the brand value we already created- a reaffirmation of what we have always believed in- providing audiences across India, over all economic strata, access to BIG Cinemas’ world-class cinemas. Customer orientation is a primary focus at BIG Cinemas and our efforts in this regard has won several awards in the retail space. BIG Cinemas was named Retailer of the Year in Entertainment for the second year running at the India Retail Summit and Most Admired Retailer in Entertainment Award at the Images Retail Awards 2007. The honour at CineAsia is an indication that we have been on the right track. TW – What made the company change its name from the widely known, popular name of Adlabs to Big Cinemas? TD – In line with the Reliance ADA Group’s philosophy for a single monolithic consumer entertainment brand BIG, all Adlabs Cinemas have been rebranded as BIG Cinemas. India’s largest cinema chain will now clearly reflect its place as part of BIG, the premier entertainment brand in India.
TW – What specific value addition you believe this name change will bring to the company? TD – This is the largest consumer brand change in the entertainment domain. We feel that the brand’s fresh new look will appeal to our wide range of guests from both metros and smaller cities alike. The emphasis is on giving our guests a larger than life or BIG experience when they visit any BIG Cinema across the country and to give the brand a more relatable and approachable feel, in line with the tradition of thoughtful customer care we have been known for. BIG has values of being multifaceted, world-class, vibrant and engaging. Its personality is funloving, infectious, refreshing and trendy. It is also in sync with the group’s philosophy of “Think Bigger. Think Better.” TW – You are nearing 10 years in exhibition business. How would you explain this journey? TD – In 2001, we entered the burgeoning multiplex business with the world’s largest IMAX dome in Mumbai and began to build, what is now BIG Cinemas. We also have a fast growing international presence with over 200 screens across Malaysia and East, Mid West and West Coast US. From five properties and 20 screens in June 2005, we have till now expanded to 73 properties and 186 screens. Having been the first cinema chain to cross 100 screens and now approaching 200 screens in India, we are by far the largest cinema chain in the country. Over 30 million December 2008
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people are expected to watch a movie on a BIG Cinemas screen in the years to come. After pioneering the Imax experience in India and creating flagship properties like BIG Metro Cinemas in Mumbai, we are committed to providing audiences across all economic strata, access to BIG Cinemas’ world-class cinemas. This is being achieved through a strategy of not only setting up standalone properties and cinemas in malls, but also retrofitting the existing ones, leveraging their infrastructure and brand value. Customer focus being the inherent drive, BIG Cinemas created iconic destinations such as the BIG Cinemas Cinema Park in Agra, which ushered in the multi-sensory cinema experience through a six-dimensional show. BIG Cinemas is thereby the only cinema chain in India which can screen movies in both 3D and 6D formats. As a perfect symbolisation of the ‘Big’ brand, BIG Cinemas created a presence at The Great India Palace at Noida, India’s largest mall so far. Complementing all these big initiatives, BIG Cinemas is soon launching the first megaplexes in the country. This customer orientation has won BIG Cinemas several awards in the retail space. It was named Retailer of the Year in entertainment for the second year running at the India Retail Summit and Most Admired Retailer in Entertainment Award at the Images Retail Awards 2007. And now, this prestigious award at CineAsia! It’s a ‘big’ journey- challenging, of course, yet, fulfilling and reassuring. TW – How challenging has it been to get to what shape and stage it is today?
TD – The Group philosophy is to create a holistic, world class entertainment entity- that appeals to all segments of the entertainment spectrum. All our initiatives are in line with this philosophy. TW – How reassuring have been each of these initiatives? TD – Above everything else, they have contributed to building self confidence and intellectual humility in the team- which in turn enthuses into exploring more. TW – There have been certain glitches in the erstwhile Adlabs exploits- in term of the large format Dome Theatre and e-cinema. How would you explain this? TD – We made some bold choices when the industry in the country was at its nascent stage- some glitches were bound to be there which would not work in the long term. Having said that Imax dome has established our leadership in the exhibition industry in India. The said location continues to show good results week on week as a destination. E-Cinema’s case has been no different. TW – How do you characterize Indian cinema exhibition industry today, in terms of- focus on technology, marketing and management prowess, and professionalism? TD – Indian industry had been trying to match the global industry in every area of its operation. Technologically, it’s been experimenting with all the models that are being tried in world markets. Big Cinemas has actually led this initiative demonstratively. E-cinema was deployed first by us. We are now on a large-scale, DCI-level 2K digital deployment through a technologynetwork of our own. Ambitious initiatives by others are also visible. Probably, the next two-three years would define the scenario more affirmatively.
TD – One of the challenges arose from the waiver of entertainment tax for multiplexes as most of our properties are still less than five years old. However, business is also growing. The second challenge came in the form of the booming real estate market, leading to higher rentals. We have been successful in protecting ourselves against the steep rises by signing 15 year leases, thereby mitigating the higher rentals. Furthermore, the current format of multiple window regulatory regime is another challenge. A single window clearance system will boost the growth of the industry. Besides all these, one of our biggest challenges has been piracy. Thankfully, we have already found a way to curb piracy through our digital cinema facility.
TW – What, according to you are strengths and weaknesses of Indian industry in comparison with Asian exhibition, and global exhibition industry?
TW – Initiatives like the 6-D format are very uncommon for cinema industry in general, and India, in particular. What made you venture such moves?
TD – India, today, posses a business expertise that is comparable to that of any advanced market, that’s one. Huge amount of potential that is still unexplored is another. Consumers are increasingly getting discerning,
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As for marketing and management, Indian cinemas had traditionally been known for hospitality, sans services. That has changed now- A high degree of sophistication in sensitising the consumers as well as meeting their expections is already visible in the market place. So is the case of professionalism.
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contributing to the exploits in business. On the other hand, regulatory mechanism(s) has / have been among the biggest weaknesses of Indian industry. Multiplicity of approvals on one side, and regulations on ticket pricing on the other dampen the spirit of creating quality entertainment destinations. TW – Cinema geographies in the advanced Far East, and the West have long evolved to address the art movie exhibition. Indian case has been a far cry- with instances of art movies losing the theatrical battle to mainstream movies- Your take? TD – Indian industry is still a growing industry, has much more to go before we say it is developed- which in other sense can mean it is still in nascent stage so far as art movie exhibition is concerned. Multiplexes have already begun screening movies of this genre, it takes some time to carve that niche. TW – There appears a generic sense of imitating the Western models of movie exhibition for Indian milieuignoring the Indian essentials. Your take? TD – I Differ with you. Our industry, in fact, has learnt from the mistakes of others, and evolved our own models of business. We have a fair understanding of Indian consumer mindset, and have been continually measuring the dynamic to meet the requirement from time to time. TW – What is your take on the single-screen industry? TD – I believe single-screen industry does have life in India which is why we have 40 single-screen cinemas out of our total 186 cinemas till now. Both the models will continue to co-exist at least for few more years. However, multiplexes are on the higher side of returns. As of today, the ratio of our revenues is 80 percent from multiplexes and 20 percent from single screens. TW – Is a takeover by corporate chains the only solution? Then how about the beauty of the traditional model still in demand by large chunks of movie lovers- who are visibly away from multiplex enticement?
TD – Corporatisation has helped the emergence of multiplexing on a larger platter- allowing creation of new and exciting cinematic viewing experience for all audiences. TW – What is most critical for a cinema today? a good movie or a good promo? TD – A good story told, and marketed better. TW – What, according to you, is contribution of Big Cinemas to Indian exhibition- in specific terms? TD – Our initiatives since the inception are a demonstration of our contribution. Today, we are not just a multiplex company, we are a cinema company! We will go into any format of cinema viewing experience, be it an Imax, 6D or renovating a single screen into a multiplex and be present across all spectrums. We will continue to explore other markets where we feel there is promise. Fortunately, Indian entertainment software has so much global potential, and we now have the confidence and competence to take our products and services anywhere in the world as well. TW – Where do you see Indian exhibition industry going in the next five years time? TD – The multiplex business has grown tremendously in India and is currently said to be contributing to almost 80 percent of a movie’s box office revenues. Current multiplex screens are expected to double in the next four years from 650 screens to 1300 screens. India has the maximum number of movie viewers compared to the Western world and the number is growing. But the ratio of screens per thousand people is still remains less- which means there is enough room for growth. We plan to fill the gap. TW – How and where does Big Cinemas intends to position itself in the next five years time? TD – In every neighbourhood- offering an unrivalled variety of entertainment options for every pocket and every interest, profitably.
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Don Savant Managing Director - Asia Pacific Imax Theatre Systems
“As the global Imax network expands into new markets throughout India and the rest of Asia, it is vital for us to have all of the latest news on production, distribution and exhibition in the region. During the past 10 years, Theatre World has been an exceptionally reliable source of information, which has helped us to stay informed on the changing dynamics and players in the industry. I want to congratulate Theatre World on its 10th Anniversary, and we are confident that it will continue to be a popular musthave publication for many years to come.�
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REVIEW
2008 ShowEast 2008 was organised at the Marriott Convention Center in Orlando, from 13-16 October. This year’s show was conspicuous for its reduced attendance and participation from exhibitors toothanks to the downslide in the US economy, and fears of plummeting fortunes. Delegate registrations were down to 900-plus from over 1038 reported by previous edition, with the participating exhibitors too getting cut by about 10 per cent from last year’s congregation. The technical sessions, as expected, centred largely around the digital cinema and 3D digital roll-out. With the technology standards already established, the panellists, and the delegates agreed, it was the business dynamics to determine the industry. However, both the sections, while acknowledging the economic downturn, and the subsequent credit crunch, admitted that the digital intended roll-out will be on hold till the economy shows signs of improvement.
On the tangent, the Cinema Buying Group – formed by the National Association of Theatre Operators (NATO) – appeared making valiant efforts to push the digital concept by engaging in dialogues with the participating delegates from smaller and independent theatre companies. Product reels shown as part of the luncheons and dinners included the upcoming releases from Hollywood. Movies screened as part of the convention included Disney’s Bolt, Universal’s Frost/Nixon, Weinstein Co.’s Zack and Miri Make a Porno, and Overture’s Nothing Like the Holidays. As for the awards for the industry achievements, Carmike Cinemas chief Larry Collins was awarded the ShowEast Exhibitor. Movie producer Ed Zwick was honoured with the Kodak Award for Excellence while MGM’s distribution-president Clark Woods was conferred upon the Salah M. Hassanein Humanitarian Award for his commendable work in the area of charity and service to society. Change of venue: ShowEast is moving from Orlando Marriott World Center, after having been there for the last nine years. The 2009 convention would be, most likely in Miami Beach.
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PREVIEW
9-11 DECEMBER 2008
Wynn Macau & Macau Tower Macau CineAsia 2008 – the 16th edition of Asia’s premier convention and tradeshow on motion picture exhibition industry – will be held at the Wynn Macau and Macau Tower in Macau from 9-11 December. Amidst apprehensions of lower attendance both from visitors as well as participating exhibitors, following the international economic crisis, the annual event is being held in this city of entertainment – famously referred to as the ‘Las Vegas of Asia.’ Continuing the global industry’s growing interest in new, robust technologies and benefits there off, this year’s CineAsia promises in-depth deliberations on
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digital cinema and 3D, besides other important subjects. The first two days have seminars on 3D as opening programmes of the technical sessions, while digital cinema also has a fair share of knowledge dissemination. Dolby, RealD 3D, and XpanD are some of the companies, besides, Christie and Barco who will be showcasing their products and strengths in the digital cinema domain. The most notable aspect of this year’s CineAsia is the event’s focus on India. The opening day breakfast seminar is titled ‘A Focus on India.’ The seminar discussion relating this important session will have
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as its panellists Tushar Dhingra, chief operating officer of Big Cinemas, Shravan Shroff, managing director of Fame Cinemas, Ranjit Thakur, chief executive officer of Scrabble Entertainment, and Sunder Kimatrai, vice-president-Asia Pacific, 20th Century Fox. It’s obviously one of the pride moments for India, as Tushar Dhingra is being honoured as CineAsia’s Exhibitor of the Year 2008. Sony’s Gareth Wigan will be conferred upon the CineAsia’s Visionary Award. The other awardees include McG as Kodak Filmmaker of the Year; Mark Zucker, distribution president at Sony Pictures Releasing International as Distributor of the Year; and Naoshi Yoda and T-Joy Co., as winners of the Digital Cinema Award for Excellence in Marketing. The movie fair of the event this year features a premiere of Disney’ Bolt in Digital 3D; a special preview of Paramount Pictures’ and DreamWorks Animation’s Monsters vs. Aliens, in RealD 3D; Fox International’s Australia; and Warner Bros.’ Yes Man. Sony will be showing a preview of few scenes from Terminator: Salvation. Overall, CineAsia 2008 is expected to debate and look for some directions to the global and the Asian industry for a recession-proof march ahead.
Exhibitors Anhui Star Screen Barco NV Changzhou Yuyu Electric Light Appliance Christie Digital Systems Cinema Scene Asia Cinemeccanica SPA Dolby Laboratories Doremi Cinema First Audio Manufacturing GDC Technology Golden Link Guangdong Pearl River Cine & Video Equipment Harbin Cinema Equipment Harkness Screens IMAX Corporation International Cinema Technology Association Irwin Seating (Wuxi) Company Isco Precision Optics Jos. Schneider Optische Werke Gmbh K.C.S. Kelonik Cinema Sound Kinoton GmbH LJ Seating Nissin Optical OSRAM Asia Pacific Panasonic Corporation Philips LTI Popstar Trading Preferred Popcorn Proyecson S.A. Qingdao Fuyi Flame Retardant Acoustical Materials Qsc Audio Products Qube Cinema Sony Corporation of Hong Kong Strong International SUBWAY International B.V. TheatreWorld Tianjin Cineprojector Factory Ultra Stereo Labs 310 Ushio Vista Entertainment Solutions
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EVENT CALENDER
WINTER 2008
PREVIEW
DECEMBER 9-11 CINEASIA, MACAU www.cineasia.com
2009 Chennai 6 – 8 March 2009
SPRING 2009 FEBRUARY 17-19 FRAMES, MUMBAI, INDIA www.ficci-frames.com
MARCH 6-8 CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
MARCH 30 - APRIL 2 SHOWEST, LAS VEGAS, USA www.showest.com
SUMMER 2009 JUNE 22-25 CINEMA EXPO AMSTERDAM, HOLLAND www.cinemaexpo.com
SEPTEMBER AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
AUTUMN 2009 OCTOBER 26-29 SHOWEAST, FLORIDA, USA www.showeast.com
NOVEMBER BIRTV, BEIJING, CHINA www.birtv.com
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After two successful shows in Chennai and Mumbai during the last two years, the third edition of Cinema Today is moving back to Chennai, to be held at the Chennai Trade Centre on from 6-8 March 2009. The expo, as is now known to the industry for its programming, will showcase the latest technology, equipment and services of cinema, including digital cinema, and non-cinematic entertainment like broadcast, pro sound and light, besides media industry. With the kind of explosive growth taking place across all the segments of the entertainment industry in the region, this is the right time for the industry professionals to be part of Cinema Today 2009, and benefit from the comprehensive show. Visitors from all over India, with a majority from South Indian states and from neighbouring Sri Lanka are expected to attend the three-day event. The show has gained a lot of momentum and has become a familiar event in the industry circles. The support of industry related associations, media partnerships and a focused promotional campaign is hoped to ensure that the target visitors do not the miss the event. The organizers of the event Buysell Interactions Pvt Ltd have a total of 46 successful exhibitions to their credit in India and abroad. For further information and booth related queries please contact: Buysell Interactions Pvt Ltd Ph: +91 44 42177899 / 28353739, Fax: +91 44 2835 0839 Mobile: + 91 (0) 98840- 43473 / 92822 02982 Email: info@buysellint.com, log onto www.cinematoday.in
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entertainworld The Broadway Cinema Indian cinema is exploding with a new nerve and verve. With young and energetic leadership spearheading the popular entertainment entrepreneurism, the domain of cinema is gaining some daring dimensions, and vibrant expressions in not only cinema design but also in cinematic services. Mumbai, the movie capital of India, which had seen some of the most ostentatious multiplexes in the recent past, comes up with yet another, but thematic expression. Giving the metropolis this cinematic polish is Broadway that sought to open new a new vista of design with its second edition. Entertain World, in this issue, brings you a visual fiesta of the Broadway at Kandivali, Mumbai.
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entertainworld
Broadway Annex Mall, Kandivali
Kandivali - one of the busiest, commercial and residential, and cinematically potential suburbs of Mumbai - recently got a big destination Broadway at the Annex Mall. Coming, as it did, in a locality that had already been tasting the multiplexing glitz, as also the charm of a grand era-resembling traditional standalone cinema, Broadway Annex is a bold effort to differentiate itself from the seniors in the arena. The four-screen cinema's characteristics are marked mainly by a theatre design of ingenuity - weaved in by Mumbai-based architectural virtuoso Eranna Yekbote - and for a technical design that is a fine combination of acoustics and calibration by, again, Mumbai-based acoustician Navelle Daruvala and M K Ramakrishnan of R & S Electronics.
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entertainworld
The most notable is the Imperial auditorium that seeks to impose an impression symbolising its name. The distinctiveness of the architectural ambience is borne by incorporation of metallic interiors- done in greyish squares of perforated metallic tiles lining up from floor to ceiling, but separated at select
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entertainworld
places by ventilation-like hollow spaces in rectangles that are illuminated in the audi's thematic blue. The ceiling, however, is treated in conventional way of acoustic panelled false ceiling.
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The seating in this auditorium is another imperialistic feature in that the plush, ultra luxury seats - developed and installed by Vijayjyot Seatings - stretch 180 degrees, giving an ultra cushiony bed-like experience.
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entertainworld
The Imperial services here include a speciality lounge that serves wine and bear - as a first time feature in Independent India - besides some delectable delicacies.
The other auditoria, though not Imperialistic, represent a pleasant but breakaway interior design. The inside walls of two auditoria feature grey fabric covered acoustic panels done in folds of horizontal bands in the background of black. December 2008
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entertainworld
The sound and projection are again done by R & S with Strong projection and Pulz sound systems. In addition to the film-based projection systems, the cinema is also equipped with UFO's E-Cinema systems to screen digital movies.
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F U T U R E
R E L E A S E S
A glimpse of movies coming to Asia this summer or later… Bedtime Stories
Not Easily Broken
Production Walt Disney
Production Screen Gems
Director Adam Shankman
Director Bill Duke
Starring Adam Sandler, Guy Pearce
Starring Morris Chestnut, Taraji P. Henson
Genre Comedy, Adventure
Genre Drama
Last Chance Harvey
The Unborn
Production Overture Films
Production Rogue Pictures
Director Joel Hopkins
Director David S. Goyer
Starring Dustin Hoffman, Emma Thompson
Starring Odette Yustman, Gary Oldman
Genre Comedy, Romance
Genre Supernatural Thriller
Bride Wars
Hotel for Dogs Production 20th Century Fox
Production DreamWorks
Director Gary Winick
Director Thor Freudenthal
Starring Anne Hathaway, Kate Hudson
Starring Emma Roberts, Jake T. Austin
Genre Comedy, Romance
Genre Family
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F U T U R E My Bloody Valentine 3-D
Production New Line Cinema
Director Patrick Lussier
Director Ken Kwapis
Starring Jensen Ackles, Jaime King
Starring Ben Affleck, Jennifer Aniston
Genre Horror
Genre Comedy, Romance
The Pink Panther 2 Production New Line Cinema
Production Columbia Pictures
Director Iain Softley
Director Harald Zwart
Starring Brendan Fraser, Paul Bettany
Starring Steve Martin, Jean Reno
Genre Adventure, Family
Genre Action, Comedy
Possession
Push Production Yari Film Group Director Joel Bergvall Starring Sarah Michelle Gellar, Lee Pace Genre Drama, Romance
Coraline
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He’s Just Not That Into You
Production Lionsgate
Inkheart
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Production Summit Entertainment Director Paul McGuigan Starring Chris Evans, Dakota Fanning Genre Action, Thriller
Confessions of a Shopaholic Production Focus Features
Production Touchstone
Director Henry Selick
Director P. J. Hogan
Starring Dakota Fanning, Teri Hatcher
Starring Isla Fisher, Joan Cusack
Genre Animation
Genre Comedy
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F U T U R E Friday the 13th
R E L E A S E S The Soloist
Production New Line Cinema
Production Paramount
Director Marcus Nispel
Director Joe Wright
Starring Amanda Righetti, Jared Padalecki
Starring Jamie Foxx, Robert Downey Jr.
Genre Horror
Genre Drama
The International
Duplicity
Production Columbia Pictures
Production Universal Pictures
Director Tom Tykwer
Director Tony Gilroy
Starring Clive Owen, Naomi Watts
Starring Julia Roberts, Clive Owen
Genre Thriller
Genre Drama
Two Lovers
Knowing Production 2929 Productions Director James Gray Starring Joaquin Phoenix, Gwyneth Paltrow Genre Drama
Street Fighter: The Legend of Chun Li
Production Summit Entertainment Director Alex Proyas Starring Nicolas Cage, Rose Byrne Genre Sci-Fi, Thriller
The Accidental Husband
Production 20th Century Fox
Production Yari Film Group
Director Andrzej Bartkowiak
Director Griffin Dunne
Starring Kristin Kreuk, Michael Clarke Duncan
Starring Uma Thurman, Jeffrey Dean Morgan
Genre Action
Genre Comedy, Romance
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F U T U R E Aashayein
R E L E A S E S Dilli 6
Production Percept Picture
Production UTV Motion
Director Nagesh Kukunoor
Director Rakesh Mehra
Starring John Abraham, Prateeksha Lonkar
Starring Hrithik Roshan, Atul Kulkarni
Genre Drama
Genre Comedy, Drama.
Rang Rasiya
Kajraare Production Maya Movies
Production Super Cassettes
Director Ketan Mehta
Director Pooja Bhatt
Starring Randeep Hooda, Nandana Sen
Starring Himesh Reshammiya, Divya Khosla
Genre Period
Raaz 2
Rab Ne Bana Di Jodi Production Vishesh Films
Production Yash Raj Films
Director Mohit Suri
Director Aditya Chopra
Starring Emraan Hashmi, Adhyayan Suman
Starring Shahrukh Khan, Anushka Sharma
Genre Thriller
Genre Romance
Billo Barber
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Ghajini Production Sharukh Khan
Production Allu Arvind
Director Priyadarshan
Director A. R. Murugadoss
Starring Shahrukh Khan, Irrfan Khan
Starring Aamir Khan, Asin, Jiah Khan
Genre Drama
Genre Thriller
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ADVERTISERS’ INDEX INTERNATIONAL Company Name
Page no.
Product
Email / Website
Christie Digital
TW-11
Projectors
Juliana.Tong@christiedigital.com / www.christiedigital.com
DLP
TW-9
Digital Cinema
guns@ti.com / www.dlpcinema.com
Dolby
TW-17
3D Digital Cinema
www.dolby.com
Doremi
TW-39,49
Digital Cinema
info@doremicinema.com / www.doremicinema.com
DTS
TW-80
Digital Cinema
cinemainfo@dts.com / www.dts.com
Harkness
TW-21
Cinema Screens
sales@harkness-screens.com / www.harkness-screens.com
Imax
TW-45
Cinema
kyuan@imax.com / www.imax.com
JBL
TW-15
Speakers
info@harman.com / www.jblpro.com
Kinoton
TW-18,19
Equipments
welcome@kinoton.de / www.kinoton.de
Strong Intl
TW-55,81
Projectors
info@strong-cinema.com / www.strong-cinema.com
USL
TW-13
Digital Cinema
uslinc@uslinc.com / www.uslinc.com
Vista
TW-47
Cinema Management
info@vista.co.nz / www.vista.co.nz
This issue of TW has two sets of page numbers - International pages TW-1 to TW-82 for TW, and India pages TM-1 to TM-84 for TM. TM is inserted between pages TW-68 and TW-69 of TW.
INDIA Company Name
Page no.
Product
Email / Website
Amar AV Anutone
TM-23
Screens
anandb@vsnl.com
TM-44,77
Interior Finishes
info@anutone.com / www.anutone.com
Barco
TM-5
Digital Projectors
sales.besl@barco.com / www.barco.com
Blue Star
TM-9
Cooling System
coolingsolutions@bluestarindia.com / www.bluestarindia.com
Bosch
TM-3
Speakers
boschsecuritysystems@in.bosch.com / www.electrovoice.com
Cinecita
TM-84
Equipment
cinema@cinecita.com / www.cinecita.com
Cinemax
TM-17
Cinema
www.cinemax.co.in
Cinema Today
TM-51
Tradeshow
www.cinematoday.in
Cinevision
TM-13
Equipment
cinevisionenterprises@yahoo.com
Darbari
TM-73
Lighting
sales@effectron.com
E-City
TM-15,65
Cinema
info@ecity.esselgroup.com / www.esselgroup.com
Easy Signs
TM-30
Signs
contact@easysign.co.in / www.easysign.co.in
Electrorama
TM-55
Equipment
electro@nda.vsnl.net.in
Fame
TM-59
Cinema
www.famecinemas.com
Galalite
TM-81
Screens
info@galalitescreens.com / www.galalitescreens.com
Gurukrupa
TM-75
Accessories
gurukrupaenterprises@rediffmail.com
HDIL
TM-2
Cinema
info@hdilbroadway.in / www.hdilbroadway.in
Inox
TW-7
Cinema
www.inoxmovies.com
Monee
TW-82
Equipment
sales@cineramagroup.com
Premier Fountains
TM-25
Amusement
fountains@premierworld.com / www.premierfountains.biz
R&S (India) Elec.
TM-7,29
Equipment
sales@rands-india.com / www.rands-india.com
Real Image
TW-2
Digital Cinema
info@realimage.com / www.realimage.com
Reliance
TW-3
Cinema
www.bigcinemas.com
RK International
TM-21
Sound
arun@soundlight.in / www.soundlight.in
Sathyam
TM-67
Cinema
www.sathyamcinemas.com
Shama Enterprises
TM-11
Interiors
shama.ed@live.in
Showbizz
TM-19
Cinema Management
sales@eshowbizz.com / www.eshowbizz.com
Shri Krishnashray
TM-83
Signage
info@shrikrishnashray.com / www.shrikrishnashray.com
System A D
TM-81
Interiors
www.systemad.in
The next issue of TheatreWorld is our Spring Special. It will be promoted at Cinema Today Chennai and Showest Las Vegas. The last date for advertising orders is 5 February 2009. Email bobby@sandy.in
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