TheatreWorld ::: April-June 2011

MINDSHARE

TW EDITORIAL

Rise of BRICS South Africa gets added to the foursome of Brazil, Russia, India and China given its emerging and growing economy status. The same reflects on the state of cinema exhibition in these five countries.

A striking feature common to all five is a robust regional box-office apart from Hollywood staples. Latin, Russian, Bollywood, Chinese and African movies have provided a major boost to their respective markets and hence cinema exhibition is vibrant and growing! Whether it is new builds, retrofits, expansion or new players, BRICS is showing the way to the global industry.

Lost Voices Visual sciences in cinema technologies are currently at their zenith with xenon having followed carbon and now 4k making rapid strides over 2k. Audio has had its moment in the sun with mono giving way to stereo and now 7.1 ruling the roost after 5.1. Acoustics and lighting especially LED has made strides. Cinema audiences enjoy comfortable seating, good airconditioning and an array of food/beverage choices. However the building sciences and civil engineering aspects are worrying. Screen sizes, sightlines, audi dimensions are very subjective. Though there are SMPTE standards, real estate compulsions can mean shortcuts which means patrons getting shortchanged. Architects and cinema designers need to play a key role here as can patron watchdogs.

Tradeshow Shifts Showest at Ballys metamorphoses into CinemaCon at Ceasars and comes under NATO & ICTA. There was a popular perception of high pricing associated with Showest and Sunshine/VNU/Nielsen but the pricing of CinemaCon is at similar levels and show management too is the same.

So is CinemaCon just a re-branding exercise or really a new show to revive the industry? We will know in a few days from now!

On the other side of the globe, Cinema India is no longer just Anil Chopra but Diversfied and Createsphere. Also new is the venue that is much, much better... Renaissance Mumbai, a convention centre and resort-type hotel.

Cinema India seems to be a whole new show in every sense of the term.

TW is proud to be associated!

Value -

150 (US$ 15)

TW TheatreWorld

Issue # 49 / April-June 2011

Never doubt that a small group of thoughtful committed people can change the world.

Indeed, it is the only thing that ever has.

TEAM SANDY (in alphabetical order)

Bhavanashi Ramakrishna Bobby Chetia Meera Bai J Mohanraj P Raghavendra T Yashodhara S Printing Ramya Reprographic, Bengaluru Published by Sandeep Mittal on behalf of Sandy Media 231, 7th Cross, Indiranagar 1st Stage, Bengaluru 560 038, India Phone +9180 2521 5107 / 2527 2812 Fax +9180 2521 5094 info@sandy.in www.sandy.in Regional Offices 51 Regency Chambers, National Library Road, Bandra (W), Mumbai 400 050 Phone +9122 2643 9732 Telefax +9122 2640 5023 67 Masjid Road, Jungpura Bhogal, New Delhi 110 014.

Phone +9111 2437 8061 Telefax +9111 2437 4848 B5, 2nd Floor, Gems Court, 14 Khader Nawaz Khan Road, Nungambakkam, Chennai 600 006 Phone +9144 2833 0906 Telefax +9144 2833 0907 RNI # KARENG02795/10/1/2002-TC

Sandeep Mittal Editor / Publisher

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Layout & Graphic Design Raghavendra T

This issue of TW has two sets of page numbers - International pages TW-1 to TW-56 for TW, and India pages TM-1 to TM-24 for TM. TM is inserted between pages TW-46 and TW-47 of TW.

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contents

TheatreWorld

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SPECIAL FEATURE

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FDA Greenlights Kodak Laser Projection

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MPA Launches

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MAD-3 at CineAsia

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Big, XLW Cinema from RealD

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entertainworld

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F U T U R E R E L E A S E S

Advanced Maintenance (plant) The Big ‘Screen’

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Difference

It’s been twelve 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

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Review - CineAsia Preview - CinemaCon

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Projection Series-XXXII

CINEMASCOPE

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Frames Cinema india expo

CINEMA SYSTEMS TW-

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Now, on Cruise

TECHNOLOGY TW-

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Digital Cinema Going Places…

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.

Cinema India Expo Gearing up to Go Big Cinema India Expo 2011, the only Hollywood - Bollywood event of its kind, will take place at The Renaissance Convention Centre Hotel, Powai, Mumbai on June 24 and 25, 2011. Formerly located in association with the music industry's PALM Expo, Cinema India Expo has grown significantly and beginning with this year's event, and will be presented separately. Over the course of the two tightly programmed days, attendees will explore a top-tier exposition featuring the latest technologies, and will also have access to an expanded slate of offerings including seminars, educational tracks for cinematographers and directors, and red-carpet premiers of international blockbuster movies. With a global focus, Cinema India is the only industry event to spotlight the growing ties between Bollywood and Hollywood, and continues to deepen its footprint to match the rapid implementation of digital technologies amid the global creative environment.

Launched in 2000, Cinema India Expo has long been recognized as a premier event for theater owners and content holders. It is increasingly seen as an international venue where cinematographers, directors, visual effects artists, and producers gather to learn about the trends and tools impacting their careers.

Scrabble Entertainment, India's first 2K DCI Compliant Cinema deployment entity, is the presenting sponsor of Cinema India Expo. After their successful deployment in India, they recently announced their expansion to the Middle East region on the basis of their contracts with the Major Hollywood Studios.

Ranjit Thakur, CEO of Scrabble said, "We are extremely proud to be closely associated with the Cinema India Expo. The whole idea is to spread complete knowledge of all segments

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of digital cinema right from capture to playback."

Anil Chopra, Managing Director of Diversified Communications India Pvt. Ltd. stated, "Cinema India Expo unfolds against of the backdrop of an industry in transition to digital in a highly competitive environment. In order to succeed in this dynamic time, multiplex companies and their leaders must have the latest industry trends and experience personally the future at Cinema India 2011."

India is engaged in a massive digital transition from acquisition through distribution. As the leading trade show and conference addressing these topics in the region, Cinema India Expo is in a unique position to put the latest and best information and products in front of key players in the digital cinema industry. Createasphere manages international sales for Cinema India Expo and contributes to the programming. Createasphere President Kristin Petrovich Kennedy noted, "The eyes of the world are on India at this moment. Bollywood's influence is growing and the digital

transformation is in progress. There is unprecedented opportunity to put the most engaging speakers and information in front of an audience hungry for cutting edge knowledge.

Today, India is the most exciting marketplace for digital cinema in the world and Cinema India is growing to meet the industry's needs."

Texas Instruments, the Platinum Sponsor of Cinema India Expo 2011, has been sponsoring Cinema India since its early years of existence. The DLP Cinema and DLP display technology offered by Texas Instruments is the only imaging technology with a legacy in digital cinema delivering the ultimate motion picture quality.

Two days of extensive conference and education program, including Keynotes from Bollywood stars, world-class directors of photography, visual effects artists, and filmmakers, a full trade show floor and a number of evening events and galas are in process.

For full information, visit www.cinemaindiaexpo.com.

Doremi Cinema's 4K Endorsed Doremi Cinema achieved yet another milestone in its technological advancements with the recent attainment of its 4K technology patent. Doremi's 4K technology development was initiated five years ago with the intent of being integrated into Sony's 4K cinema product. This engineering effort carried on to afford Doremi the position as today's only commercially available 4K solution for Texas Instruments' DLP Cinema 4K platform.

With the recent release of DLP Cinema 4K chips from Texas Instruments to its licensees, leading manufacturers of digital cinema projectors have been able to showcase their newest product lines to some of the largest global motion picture exhibitors. At the core of the dazzling 4K demonstrations, lies Doremi Cinema's IMB-4K (Integrated Media Block). Utilizing Doremi's patented 4K decoding technology, the IMB-4K proves to be a fundamental building block in accomplishing the pristine playback of 4K resolutions on the big screen.

Doremi Cinema, through its vast indepth vision of technological advancements and collaborative alliances with DLP and their licensees has managed to conclude the development of their 4K system. The company has been extremely savvy in playing a major role in the evolution and perfection of 4K resolution. The IMB-4K will be demonstrated at the upcoming CinemaCon exhibition in March along with Doremi's cohesive 2K/4K playback and mastering line of products.

"We have set a precedent over the last five years to ensure our customers always have the ability to obtain the latest technology," stated Michael Archer, Vice President, Digital Cinema. "The issuance of this patent is a tribute to the vision and fortitude of our engineering team to keep Doremi ahead of our competition."

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Barco Acquires XDC CineStore Barco announced the extension of its digital cinema product offering through the acquisition of CineStore activities of cinema solutions provider XDC. The acquisition fits within Barco's broader strategy to move up in the value chain from digital projection supplier to provider of total cinema visualization solutions.

XDC's CineStore team, based out of Liege, Belgium, will bring profound software knowhow and in-depth market knowledge of the digital cinema business. XDC has more than ten years of experience in graphical user interface design and theater management systems for the digital cinema industry.

Last year, Barco also acquired the digital signage expertise of dZine.

With the addition of CineStore, the company can now offer its customers an integrated theater management system, spanning both the theater and the lobby, while at the same time strengthening its software capabilities.

Moreover, the acquisition will enable Barco to also deliver solutions for content play out.

"CineStore's activities are a strong, value-added complement to our existing digital cinema offering.

Adding CineStore's skills and experience to our business will allow us to further strengthen our market position, while maintaining our key strong points of interoperability and highest image quality," says Wim Buyens, VP Barco Digital Cinema. "We stand by our strategy not to be a VPF integrator. Instead, we will remain focused on supplying visualization technologies and products for the professional digital cinema community," Buyens continues.

XDC Group CEO, Serge Plasch said: "Barco and XDC share a long history of collaboration in digital cinema. Our decision to sell the CineStore activities was prompted by our strategy to focus on service to exhibitors while becoming the leading European cinema integrator.

The acquisition of CineStore activities will be closed by the end of Q1 2011.

2010 Makes Barco Big in Asia Barco rounded up a successful year in 2010 in the Asia-Pacific digital cinema market with a number of reference contracts and installation of over 4,000 digital projectors - over 2,500 of which have been installed in Greater China, an increase of 67 per cent compared to the figure achieved in 2009.

Barco installed over 2,500 units' digital cinema projector in Greater China at the end of November 2010, demonstrating the company's leading position in the market. Key customers including China's most prominent players in digital cinema, such as Heng Dian, Sichuan Pacific Cinema Ltd. and Zhejiang Time Cinema - continue to show their preference for Barco by choosing the Barco DP2K series over others. Barco has won the large market share and fine reputation thanks to the company's long-term investment in China's digital cinema industry and its strong focus on innovation and service.

Wim Buyens, Vice-President of Barco Digital Cinema, says: "It is the third year since Barco set up its manufacturing and assembly lines; we have been dedicated to providing high-quality products at a competitive price and offering more choices and to increasing capacity to bring in line with customer demand. At the same time, this demonstrates our support of localization."

Digital cinema deployments featuring Barco projectors from July to November in 2010 includes, among others, one major deal with AHL TECHNOLOGY to supply the latest DP2K and DP4K digital cinema projectors to AHL's network of cinemas throughout Australia, New Zealand, Germany and the United Arab Emirates.

The others include those with Jiangsu Eudemonia Blue Ocean with 300 units; Zhejiang Time Cinema, Heng Dian Film Entertainment Ltd, and Sichuan Pacific Cinema Ltd with 200 units each; Shangdong Luxin Cinema Ltd with 120 units; and CGV cinema chain in Korea with 100 units.

Barco Shores up Chinese' 3D Fever Barco announced that the China National Film Museum has deployed the DP2K-32B - the world's brightest digital cinema projector - to create the ultimate 3D viewing experience in the museum's IMAX Theatre. Currently the largest specialized cinema museum in the world, the China National Film Museum is a monument to Chinese cinema. Following lengthy inspection and testing, the museum has chosen Barco's dual-dimension solution to showcase film digitization technology.

Dual-dimension projection uses two computer-controlled digital projectors to overlay the images and create a sharp, seamless, enhanced projection on the screen. The technique deepens the visual immersion felt by a 3D movie viewer. With its ultra-bright performance, the DP2K-32B (the second generation of this innovative product) greatly enhances screen brightness, presenting more vivid 3D details. The product also benefits from Barco's unique optical engine dust seal, which guards against diminished brightness. In addition, Barco's patented cooling system means unparalleled reliability, a longer lifespan, and reduced operating costs - all of which protect the customer's investment.

Feng Xiaozhong, Theatre Department Director of the China National Film Museum, comments: "as digital cinema becomes more widespread, today's audience is expecting more and more from digital wide-screen 3D cinema. Therefore, as the world's largest national cinema museum, we must keep pace with the evolving technology to fulfill our customers' expectations. Barco's new DP2K-32B digital projectors fully live up to the high standards for color, brightness and depth that are essential in the cinema market. The enhanced cinema experience that these projectors create is indeed worthy of a Guinness Record holder."

Says Barco's Managing Director for Greater China, Yan Fei: "The China National Film Museum represents Chinese cinema's technology, culture

and areas of development. The fact that the museum is again using a Barco product in its screening hall underlines the trend towards digital screening in the Chinese cinema market. We will continue to support this process by providing innovative products, leading technologies and high-quality service."

China National Film Museum (CNFM) has been approved by the State Council and established by the State Administration of Radio, Film and Television and the People's Government of Beijing Municipality.

Serving as a memorial to the birth of the Chinese films a century ago, CNFM is currently the world's largest national-level film museum, and at the same time a base for patriotic and scientific education. Officially opened to public on Feb 10, 2007, the museum till now received nearly 1,700,000 visitors and cinema audience.

Barco to Power LuXin Cinema complexes Barco announced that it has signed a contract to deploy 120 Series II digital cinema projectors in the LuXin Cinema complexes, a subsidiary of Shandong Trust Corporation.

LuXin Cinema is a third-tier subsidiary of LuXin Group, Shandong. In 2009, Shandong Provincial Government allotted 100 million RMB, from a domestic construction fund, to LuXin Group to construct cinema complexes in Shandong. LuXin Group plans to first operate the complexes in 17 cities including the capital city, Jinan - and then to move into more cities and perhaps other provinces. By late 2011, 20 cinemas - each with 6-8 halls - will be open. LuXin Cinema is promoting the film industry in cities like Jinan and Qingdao and bringing the modern multi-hall cinemas into secondary cities, such as Yantai, Dezhou, Dongying, Taian, and others.

By the end of the project, Barco will have deployed 120 Series II digital cinema projectors in LuXin Cinema complexes.

Wenjun Liu, Assistant to the General Manager of LuXin Cinema, says: "Barco enjoys a large market share and a good reputation in China's film industry. We selected Barco not only for its excellent product quality but also for its superior after-sales services and professional customer support training programs.

We are optimistic about LuXin's future development - and we look forward to further cooperation with Barco as we move ahead."

"Barco's success stems from the trust of all of our customers," says Yan Fei, Managing Director of Barco Greater China. "Our cooperation with LuXin Group has been a pleasure. Barco will continue to provide support for the development of LuXin Group in the future."

Dolby Sounds Laurels for Oscar Nominees

Dolby Laboratories, Inc. announced that all Oscar nominated films in the Achievement in Sound Editing and Achievement in Sound Mixing categories were released with Dolby audio technologies. This marks the 33rd consecutive year that films released with Dolby audio technologies have earned Academy AwardÂŽ nominations for outstanding sound quality.

"For four decades Dolby has worked alongside the masters of audio to deliver the necessary tools to create an immersing movie going experience for the audience," said David Gray, VicePresident, Worldwide Production Services, Dolby Laboratories. "Once again, Dolby congratulates the nominees and expresses its sincere appreciation for its continued partnership as we strive to establish April-June 2011

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future audio innovations to enrich the cinematic landscape."

Recognized as the de facto standard for high-quality audio in cinema, Dolby's audio technologies- including Dolby Digital, Dolby Digital Surround EX, and the newly released Dolby Surround 7.1 format-have dramatically enhanced the movie going experience.

Nominees for Achievement in Sound Editing include: •

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Inception (Warner Bros.)

Richard King Dolby Digital Toy Story 3 (Walt Disney/Pixar) Tom Myers and Michael Silvers Dolby Digital, Dolby Digital Surround EX, and Dolby Surround 7.1

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Tron: Legacy (Walt Disney) Gwendolyn Yates Whittle and Addison Teague Dolby Digital and Dolby Surround 7.1

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True Grit (Paramount Pictures) Skip Lievsay and Craig Berkey Dolby Digital

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Unstoppable (20th Century Fox) Mark P. Stoeckinger Dolby Digital

Nominees for Achievement in Sound Mixing include: •

Inception (Warner Bros.)

Lora Hirschberg, Gary A. Rizzo, and Ed Novick Dolby Digital

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The King's Speech (The Weinstein) Paul Hamblin, Martin Jensen, and John Midgley Dolby Digital

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Salt (Columbia Pictures) Jeffrey J. Haboush, Greg P. Russell, Scott Millan, and William Sarokin Dolby Digital

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The Social Network (Columbia Pictures) Ren Klyce, David Parker, Michael Semanick, and Mark Weingarten Dolby Digital

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True Grit (Paramount Pictures) Skip Lievsay, Craig Berkey, Greg Orloff, and Peter F. Kurland Dolby Digital

Warner Bros. BO Riches, Breaks Own Record The Warner Bros. Pictures group broke the all-time industry worldwide box office (BO) record with a 2010 gross of $4.814 billion, which surpasses the previous record of $4.010 billion (set again by Warner Bros. in 2009). The announcement was made today by Warner Bros. Pictures Group president Jeff Robinov.

Setting new benchmarks for both the international and global box office grosses in 2010 and retaining the domestic box office number one ranking, the studio now holds the industry record in all three categories.

Additionally, Warner Bros. surpassed its own worldwide gross from the previous year by $800 million to earn the number one position in worldwide market share for the second consecutive year and for the sixth time in the past 10 years, also an industry record.

"We are so proud of these incredible accomplishments, which were made possible through the global efforts of an exceptional group of people who collaborated to create, produce, market, and distribute more than two dozen films this past year," said Robinov. "We have a terrific leadership team behind these efforts, including Sue Kroll, Dan Fellman and Veronika Kwan-Rubinek, and, along with Barry Meyer and Alan Horn, I applaud everyone who contributed to this year's record-breaking success."

Warner Bros. Pictures' domestic gross is estimated at $1.884 billion, making it number one in domestic market share for 2010. This is the third year in a row the Studio has held that crown and is

the only studio to exceed the $1 billion threshold domestically for 10 consecutive years. Warner Bros. has been ranked either one or two domestically for seven of the last 10 years. The Studio had five films gross over $100 million domestically in 2010 - Inception, Harry Potter and the Deathly Hallows - Part 1, Clash of the Titans, Valentine's Day, and Due Date.

"Our tentpole strategy combined with a remarkably diverse overall slate has once again proved enormously profitable at the box office," said Warner Bros. Pictures president Distribution Dan Fellman. "We could not be more proud of the Studio's achievements this year."

Warner Pictures International set a new industry record in overseas box office with an estimated $2.930 billion year-end gross, breaking the previous industry record of $2.450 billion in 2009. This is the tenth consecutive year the Studio has exceeded $1 billion and third time it has surpassed $2 billion in international box office receipts.

The Studio has had seven films grossing over $100 million internationally in 2010 - Sherlock Holmes ($264 million, for a total of $315 million, including 2009's take); Valentine's Day ($106 million); Clash of the Titans ($330 million); Sex and the City 2 ($193 million); Inception ($531 million); Due Date ($100 million); and Harry Potter and the Deathly Hallows Part 1 ($611 million, and still in release).

"We're elated to reach these incredible numbers internationally," said Warner Bros. Pictures International president Distribution Veronika Kwan-Rubinek.

"This achievement is a testament to the company's strategy to make event films with global appeal, and it would not have been possible without the hard work and innovative thinking from our outstanding marketing and distribution teams around the world."

Among the Studio's 2011 releases are Red Riding Hood, Sucker Punch, The Hangover Part II, Green Lantern, Harry Potter and the Deathly Hallows - Part 2, Crazy, Stupid, Love. ,Contagion, Happy Feet 2, New Year's Eve and Sherlock Holmes II.

Kinoton Showcases 3D Expertise at PRIME The PRIME Symposium on February 17 marked the conclusion of a three-year research project, known by the acronym PRIME (for Production and Projection Techniques for Immersive Media), that was sponsored by the German Federal Ministry of Economics and Technology. Within the scope of the project, the 10 members of the PRIME consortium - companies and research institutes - developed technologies for all facets of the 3D workflow. The applications for their inventions range from the capture, production, and postproduction of stereoscopic content all the way to viewing it on 3D displays and cinema screens.

Kinoton also presented the results of its development work in the PRIME project at this symposium. The German designer and manufacturer of premium cinema technology had succeeded in improving the lighting system for 3D projection solutions so as to compensate for the light losses that are an inherent problem of stereoscopic digital cinema. In

addition, Kinoton made major headway in 3D projection with two D-Cinema projectors (3D2P) and in integrating 3D technology in digital cinema projection systems. To round out its contribution to the PRIME project, Kinoton also optimized the operation of 3D projection systems and created a sophisticated remote diagnostics system. These highly useful innovations have already been incorporated into Kinoton's extensive service and product portfolio for digital cinema, resulting in even greater flexibility and userfriendliness.

At the PRIME symposium, Dr. Andreas Goerdeler of the German Federal Ministry of Economics and Technology stressed the enormous practical value of the technologies developed in connection with the research project: "The results of the PRIME project show that Germany is at the forefront of this field with new innovations. The consortium's members have already begun utilizing many of the outstanding PRIME achievements for 3D production and playback. The German companies participating in PRIME are superbly positioned to compete globally in the 3D field."

Alcons Does 3D Cinema at ISE Three-dimensional cinema is now established as a regular, mainstream attraction and this year, for the first time, the ISE 2001 tradeshow featured a 3D Theatre, where visitors can experienced the very best that the technology had to offer. As a market leader in cinema sound, Alcons Audio had been invited to provide the 3D Theatre's sound system.

"With higher standards in Digital Cinema, new challenges have arisen for traditional audio systems," said Tom. "Twenty four-bit resolution and up to 99 channels of non-compressed audio demand much more in terms of dynamic capabilities, frequency response and transient response.

Cinema is also diversifying - as well as films, movie theatres now sometimes show live concerts, beamed across the world for fans who can't get to see the show 'in the flesh'. For both of these, high-resolution, wide frequencybandwidth sound reproduction is required.

According to him, with 3D, the bar is raised even higher; a high resolution sound system contributing significantly to the imaging of the 3D content.

Alcons pro-ribbon transducer technology, in combination with developments like array technology and coverage control, have brought remarkable width and depth to the imaging of stereo and multi-channel content, making it possible to deliver the best and most lifelike experience to the audiences of 3D shows.

The 3D cinema at ISE 2011 featured a 5.1 surround system, based on three Alcons CRMS (15" LF, 8" MF, 4" proribbon HF) front systems, two CB181/ 362 subwoofers and 10 CRMS surround speakers (which feature 8" MF and 4" pro-ribbon HF).

Powered and controlled by ALC2 and ALC4 amplified loudspeaker controllers and DDP digital drive processors, all channels featured 'studio-grade' AES/EBU digital-toanalogue conversion.

"The room is acoustically perfect with special sound absorbing walls from Dutch company Event Acoustics," said Tom. "So it was an awesome experience."

The ISE 3D Theatre featured a 45minute presentation on the event days

by Alcons co-founder Tom Back on the company's latest 3D audio technology.

The presentation demonstrated how Alcons' proprietary pro-ribbon transducer products enhance the 3D experience.

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Apollo, Sony and ‘MORE’...

Apollo Cinemas, the cinema chain revolutionizing the movie-going experience in the UK announced the launch of its 'MORE' campaign giving consumers a wide range of alternative viewing content now available through Sony Digital Cinema 4K technology.

The 'MORE' campaign introduces the vast array of new content now available at Apollo Cinemas, from partners including The Royal Opera House, Shakespeare's Globe Theatre and the English National Opera. Big stage musical theatre, opera and ballet productions are no longer confined to the London stage as Apollo cinema brings super high definition live 3D performances to communities nationwide.

Customers can also now enjoy all their favourite sports from football to rugby, boxing, racing, tennis, basketball and many more, in live 3D, in the comfort of their local Apollo cinema. Not only that, with live music festivals, gigs and concerts, all in amazing 5.1 surround sound it will feel like you're on stage with the performing artist.

From March 2011, Apollo is to continue its Global Season of Opera and Ballet with screenings of operatic film Carmen in 3D. Filmed in 3D during two performances at the Royal Opera House, Carmen in 3D is a feature film depicting acclaimed director George Bizet's opera classic.

To kick start the 'MORE' campaign, the first live artist album launch took place recently at the Apollo Cinema in London's Piccadilly, where Avril Lavigne launched her new album with a Q&A and 3D video screening for fans.

According to Apollo, Sony Digital Cinema 4K technology has four times the image resolution of an HD TV or 2K digital cinema. It has captured the imagination of audiences and the cinema industry alike, winning the commitment from Hollywood, with big name directors like Christopher Nolan (Dark Knight, Inception), Phillip Noyce (Salt) and Ron Howard (Angels & Demons) having released their most recent blockbusters in the 4K format.

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The desire to provide viewers with the best experience possible, and be at the forefront of cinematic innovation was the motivation behind Apollo Cinemas' choice to switch to digital last year with Sony Digital Cinema state-of-the-art 4K projection. Apollo is now offering their valued customers the ultimate 21st century digital cinema experience, showcased through its new MORE campaign.

Nicole Oakley, Marketing Manager at Apollo Cinemas said: "as a leading cinema chain, Apollo is at the forefront of innovation by pioneering new and dynamic ways to communicate with its customer-base.

Our partnership with Sony Digital Cinema allows Apollo to offer the ultimate digital cinema experience to all our valued guests. The Sony 4K technology provides outstanding image and sound quality, and enables us to extend our programming to alternative content, delivering new and exciting experiences for our existing and future customers."

David McIntosh, Director, Sony Professional Solutions, Europe commented, "This exciting partnership clearly demonstrates Sony Digital Cinema's commitment to the long-term success of the industry, heralding the next generation of 4K digital cinema experience. It enables Apollo to capitalise on the enormous opportunities that digital cinema offers to strengthen and sustain their business, as well as to revolutionize the moviegoing experience for its customers."

'Grand' Move to 4K Digital with Sony The Grand Cinema in Hong Kong is moving towards a new digital era in entertainment with the recent roll-out of Sony's 4K digital cinema systems.

With the completion of this project, The Grand Cinema will have the highest number Sony 4K systems in Hong Kong. Sony has led the way in 4K Digital Cinema since it was introduced in 2007. The implementation of Sony's 4K digital cinema solutions at The Grand Cinema

adds to the 6,000 Sony 4K-enabled screens worldwide.

The Grand is the only complex in Hong Kong that features a proprietary infrasonic audio system, Shaw Active Sound, giving the audience an enhanced sub-woofer experience. It is the largest complex in town with 1,600 seats in twelve houses - all with spacious stepped seating. An adjoining restaurant, art gallery and interactive zone provide extra entertainment amenities to cinemagoers. Particular attention during the design process was given to the audio system, acoustic treatment and overall architectural configuration, to bring the individual houses up to a standard approaching that of professional recording studios.

"At The Grand Cinema, we are driven to offer an immersive entertainment experience for our guests by offering the highest picture resolution of all available projection technologies.

Implementing Sony's 4K digital cinema solution enable us to offer an unrivalled state-of-the-art screening and best possible cinematic experience for movie-goers," said Helena Young, General Manager, The Grand Cinema.

"4K is the future of cinema and it is here today, sweeping across major cinemas around the world. As the only manufacturer of commercially available 4K resolution digital cinema projectors and the only manufacturer to provide the complete end-to-end cinema digital solution to exhibitors; SXRD 4K technology from Sony is leading the digital cinema revolution. We are glad that The Grand Cinema has chosen Sony as they move towards a digital future," said Katsuhiro Masaoka, General Manager of Business Development Division, Business and Professional Products Asia Pacific (BPPA), Sony Electronic Asia Pacific Pte., Ltd. With many cinemas upgrading to 4K, the top Hollywood studios are increasing the number of movies given a 4K release including The Green Hornet, The Social Network, The Karate Kid, Salt, The Other Guys, Eat, Pray, Love and Burlesque. There is a generous flow of content for 4K motion pictures currently and this will move towards becoming a major format in the near future.

GDC Seals Deal with Shochiku GDC Technology (GDC) announced that in conjunction with its partner USHIO Inc. has reached a new agreement with Shochiku Co., Ltd. under a VPF programme to supply DCI-compliant digital cinema equipment to Shochiku Multiplex Theaters, a wholly owned subsidiary of Shochiku.

GDC currently holds the largest number of VPF agreements with the Hollywood Studios in Asia.

Deployment offered by GDC and USHIO under the VPF programme is extremely favorable amongst exhibitors as it provides the highest quality products with the least capital expenditures. This agreement will involve the deployment of GDC servers and Christie projectors across Shochiku and SMT theatres totaling over 200 screens.

USHIO, a pioneer in the light sourcing industry, was established in 1964 with a focus on lamps, now offers a large range of products, many of which boast the top market share in niche markets throughout the world.

Possessing an abundance of unique optical technology, USHIO, through its subsidiary Xebex Inc., is a well established system integrator.

Founded in 1895, Shochiku currently possess 32 movie theatres and 305 screens (including joint ventures), establishing itself as a leading motion picture producer, distributor, and exhibitor in Japan. "We were excited to learn that GDC and USHIO are jointly offering this new VPF programme," said Atsushi Nakajima, Managing director of Theatrical exhibition of Shochiku and CEO of SMT. "GDC and USHIO are the obvious choice for our digital cinema deployment. Based on their highly successful track record, we believe they can provide the highest quality products combined with reliable longterm services."

"We are delighted to expand our partnership with Ushio to provide digital cinema solution to Shochiku, which is a prestigious and oldest entertainment company found in

1895," said Dr. Man-Nang CHONG, founder and CEO of GDC Technology.

"We are glad that more exhibitors are recognizing the benefits of GDC's VPF program. And we are confident that this collaboration will not only heighten the cinematic experience for moviegoers, but also ensure Shochiku is served with top quality and future proof digital cinema technology."

GDC's Big Breakthrough in Europe GDC Technology (GDC) announced that it has been selected by Les Cinémas Gaumont Pathé (Gaumont Pathe Movie Theatres) as the supplier of digital cinema servers for its digital conversion programme. System integrator ADDE and manufacture/ installer Cinemeccanica France are responsible for the installation and maintenance services throughout the project.

The deployment began in January 2011, involving the deployment of at least 300 units of SX-2000A servers with Integrated Media Block across France, The Netherlands and Switzerland. GDC servers in this project will be integrated with ADDE's Theatre Management System (TMS).

Les Cinémas Gaumont Pathé is currently the leading exhibitor in France and one of the most prominent exhibitors in Europe. Currently it operates 74 cinemas and 757 screens in France, 21 cinemas and 156 screens in The Netherlands, and 10 cinemas and 70 screens in Switzerland. Les Cinémas Gaumont Pathé never ceases to impress its audiences with its continued effort to bring them the best comfort and a rich diversity of films, and it is fully committed to digital projection for future growth. In 2010, the Gaumont Pathé Theaters realized 67.7 millions of admissions in Europe.

Established in 1981, ADDE is a company that specializes in the manufacture and installation of film projection equipment. In addition to

being one of the few French companies to manufacture the majority of the material that it installs in the field of cinema, ADDE also provides a comprehensive range of services to the cinema exhibition industry, including after-sales service, maintenance, troubleshooting, development of installation, and technical management. "GDC servers are very intuitive to use and have been designed for easy installation in the field," said Didier Rosset, president of ADDE. "GDC engineers are very knowledgeable and always reachable for assistance. We have great confidence working with them for Les Cinémas Gaumont Pathé's rollout program."

"This contract is of special significance to us in that it is GDC's first major order in Europe. More importantly, GDC is honored to work with a prominent and respected exhibitor in Europe - Les Cinémas Gaumont Pathé that demands quality products and services," said Dr. Man-Nang Chong, founder and CEO of GDC Technology.

"Since our first installation of digital cinema server a decade ago, GDC has grown to become one of the leading server manufacturers with more than 70% market share in Asia and number 2 in worldwide market share of digital cinema servers. GDC is committed to providing the best server technology and services to our European exhibitors."

Torrents Getting Terrible A comprehensive new study released by the brand and trademark monitoring firm Envisional found that 23.8 per cent of global Internet traffic involves digital theft with BitTorrent accounting for almost half (11.4 per cent) of the total digital piracy. Traffic numbers for the United States, showed that over 17 per cent of the US Internet traffic is estimated to be infringing, with BitTorrent responsible for more than half (9 per cent).

The study by Envisional head of piracy intelligence Dr. David Price was commissioned by NBCUniversal specifically for assessing the impact of April-June 2011

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online piracy of motion picture exhibition indusrty. It also found that infringing cyberlocker sites accounted for 5.1 per cent and infringing video streaming sites accounted for 1.4 per cent of global traffic. Other peer-topeer (P2P) networks and file sharing arenas contributed the rest of the infringing traffic.

Additionally, the analysis of the top 10,000 peer-to-peer swarms (as measured by the number of active downloaders or 'leechers' on the PublicBT tracker, the largest and most popular BitTorrent tracker) found that 99.24 per cent of the nonpornographic material was copyrighted material.

Motion Picture Association of America, Inc. (MPAA) president and interim CEO Bob Pisano said,"Bottom line, according to this new study, nearly one-quarter of the traffic on the Internet involves the unauthorized distribution of copyrighted material such as movies, TV shows, music and video games.

Whether you call it piracy, digital theft, illegal downloading or unauthorized streaming, it's stealing the creative work of others. The real victims are the 2.4 million Americans working in film and television, and the millions of other workers in the United States and abroad whose livelihoods depend on the creation, sale and distribution of copyrighted material."

"Our society would not tolerate a situation where one-quarter of all the traffic in and out of the bakeries, butcher shops and grocery stores involved stolen merchandise, and we cannot tolerate the vast explosion of digital theft on the Internet. With download speeds and server capacity increasing every day, the problem will only get worse if we don't do something about it.

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World’s First 4K DLP ‘Cineplex’ Canadian exhibition giant Cineplex Entertainment took the pride of being the world’s first 4K DLP cinema when its Galaxy Cinemas Waterloo went on stream to beam the epic action movie Ballte:LA using the new Christie CP4200 platform. The Torontoheadquartered exhibitor is the largest in Canada with over 132 theatres for 1,366 screens serving approximately 70 million guests annually. Operating theatres from British Columbia to Quebec, it is also the exclusive provider of UltraAVX and the largest exhibitor of digital, 3D and IMAX projection technologies in the country.

“This will mark the first time anywhere that moviegoers will be able to see what’s possible on the big screen with a superior 4K DLP cinema projection solution. Cinema fans are going to enjoy the depth and extreme quality of the visuals this new projection technology delivers,” says Craig Sholder, Vice-President, Entertainment Solutions, Christie. “We pioneered digital cinema and we’re proud to deliver another ‘first’ to movie audiences and exhibitors.”

Christie’s new Solaria Series CP4200 platform is a superior 4K DLP cinema projection solution that drives the world’s most brilliant standard and 3D images, the highest level of content security, and the easiest adaptability, operation and maintenance for cinema operators everywhere. The platform can drive screens as wide as 105 feet, and 3D screens as wide as 75 feet.

“This first installation has been completed at Galaxy Cinemas Waterloo in southern Ontario. The landmark project was managed by Christie and Cineplex, and installed by Cinematronix. The installation features a Solaria Series CP4230 to drive a 65-

foot projection throw to a 52-foot wide silver screen,” said Dave Muscat, senior director of sales, Christie Canada. The Solaria Series includes the CP4220 for traditional cinema venues, and the CP4230 designed for the largest theatres, Muscat added.

The CP4200 platform: •

Uses Brilliant3D technology to deliver high performance 3D with no compromises

•

Delivers perfect pixel alignment for optimal image quality

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Drives the largest screens in premium movie theaters, up to 105-feet wide

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Streamlines time-consuming maintenance procedures

•

The Christie Solaria Series CP4200, powered by Christie Xenolite lamps

Offers the most enhanced, premium 4K experience for the lowest cost of DLP operation “At Cineplex our goal is to deliver an exceptional entertainment experience to our guests,” said Pat Marshall, VicePresident, Communications and Investor Relations, Cineplex Entertainment. “Christie projectors provide the sharpest on-screen image so our guests can enjoy the stunning imagery of today’s movies the way they are meant to be enjoyed, on a big screen in a theatre.”

Claimed to be ideal for theatres with screens 55-feet and wider, the Christie’s 4K DLP solution uses a 1.4" Enhanced 4K DMD DLP Cinema chip to drive a massive, crisp resolution of 4096 x 2160 pixels. The projectors provide 34,000 lumens brightness, with a contrast ratio greater than 2100:1. The 1.4 DLP Cinema chip, allow for over 35 trillion Academy accurate colors, meaning moviegoers see every little detail, even in the shadows.

WTW Cinemas Win RAAM Award WTW Cinemas, who operate 10 screens across three sites in Cornwall, UK won the prestigious RAAM Award for Independent Cinema of the Year 2011, which was presented in February at the Marriott Hotel, Grosvenor Square, London.

The independent, family-owned cinema company has been in the cinema business for over 65 years and continues to grow, with a new four screen cinema opening in Newquay, Cornwall in the spring. The award went to WTW's four-screen state-ofthe-art White River cinema in St Austell, beating off tough competition from Zeffirellis in Cumbria and The Lexi in London. Mark Williams, General Manager of White River cinema collected the award.

WTW Cinemas were an early adopter of 3D and have experience of three different 3D cinema systems over recent years. At the UK Cinema Exhibitors Association 3D conference in 2010 WTW cinemas compared their experiences using the different systems, and it was interesting then to hear about the practical problems of dealing with 'active' glasses and of the relative costs of operating the different 3D systems.

During 2010, Screen 1 at St Austell, which had used XpanD 3D for more than a year, changed to MasterImage 3D, and WTW have decided that their new all digital cinema in Newquay will use MasterImage 3D exclusively. They have found that the MasterImage technology is simple for the technical team at the cinema to operate, and the projection box preparation required was minimal - UK cinema installation and service company Sound Associates installed and support the MasterImage 3D systems at the WTW cinemas.

Since the change, feedback from audiences has been very positive, with people preferring the lightweight glasses. Brian Kercher of MasterImage 3D said that they are coming across more and more situations where cinemas are replacing previously

installed systems with MasterImage 3D, once cinemas realise the true cost of ownership over time of the various alternative solutions.

Technicolor Asia Achieves ISO Standards Eighteen November 2010 was an auspicious day for Technicolor Asia.

Not only was it the 7th Anniversary of starting-up operations in Thailand but Technicolor Asia became the first post production facility in the country to achieve ISO 9001:2008 status.

With ISO 9001:2008 certification, Technicolor Asia has shown it provides a quality management system demonstrating its ability to consistently provide product that meets customer and applicable statutory and regulatory requirements, it aims to enhance customer satisfaction through the effective application of the system, including processes for continual improvement of their systems and the assurance of conformity to customer requirements.

The Technicolor facility in Bangkok was actually established in 1977 as CineColor Lab. Technicolor took over in 2004 and further developed the full service motion picture film laboratory which provides worldwide servicing for motion pictures, commercials, and documentary projects. Technicolor Asia manufactures release prints and offers high end sound, video, and digital imaging services for the AsiaPacific and Middle East markets.

Recently, Thailand has become a center for production services in the Southeast Asian region and Technicolor has been instrumental in providing the finest in sound, video, and digital imaging services, as well as rolling out the dynamic Technicolor 3D system which offers theater owners an affordable, easy to use 3D system that has proven to increase box office revenues.

"We are extremely appreciative of ISO: 2008 certification," said Sergio Bosso,

managing director of Technicolor Asia.

"But we realize that we must continue to work hard and provide international quality services while growing our facility, adding new equipment and accommodating the needs of our clients. We are also committed to supporting new generations of film makers by offering them assistance through awards at film festivals like those at Pusan, Tokyo and Vietnam."

To celebrate their 7th anniversary on November 18th, a new remodel of the facility was unveiled after participating in traditional Buddhist rites ceremonies.

NEC's 'Strong' Footprints in Asia Ballantyne Strong, Inc., a provider of digital cinema projection equipment and services, cinema screens and other cinema products, announced that it has been selected to provide 150 NEC digital cinema projection systems to Beijing Yida Jiuzhou Film, a newly launched exhibition company, and 100 projection systems to The Jinyi Group. Both are first-time Ballantyne customers. Approximately 50 of the systems were shipped in Q4 2010, and the balance is expected to ship principally in Q1 2011.

Gary L. Cavey, President and CEO of Ballantyne, commented, "Our Asian digital cinema business continues to thrive as Chinese theatre exhibitors move aggressively to both convert existing theaters to digital as well as to expand cinema penetration across the country. We are delighted to forge new relationships with both Beijing Yida Jiuzhou Film and The Jinyi Group. Ballantyne remains well positioned to participate in Asian growth opportunities in coming years."

With over 16 years of experience operating in Asia, Ballantyne has significantly expanded its presence in region over the past two years. The Company has full-service facilities in Beijing and Hong Kong and a recently opened satellite sales office in Shanghai.

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DP2K-32B, Brightest Digital Projector on Planet Barco achieved what it claims a notable Guinness World Record. Its DP2K-32B digital cinema projector, already recognized as 'the brightest projector on the planet,' can now officially claim this title after succeeding in a world record attempt. With a measured and validated brightness of over 43,000 center lumens in color-calibrated mode, the record-holding Barco DP2K-32B is able to perfectly project 3D content even on the largest screens, giving moviegoers all over the world the ultimate viewing experience.

The successful record attempt took place at Barco's own facilities in Kuurne, Belgium, on 1 December 2010 at 2pm local time. Witnessed and verified by Guinness Adjudicator Kaoru Ishikawa, a Barco DP2K-32B digital cinema projector achieved an exact brightness of 43,000 lumens after color correction to match the DCI color spectrum, measured at the center of a 4m² cinema screen at a distance of 5 meters from the projector.

A certificate proving the successful record attempt was presented in person

by Miss Ishikawa to Wim Buyens, Vice President of Barco Digital Cinema.

"The projector's brightness is a crucial element in providing moviegoers with a captivating and immersive cinema experience. This is especially true in the case of 3D movies, which require a lot of brightness," explains Wim Buyens. "This makes it very hard to efficiently project 3D content on larger screens, where only ultra-bright projectors can guarantee an optimal viewing experience. In this respect this world record is more than merely a technological achievement: it is an answer to one of 3D digital cinema's biggest challenges today."

The model used for the record attempt was an off-the-shelf Barco DP2K-32B, equipped with a standard 7 kW Ushio lamp. Featuring the most efficient optical light path, Barco's DP2K projectors are specifically designed to deliver the highest possible brightness on screen. To guarantee undiminished

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brightness levels over the years they also benefit from Barco's unique sealed light engine to keep dust out.

"Ever since its launch, we have billed the

DP2K-32B as the 'Brightest digital cinema projector on the planet'," adds Wim Buyens. "Being recognized by the famous Guinness World Records now makes this title official and once again demonstrates Barco's technology leadership in digital cinema projection. I would like to congratulate our excellent engineering team and everybody involved in the development of this projector for this accomplishment. More brightness means a more immersive 3D experience, and this is exactly what our technology enables."

Barco's Dedicated Digital Projector for Post-production Barco announced the commercial release of its DP2K-P, a digital cinema projector specifically designed for the needs of the post-production community. Featuring a greatly expanded color gamut, superior contrast, exceptional brightness uniformity and specialized postproduction software, the DP2K-P effortlessly meets the stern performance demands of postproduction houses as well as the review room requirements outlined in the DCI specification. The new projector will immediately be available for commercial distribution.

"To meet the unforgiving quality expectations of the post-production market, the novel DP2K-P has been fit with an extra wide color gamut significantly wider than what is currently recommended in the DCI specifications," explains Barco Product Manager Bram Dieryckx. "In addition, users will immediately be impressed by the greatly improved contrast and brightness uniformity, which results in more image detail, especially in low light regions."

Barco's new DP2K-P projector elaborates on the proven platform of

its successful DP2K B-series, from which it adopts highly-praised benefits such as optimum light efficiency, lowest cost of ownership, and user-friendly operation. The DP2K-P integrates Texas Instruments' 1.2" DLP CinemaÂŽ chip - a forward-looking choice for 4K compatibility. To prevent dust from intruding in the chip, the projector has been fitted with a patented, hermetically sealed enclosure, which guarantees undiminished brightness and contrast levels over the years and allows for the use of reusable air filters, another industry first. Thanks to its enhanced DMD cooling system, the projector also delivers a drastically extended lifetime.

Barco's new post-production projector comes with a special version of the company's Communicator software package, enabling users to meticulously create and customize their 2D and 3D look-up tables. Thanks to this increased control over the color space, post-production professionals will experience an unprecedented level of accuracy.

from each R, G, and B element independently controlled, frame by frame, to create a full-color backlight image displayed on the LCD panel in real time. Combined, the LED backlight and the LCD screen produce a final image with true blacks, exceptional dark detail, high dynamic range, and the widest, most accurate color gamut available in a flat-panel monitor.

With the introduction of the DP2K-P, Barco builds on a long history of innovation in the post-production arena, which started with the D-Cine Premiere DP90P - the first dedicated digital cinema post-production projector on the market. Today, Barco's commitment to the postproduction market is evident in its comprehensive product offering, including not only the new DP2K-P post-production projector, but also the RHDM-1701P and RHDM-2301P grade1 displays for video reference tasks.

The other benefits include:

Dolby's Reference Monitor for Post Production Dolby Laboratories, Inc. recently showcased its the long-awaited Dolby PRM-4200 Professional Reference Monitor to be released for global markets. Aimed at powering the postproduction houses, the monitor is said to have been tested extensively by leading colorists, cinematographers, and other industry luminaries who have been enthusiastic about its features and performance.

The backlight of the Dolby Professional Reference Monitor consists of 1,500 RGB LED triads, with the light element

•

True black levels--the only commercially available LCD monitor capable of displaying true black levels and rendering dark detail to produce the exact image that was shot

•

Extended dynamic range--the first reference monitor to provide the extended dynamic range that the latest digital cinema cameras capture

•

DCI/P3 (digital cinema) color gamut support--allows the ability to perform color critical grading without the use of a digital cinema projector

•

Precise color accuracy--across all luminance levels

•

Versatility--emulates any other display device so all content preparation and quality evaluation can be done on one monitor

•

Size and aspect ratio--emulates the home viewing environment to ensure that content displays properly in the home

The Dolby PRM-4200 Professional Reference Monitor was first released in the US in October 2010 and has been made available for the European market recently. It will be released to other regional markets throughout 2011.

New, Economic 3D Glasses from XpanD With over 50 3D movies expected to hit cinemas over the course of 2011, XPAND 3D, the global leader in active 3D technologies for home, cinema and education, announced new, lower pricing for its award-winning cinemagrade X101 3D glasses. In doing so, the company is fulfilling its vision of providing theater owners with the best business model that couples the world's best performing 3D technology with lowest operational cost as the volume of 3D content is surging.

"Looking at the business model for active high quality 3D glasses vs. disposable passive glasses, the argument for active has just become even more convincing!" noted Ami Dror, XPAND 3D Chief Strategy Officer, "XPAND Cinema partners can amortize the cost of the 3D glasses over thousands of shows instead of trashing millions of low-quality disposable glasses.”

XPAND X101 3D glasses are designed to provide moviegoers with the best 3D performance and cinema operators with the best commercial performance.

The glasses are rugged for durability but flexible for comfort and with lifetime of up to 5000 shows.

Because 3D requires as much light as possible, XPAND X101 3D glasses feature the fastest shutter technology to deliver the brightest image.

Standard white screens can be used for both 2D and 3D meaning the cinema's capital costs are reduced, while the viewing angle is optimized (and more seats get an optimal viewing experience). Furthermore, hot spots created by 2D presentations on silver screens are eliminated!

XPAND X101 3D glasses are optimized to work with all Texas Instruments DLP Cinema chips and allow DC projectors to be set to normal lamp settings (as opposed to increased lamp output settings required by other 3D providers), extending projector lamp life by as much as 80 percent. XPAND X101 3D glasses include a standard EAS anti-theft tag device.

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Christie Powers Missouri's First Booth-Less Theatres Christie announced that is the brand of choice for the first multiplex in Missouri - B&B Theatres' Wildwood 10 - that eliminates the traditional projectionist booth and requires no human operator. The groundbreaking multiplex's booth-less auditoriums, installed by Kansas-based Sonic Equipment Company, are powered by Christie Solaria Series digital cinema projectors.

The projectors sit on platforms supported by 16-foot beams that moviegoers can walk under, with a control room on a lower level that is the heart of the digital cinema system.

A total of 10 Christie Solaria CP2220 4K-ready DLP Cinema projectors were installed with six of them set up for Real D 3D presentations.

"The booth-less auditoriums are a first for us. They create a 'cool effect' that we believe is the way to go in our new theatres," said Dennis McIntire, Director of Strategic Planning for B&B. "We have a very strong track record with Christie. Since the projectors platforms are designed to be low maintenance, we needed a projection system of the highest quality and durability, and Christie was the best fit."

"Booth-fewer auditoriums are an exciting new development and, at Sonic, we thrive on being on the leading edge," said Eric Olson, Director of Operations, Sonic Equipment Company. "We needed digital projectors that would eliminate the fear of the unknown, and Christie took the fear factor out of the equation. Their projectors perform

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Olson added, "I am amazed with how little the theatre manager has to worry about, considering the sophistication of these projection systems. Christie Managed Services is like a full time projectionist continuously monitoring the systems."

continuously, without worrying about frequent access for servicing. We have enormous confidence in the reliability of Christie projectors and wouldn't have attempted the booth-less auditoriums without them."

The Wildwood 10 Theatres represent the new face of the B&B brand. In addition to being Missouri's first, alldigital multiplex, it features two plush Marquee Suites for patrons who are over 21, as well as a spectacular 56foot wide, wall-to-wall Grand Screen, also lit up by a Christie projector, that offers the latest in 3D video and audio technology. The building's façade incorporates an Art Deco spire and vertical signage that were built from the ground up on the site of a former bank, while the interior dÊcor features murals of stylized Hollywood scenes.

The Wildwood 10 had its grand opening in October, bringing the family-run chain's total digital screens to 62 and putting them on track to digitize all of their 204 screens within two years.

Sonic's Eric Olson noted that Christie Managed Services also played an integral role in his decision to recommend Christie projectors.

"The service allows us to offer our customer a wider range of support and maintenance to help them best manage their new high tech digital systems," he said. "Christie Managed Services blends seamlessly with our technical capabilities to provide a solid foundation of support that includes expertise in planning, procurement, logistics, pre-staging and integration, as well as implementation of system rollouts."

"The best projection systems in the world are of little value if they are not also highly reliable," noted Craig Sholder, Vice-President, Entertainment Solutions, Christie. "Christie's strong reputation in the exhibition community is based on providing products of proven dependability, backed by unmatched technical expertise. B&B's new booth-less theaters are a tribute to the confidence they have in Christie projectors and our commitment to meeting the most challenging needs of our customers."

Barco, Cinemark First to Initiate Commercial 4K DLP Barco recently achieved another industry first by shipping its new DLP Cinema 4K projector to Cinemark Holdings, Inc., marking the first commercial installation of DLP Cinema Enhanced 4K in the world. The Belgian projection major began shipments with Cinemark's West Plano, Texas theatre making a milestone demonstrating Barco's technology leadership. In the same way that Cinemark has achieved differentiation in the market with its XD concept, Barco will continue to help deliver a premium experience for moviegoers with its 4K projectors.

"Across the globe, the Cinemark brand represents a premium digital cinema experience. As a premiere movie exhibitor, it is critical for us to continually offer the best technology available at all times and with Barco's unparalleled brightness, image quality and reliability, we know that we can deliver the ultimate theatre experience to our patrons time and time again," commented Alan Stock, CEO of Cinemark. "Just as importantly, Barco has met every single commitment they've made to Cinemark, including 100% on-time installations even with a very aggressive deployment schedule."

Barco has rapidly lifted production to fulfill demand around the world, providing several models of its DLP 4K projectors for the various theatre footprints maintained by Cinemark. The DP4K-32B will be installed in Cinemark's largest theatres, including XD premium auditoriums, while the DP4K-23B will be deployed in the majority of Cinemark's standard auditoriums. Barco's projectors feature the highest image quality and Guinness world record brightness, with a modular design that enables easy installation and maintenance, an intuitive user interface and smart auto lamp alignment, all at the lowest total cost of ownership, thanks to low lamp and electrical operating costs, reusable filters, and minimal maintenance requirements.

"Cinemark continues to be a fantastic partner to Barco and we are very happy to keep them at the forefront of movie exhibition. Our continued technology leadership, featuring numerous industry firsts, ensures that our projectors perform at the highest caliber to provide a rich, immersive, and differentiated experience for their moviegoers," commented Todd Hoddick, VP of Barco's Entertainment Division in North America.

Cinedigm to Digitize Southern Theatres Cinedigm Digital Cinema Corp.

(CIDM), global leader in digital cinema, announced the deployment of 283 Cinedigm-Certified screens across 20 existing Southern Theatres, L.L.C. locations in Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina and Texas. The New Orleans-based Southern Theatres will begin the installations in March 2011 and hopes to complete by the end of the year.

Southern Theatres, L.L.C., is responsible for the daily operations of The Grand Theatres and AmStar Cinemas. Southern is financing the deployment through NEC Financial.

"Upgrading our theatres with stateof-the-art digital cinemas continues Southern's tradition of delivering the best movie-going experience possible," said George Solomon, President of Southern Theatres.

"Cinedigm is a great partner and they understand our desire to offer the best, highest quality experience to our audiences."

Solomon has been in the theater business with his family for more than 50 years and launched Southern Theatres, LLC, to develop and operate state-of-the-art, multiplex stadium-seating movie theaters. One of their newest, most innovative theatres is the Canal Place, exemplifying Southern's continuing commitment to revitalizing their home town of New Orleans. The fully converted to digital cinema five-plex provides upscale amenities such as gourmet food, luxury seating, and a full bar.

"We are thrilled to welcome Southern to our growing list of innovative exhibitor partners," said Chuck Goldwater, President, Cinedigm's Media Services Group.

"Our team is eager to begin working with the Southern team to help them take full advantage of the operational and the programming applications made available by Cinedigm's digital cinema platform."

Since the beginning of digital conversions, Cinedigm has been the leader in digital cinema. In Phase 1, Cinedigm deployed 3724 screens at 348 sites for 18 exhibitors in the United States. In the current Phase 2, Cinedigm has signed contracts with 60 exhibitors to deploy 2,947 Screens at 261 Sites. The total number of deployed screens in the United States is 15,019 at 2635 sites, making Cinedigm responsible for the installation or contracting for over 44 per cent of all digital screens.

Such theatres are fully networked, turnkey systems - simple and costefficient to operate.

Cinedigm's Digital Cinemadivision is the industry-leading deployment programme for Digital Cinema. It facilitates funding, installation support and administration for the company's studio-supported digital cinema rollout plans. Cinedigm is also the digital cinema integrator of choice for the CBG, a buying programme of the National Association of Theatre Owners (NATO) for small and independent theatre operators in United States and Canada.

With Cinedigm's turnkey suite of digital cinema technologies, Southern will offer consumers allnew digital entertainment options.

From 3D movie extravaganzas to live sports programming and 3D theatrical concerts to event programming, Southern will deliver enhanced digital cinema entertainment well into the future.

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Doremi's Patented 4K IMB to First Commercial DLP Cinema In another move solidifying their leadership position, Doremi enabled their previously deployed 2K IMBs with a simple firmware update to deliver full 4K decoding within the DLP Cinema Enhanced 4K projector.

As designed, Doremi Cinema delivered a new firmware to Cinemark Theatres allowing them to simply update their existing 2K IMBs to deliver full 4K decoding capabilities within the DLP Cinema Enhanced 4K. The update at Cinemark's West Plano, Texas, theatre is the first to be updated within the circuit. The deployment follows the recent patent granted to Doremi for their 4K decoding technology.

"When we started our 4K endeavor in 2009, we relied on Doremi to develop a reliable 2K/4K solution that did not require a hardware replacement to achieve 4k," stated Alan Stock, CEO of Cinemark. "Doremi has delivered as promised and we now have a simple, easy way of updating all of our DLP CinemaÂŽ Series 2 projectors without having to send a technician into the field. All Doremi upgrades are scheduled to be done remotely through the Cinemark network operation center."

"We are very pleased to be able to email our 4K upgrade to Cinemark," commented Michael Archer, Doremi's Vice President, Digital Cinema.

Designing and manufacturing our own IMB gives us the greatest flexibility to meet the demands of our customers and the requirements of the industry."

Doremi Cinema has been at the forefront of the 4K expedition since its inception as has been geared towards achieving the most flexible solutions in digital cinema as well as the most feasible 2K to 4K upgrade options.

Doremi has always been an innovative source in the digital cinema arena and is constantly introducing new technologies ranging from superior playback servers and mastering stations to access products and alternative content.

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Cobb Theatres Chooses Barco for Digital Conversion Barco announced that Cobb Theatres of Birmingham, Alabama, has purchased an additional 105 digital cinema projectors to complete the digital conversion of its entire 19-theatre chain with Barco's Series 2 projectors. Cobb already has over 60 Barco Series 1 and Series 2 projectors installed throughout its circuit, and the proven reliability has cemented Barco's standing as Cobb's projector of choice. Cobb is planning to install a Barco projector in every auditorium and every theatre throughout the circuit, with many venues featuring Cobb's innovative new CineBistro concept, a rapidly emerging trend in digital cinema entertainment.

As a "leader in providing the ultimate entertainment experience," Cobb has fully embraced the concept of a 'destination theatre,' offering specialty cocktails and gourmet restaurant-quality fare, with an emphasis on plush comfort and elite-class customer service. The cornerstone attraction is its CineBistro, an intimate lounge and restaurant area in a boutique setting surrounded by multiple theatres seating 80-100 customers. After dining, tables are retracted and patrons enjoy a movie in true "private Hollywood movie screening" style.

"Cobb is building a premium brand targeted to the sophisticated moviegoer who looks beyond merely catching a quick movie to seek a richer, multi-faceted cinema experience. Barco projectors are a natural part of this equation, perfectly complimenting our offering with unparalleled quality, high efficiency and proven reliability," commented Jeremy Welman, COO of Cobb Theatres.

"Moreover, we can count on Barco to stand behind their products with excellent service, making a 'Barco exclusive' the natural and easy choice for us."

Cobb installed Barco's DP-1500 and DP-2000 projectors in its first three CineBistro venues, attracted by the crystal-clear images displayed by the combination of Barco's superior optics and Texas Instrument's DLP CinemaÂŽ technology. Additionally, for the Hyde Park (Tampa, FL) CineBistro, a Barco ACS-2048 alternative content switcher was installed to expand the theatre's display capabilities, enabling input and scaling of alternative content formats such as DVDs and satellite feeds directly into the projector.

With this innovative and inexpensive addition, the CineBistro venue is a viable option for showcasing private corporate events and screening live telecasts such as sports and musical entertainment.

The new deployments will include an additional 105 Barco projectors spanning the full gamut of Barco's extensive suite of DCI-compliant 2K projectors, including the brightest digital cinema projector in the world - the DP2K-32B. "We are honored that Cobb has chosen to partner with Barco for this innovative CineBistro concept and to deploy our projectors throughout Cobb's entire circuit. They clearly recognize the importance that supreme image quality and topnotch service play in delivering an upscale entertainment experience," commented Todd Hoddick, VP Digital Cinema for Barco North America. "Cobb's innovative spirit and attention to detail are traits that we highly value at Barco, and we share their enthusiasm for bringing this new avant-garde concept to a new genre of moviegoers."

Regal, RealD to Double 3D Footprint RealD Inc., leading global licensor of 3D technologies for cinema, consumer electronics and professional applications, and Regal Entertainment Group, world's largest theatre circuit, announced that they have agreed to expand their 3D cinema relationship by adding up to 1,500 additional RealD 3D-enabled screens across the Regal Entertainment Group theatre circuit.

This agreement amends the May 2008 contract, which provided for the installation of 1,500 RealD 3D-enabled screens, doubling the arrangement to up to a total of 3,000 RealD 3Denabled screens.

"We continue to see high demand from moviegoers for RealD's premium 3D viewing experience and to meet that demand Regal expects to 3Denable approximately 40% of its screens as part of its ongoing nationwide digital rollout," said Amy Miles, CEO of Regal Entertainment Group. "Doubling our agreement for RealD 3D-enabled screens will allow us to play multiple 3D films at the same time and assure moviegoers the option of seeing films in a premium 3D format."

"Regal is the largest theatre circuit in the United States and their expanding up to 3,000 RealD 3D-enabled screens shows an unwavering commitment to 3D and an acknowledgement of the premium entertainment experience RealD delivers," said Michael V. Lewis, Chairman and CEO of RealD Inc. "Demand for 3D continues to rise with Hollywood releasing 22 3D films in 2010 and approximately 32 3D films currently slated for release in 2011."

RealD is one of the world's leading 3D technology licensors for movie theaters with the 15 largest motion picture exhibitors in the world using RealD 3D-enabled screens. As of the fiscal quarter ending September 24, 2010, RealD had deployed its 3D technology on approximately 9,300 theatre screens worldwide.

Reel Cinemas Networked by Arquiva Reel Cinemas, one of the UK's leading independent cinema chains, signed a contract with Arqiva's Digital Cinema partners, XDC. This will see Arqiva's Digital Cinema Satellite Distribution System deployed at all of Reel Cinemas' UK sites.

George Eyles, Head of Digital Media Networks at Arqiva Broadcast & Media, said: "we are delighted that Reel Cinemas has selected Arqiva's Digital Cinema Satellite Distribution System for their entire UK circuit. This 100% commitment underlines Reel Cinemas' confidence in both satellite-based delivery and in Arqiva as the satellitebased delivery platform of choice.

Our professional receive equipment will be installed at each Reel Cinemas location enabling them to receive regular and reliable electronic delivery of DCPs and live content via our IS905 platform."

Arqiva provides robust satellite and IP networks for the managed delivery of entertainment, information and advertising worldwide. It works with leading media distributors to provide electronic delivery services of live events and feature films into digital cinemas across Europe.

Sony 'Showcase's 4K Digital in Full

Karen Fox, General Manager of UK Theatres for Showcase says: "The introduction of Sony Professional digital cinema 4k screens will allow us to offer the ultimate digital cinema experience to all of our audiences. These systems provide outstanding image and sound quality and will extend throughout our offering, including 3D and alternative content, to deliver the most advanced and exciting entertainment experiences to our existing and future customers.

"Most other digital cinema projectors are only 2k, but Sony 4k is dramatically different, with four times the pixel count, delivering better picture clarity, resolution and quality for a more compelling and entertaining cinema experience. This means cinema goers get a level of detail that they've never experienced before, greatly enhancing their enjoyment of a fast action-packed film or a big scale epic adventure."

The Sony 4k system also enables viewers to sit closer to the screen and watch a seamless and continuous detailed picture, using an easy-onthe-eye technology, which maximises viewing comfort. The advanced 3D dual-lens adaptor system shows two images to both eyes simultaneously for more natural viewing, and gives a depth of field so lifelike that viewers can feel like they are part of the action.

UK's leading exhibitor Showcase Cinemas announced going 'fully digital', with the installation of Sony Professional digital cinema 4k projection systems. Beginning at the Cinema de Lux Leicester and then rolling out at the 21 Showcase and Showcase Cinema de Lux locations across the UK, the new systems feature more than four times the resolution of traditional Full-HD systems and offer incredible levels of detail and clarity in both 2D and 3D films. By the year end, all 276 Showcase screens will be fully digital positioning the brand at the very pinnacle of innovative digital cinema.

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SPECIAL FEATURE

Digital Cinema Going Places‌

Now, on Cruise Three-D digital cinema certainly going places! Multiplexes, standalones, into the open, and now onto the seas! Yes, furthering the magic of film-based cinema over the continental waters, digital cinema in 3D took to cruises in a new show of 'technotainment.' Charting a new direction in the digital cinema straits, Barco and FUNA International have partnered to develop projection, LED, lighting and controller solutions for several entertainment venues from stem to stern on the newly launched Allure of the Seas, the world's largest cruise ship, built by Royal Caribbean International.

Visualization pioneer Barco is supplying integrated creative lighting and projection solutions for multiple live stage and cinematic shows presented on Allure of the Seas. The cornerstone of the deployment is a 3D digital cinema theatre - the first installation on a new cruise ship leveraging Royal Caribbean's pioneering alliance with DreamWorks Animation to showcase first-run movies produced by the company.

Barco's ultra-bright DP2K 20-C digital cinema projector marked the occasion

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by showing a video of the Princess Fiona character, from the Shrek animated movie series, christening the ship. The projector, featuring Texas Instruments' DLP Cinema technology, will present 2D and 3D movies in the ship's 1,400-seat main theatre.

"By partnering with the best manufacturers and service providers, we've been able to offer our guests the ultimate entertainment cruise experience. Barco's help during the design phase was invaluable, combining

with FUNA's planning and installation expertise to produce a first-class product in every respect," commented Christopher Vlassopulos, Entertainment Technology & Technical Direction for Royal Caribbean International & Celebrity Cruises. "We're looking forward to expanding our winning partnership with Barco and FUNA as we deploy 3D digital cinema in 2011 on three additional ships: Oasis, Freedom and Liberty of the Seas."

Working closely with FUNA International, a leading cruise ship multimedia design, engineering and integration company, Barco provided products for several entertainment venues throughout the ship. The Amber

SPECIAL FEATURE Theatre (which doubles as the 3D Cinema) presents Broadway-style shows such as Chicago: The Musical and Blue Planet using a Barco package comprised of eight DL.3F digital lighting fixtures, two Axon Media Servers and a Road Hog Full Boar controller. Studio-B, the ship's ice skating venue, utilizes four DL.3Fs and four Axon Media Servers to produce a multimedia-enhanced How to Train Your Dragon ice show, featuring video projections on the scenery and ice skating floor. The DL.3F features a threechip light engine and onboard media server loaded with a wealth of digital content. This intelligent moving luminaire creates seamless vertical,

horizontal, or central panoramic media projections controlled from a lighting console.

"We've enjoyed a long, successful history with Barco/High End Systems products. The products they make are extremely seaworthy and offer superior image quality, versatility, and durability - all are critical needs in ocean-going entertainment travel," commented Rex Stull, President of FUNA International. "We've built a solid relationship with Barco over the years as a result of their open communication, excellent reliability and dedication to providing the best entertainment technology available."

In the center of the ship, the Royal Promenade hosts parades and other live entertainment using Barco's Road Hog Full Boar console. The AquaTheater, an outdoor pool and stage featuring aerial acrobatics, and springboard diving, features Let You Entertain Me, a Madagascar-inspired show and OceanAria, which employs two OLite 612 LED walls (1,944 pixelsl/ 12 mm pixel pitch) driven by Axon Media Servers. Barco's unique SMD technology enables wide-angle, closeup viewing of images on the LED walls to offer patrons a premium experience from any seat on the deck.

"Barco's LED walls present a rugged, high quality solution to address the cruise industry's growing desire to incorporate video into more and more entertainment options," commented Derek Warner, Senior Project Manager for FUNA. "They're also very quick and easy to install and maintain, a must for a cruise ship's rapidly shifting operations. Royal Caribbean has also benefited from standardizing much of its equipment with Barco, which facilitates cross-training among the ship's employees who frequently move among the fleet."

The Emden, Germany-headquartered FUNA is a 38-year-old engineering, integration and consulting firm with a variety of credentials encompassing projects from airports to wind turbines. The company is well established in maritime projects vessels of all types including cruise ships and super yachts - and also serves a variety of land-based developments.

FUNA has successfully completed over 150 cruise ship projects including eight of the 10 largest cruise ships as well as four of the largest super yachts in the world. Their client list includes Royal Caribbean International, Princess

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SPECIAL FEATURE

Cruises and Disney Cruises Lines among others. FUNA is certified ISO 9001 compliant in Germany and Finland Xand is in the process of receiving certification in the United States.

Royal Caribbean International is a global cruise brand with 22 ships currently in service. The line also offers unique cruise tour land packages in Alaska, Canada, Dubai, Europe, Australia and New Zealand.

"We're honored to be chosen once again by FUNA and Royal Caribbean to assist in the delivery of innovative cruise line entertainment," commented Bill Morris, VP Video & Lighting Solutions Barco North America. We continue to expand our offering of products purpose-built for harsh environments. Our solutions harness a number of breakthrough technologies that keep Barco on the cutting-edge of unique demand applications, and we're proud to continue fulfilling those needs with our partners at FUNA and Royal Caribbean."

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TECHNOLOGY

FDA Greenlights Kodak Laser Projection In a significant development, the US Food and Drug Administration (FDA) has approved a variance that allows for the sale of KODAK Laser Projector Systems using KODAK Laser Projection Technology to cinema exhibitors without the need for individual site or show operator variances. This is an important step forward in delivering brighter 2D and 3D images that provide higher dynamic range and a wider color gamut to theaters.

"The FDA approval brings KODAK Laser Projection Technology significantly closer to the marketplace and validates the work we've done to ensure that this technology is safe and dependable," says Les Moore, Kodak's chief operating officer for Digital Cinema. "In addition to allowing the sale of KODAK Laser Projector Systems using KODAK Laser Projection Technology, the FDA variance serves as a template to be followed by manufacturers that we license to incorporate this new laser technology."

Typically, digital projection systems using high power lasers fall under the definition of a "demonstration laser" and must follow existing regulations for conventional laser projectors, such as those used in laser light show displays. Kodak has been working in conjunction with laser safety consultants and the FDA to address potential safety issues. The unique optical design of KODAK Laser Projection Technology manages the projector output so that it can be considered to be similar to conventional Xenon projection systems. The FDA variance allows the sale of KODAK Laser Projector Systems with KODAK Laser Projection Technology and theater/show configurations incorporating them.

KODAK Laser Projection Technology promises to bring vastly improved image quality to theater screens, including significantly brighter 3D viewing, and to dramatically reduce costs to digital projection in cinemas through the innovative use of longlife lasers, lower-cost optics and more

efficient energy usage. Kodak introduced its laser technology in September 2010. The technology has been received enthusiastically by exhibitors, manufacturers, studios and viewers who have seen the demonstrations.

Moore notes that KODAK Laser Projection Technology is a key ingredient to potential improvements in digital cinema picture quality for both filmmakers and movie-goers.

"This laser technology is a significant breakthrough that promises to have a positive ripple effect throughout the cinema world," adds Moore. "We at Kodak have always endeavored to provide filmmakers with the best possible tools with which to tell their stories. That philosophy has served us well for more than a century, and we will continue nurturing that partnership long into the future."

Kodak is in discussions to license this advanced technology, with an eye toward marketplace implementation within the next two years.

TECHNOLOGY

MPA Launches

MAD-3 at CineAsia The Motion Picture Association (MPA) launched its latest anticamcording training video, titled Make A Difference 3 (MAD 3), to motion picture exhibitors and distributors attending CineAsia 2010.

MPA Files Lawsuit on Hotfile MPAA, on behalf of several of its member studios recently filed a lawsuit against the operators of the download hub service Hotfile, for copyright infringement.

Hotfile facilitates the theft of copyrighted motion picture and television properties on a staggering scale and profits handsomely from encouraging and providing the means for massive copyright infringement.

MAD 3 is an updated version of a training video produced by the MPA that provides guidelines to cinema staff on how to prevent illegal recordings, featuring Australian actor Roy Billing, this year's recipient of the MPA Asia Pacific Educator Award. Over 400 participants received a copy of the DVD and training package at the convention. More will be distributed to all cinemas across the region.

"This latest version of our Make A Difference training package for cinema staff will serve to keep exhibitors abreast of the latest technology being used by these criminal syndicates and assist them in identifying camcorders making these recordings," said MPA Asia Pacific president and MD Mike Ellis.

"However, this effort to address camcorder source piracy will require the joint cooperation and commitment of all stakeholders. We will continue to look to our exhibition partners, local filmmakers, governments and enforcement agencies to raise public awareness, step up on security, enact specific legislation and offer rewards to deter camcords coming out of the region."

This year so far there have been 99 illegal recordings forensically matched to theaters in the AsiaPacific. This represents a 20% increase over the same period in 2009, when there were 82.

"In less than two years Hotfile has become one of the 100 most trafficked sites in the world. That is a direct result of the massive digital theft that Hotfile promotes.

Everyday Hotfile is responsible for the theft of thousands of MPAA member companies' movies and TV shows - including movies still playing in theaters - many of which are stolen repeatedly, thousands of times a day, every single day. The theft taking place on Hotfile is unmistakable. Their files are indeed 'hot', as in 'stolen'. It's wrong and it must stop," said MPAA general

More than 90 per cent of newly released movies that illegally end up on the Internet and in street markets around the world originate from illegal recordings being made in cinemas. These recordings often appear online within hours or days of a movie premiere, triggering an avalanche of illegal downloads that can significantly impact a film's performance at the box office and throughout its distribution cycle.

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TECHNOLOGY counsel & chief content protection officer Daniel Mandil.

Sometimes referred to as cyberlockers, download hubs like Hotfile bear no resemblance to legitimate online locker services. In fact, Hotfile openly discourages use of its system for personal storage.

Hotfile's business model encourages and incentivizes users to upload files containing illegal copies of motion pictures and TV shows to its servers and to third-party sites, so unlimited users can download the stolen

content - in many cases tens of thousands of times. Hotfile profits from this theft by charging a monthly fee to users who download content from its servers. Hotfile also operates an incentive scheme that rewards users for uploading the most popular files - which are almost exclusively copyrighted works. Hotfile profits richly while paying nothing to the studios for their stolen content.

Hotfile is operated by Anton Titov, a foreign national residing in Florida.

The studios are suing Hotfile and Titov for direct infringement for unlawfully distributing copyrighted works, inducement of infringement, contributory infringement and vicarious infringement, for actively promoting, enabling and profiting from their copyright infringement.

A civil lawsuit has been filed in U.S. District Court in the Southern District of Florida for damages and injunctive relief for violations under the United States Copyright Act of 1976.

Camcording Broker Arrested Acting on information provided by the Malaysian Federation Against Copyright Theft (MFACT), representing Motion Picture Association in Malaysia, officers from the Malaysian Ministry of Domestic Trade, Co-operatives and Consumerism (MDTCC) arrested a 34 year-old man responsible for brokering the sale of large amounts of camcorded content from around the world.

The arrest represents the conclusion of a complex cross-border investigation and operation, which required the joint efforts of a number of agencies and organizations around the world.

The officers, assisted by staff from MFACT and CyberSecurity Malaysia, arrested the man while he was leaving his house. Following the arrest, authorities raided the residence and conducted a forensic examination of computers found at the man's home. In addition to the computers, authorities seized a number of other items connected to the brokering of illegal camcorded content.

"We are pleased that many months of investigations and cooperation have resulted in the arrest of a notorious broker of camcorded content. The suspect has been found to be a major player worldwide and a threat to creators of content

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around the region. Kudos to the MDTCC on neutralizing this international criminal, the impact of which will be felt immediately, cutting off the supply to international crime syndicates and thereby safeguarding the film communities in the region. We look forward to speedy prosecution and conviction of all involved," said MPA Asia Pacific president and managing director Mike Ellis.

The arrest is a result of investigations launched a year ago, targeting this major international broker of illegal camcorded content. While the suspect is not thought to have personally camcorded films, he played a critical role as a broker of camcorded content,

connecting camcorders with local criminal syndicates around the world.

"We congratulate the raiding party for connecting this known international criminal activity to the source, We also thank MFACT and MPA for their support in marshalling resources from their partner organizations to track down this camcorded content broker. Such crimes related to piracy have a very serious industry.

In this case, our authorities will be pushing for a maximum sentence," said MDTCC director general enforcement division Mohd Roslan bin Mahayudin.

TECHNOLOGY

Big, XLW Cinema from RealD RealD Inc., a leading global licensor of 3D technologies for cinema, consumer electronics and professional applications, announced breaking a new ground in technology cinema with its proprietary 3D digital cinema.

According to the company, it has developed and begun deploying to motion picture exhibition venues what it called the XLW Cinema System. An extension of the award-winning XL Cinema System, the XLW Cinema System can accommodate a throw ratio as wide as 1.0 (projection distance divided by screen width), and is designed for use in premium large screen motion picture auditoriums, theme parks and specialty theatres with stadium seating. The XLW Cinema System is capable of delivering crisp, clear 3D images on screens up to 82 feet (25 meters) wide and maintains the industry-leading performance of the XL Cinema System by delivering to a screen twice the light of competing 3D projection technologies while utilizing a single DLP digital cinema projector.

RealD 3D technology is currently deployed in premium large screen auditoriums with a number of motion picture exhibitors including Regal (RPX), AMC (ETX), Cinemark (XD), Carmike (BigD), Marcus (UltraScreen), Cineplex (UltraAVX) and Essex Cinemas (T-Rex).

"Many exhibitors are rolling out their own premium large screen auditoriums equipped with RealD 3D so they can give moviegoers a big screen experience across the full slate of 3D movie releases," said Joseph Peixoto, President of Worldwide Cinema at RealD. "The XLW Cinema System, with its 1.0 throw ratio and industry-leading light levels, is designed for these premium auditoriums' stadium seating configuration. The XLW will assure that exhibitors have optimal 3D projection so moviegoers experience crisp, clear images for a fully immersive RealD 3D experience."

The XLW Cinema System utilizes light efficiency technology introduced with the XL Cinema System, which captures light lost by other 3D projection technologies and recycles it back onto the screen for a brighter and more immersive 3D experience. By utilizing a single digital cinema projector, XLW Cinema Systems do not suffer from the imbalance and misalignment issues of dual projector systems and offer exhibitors cost savings on power usage and equipment such as projectors and lamps. RealD actually demonstrated the XLW Cinema System at the Digital Cinema Symposium in the last week of January at the Moody Gardens in Galveston, TeXas.

CINEMA SYSTEMS Projection Series-XXXII

Advanced Maintenance (plant)

In third and last part of Unit-VIII, featured in the last edition of Theatre World, we detailed about various aspects of sound maintenance in a cinema in their full finer details. Continuing the ongoing series on projection booth systems and methodologies, we take you forward to Part-I of Unit-IX where we take you through the mechanisms of advanced maintenance. Having leant in previous editions the basic principles and system methodologies, it's relevant today to learn the advanced maintenance of the plant too.

Introduction: We cannot lay down firm rules as to how the maintenance of cinema plant and building services should be carried out, as this will depend entirely on the policies adopted by cinema owners. We can however offer some basic theory to help you understand how systems work, and some general guidance which may help you draw up maintenance schedules and carry out routine service.

If any systems in the building are subject to a service contact then the person entrusted with the job must be contracted then the projectionist must contact the supplier before any equipment is touched. Any interference by an outside person could invalidate the contract. It is assumed that any maintenance that is undertaken is by a properly trained and competent person. Should the projectionist not have such expertise, it is strongly recommended that he or she seek specialist assistance or training.

Over the last ten years there has been a big chance in the way heating and

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ventilation is achieved in cinemas. Until then many cinemas were old, the majority having been built fifty years ago. Even though they had been modernised with the addition of extra screens, much of the plant remained unchanged, save for the conversion of the boilers from coke and oil to the more cost effective gas. Consequently much of the theory of heating and ventilation still remains unchanged. However, with the advent of the American style multiplex, we are conditioned cinemas with modern equipment.

To fully understand how heating and ventilation works we need to go back to the basic principles. Heating and ventilation is the means by which comfortable conditions are provided in enclosed spaces, in other words, by manufacturing an indoor climate.

Comfort in show business is very important, and is the result of a number of district factors, such as clear vision, good sound, good seating etc., Heating and ventilation are equally important because deficiencies can cause acute discomfort.

We talk about warming ourselves, but this is a misnomer because warming implies the addition of heat, but whilst still alive, the human body is constantly giving out heat. Therefore, heat cannot be added to it. The amount of heat given off must be regulated if discomfort is to be avoided, and since the rate of heat emission from a body will be determined by the environment it is in, then by regulating these conditions we regulate the rate of emission. We feel comfortably warm when these conditions are such that only the right amount of heat escapes from our body.

Basic principles and definitions To be fully confident in maintaining the cinema(s)' plant, the projectionist or the support staff should be familiar with the following principles: Density: Most substances increase in volume when heated, and consequently become lighter. Similarly as they get cooler they contract and become denser. Water, however is an exception. On cooling, at 4°C it begins to expand until it reaches 0°C when it freezes. This is the reason that pipes burst when they freeze.

Temperature: Temperature is a measure of the relative hotness of a substance. It is measured by the thermometers which are based on the uniform expansion of mercury or alcohol under heat. The scale used is the Centigrade or Celsius scale which starts at 0° C, the freezing point of water, and

CINEMA SYSTEMS goes up to 100° C for the boiling point of water and beyond. Below 0° C is a negative number and expressed as so many degrees below zero.

There are three different ways of transferring heat which concern us:•

Heat: Heat is a form of energy which pervades a substance. Although it is a definite quantity it cannot be measured directly as in the case of weight or pressure. Other quantities must be measured first. From which heat can be determined by calculation.

The effects of heat on a substance are to alter the rate of motion of its molecules and to change its temperature. The amount of heat in a substance is also relative to its mass, so the temperature and the heat content of a body are quite separate things, just like voltage and current. The application of heat to a substance produces three definite changes: •

It changes their dimensions.

•

It changes their temperature.

•

It changes their state.

An example of change of state is that with water it becomes a solid (ice) at 0° C and a gas (steam) at 100° C. Heat is measured in calories. One Calorie is the amount of heat required to raise 1 kilogram of water 1° C.

All bodies may emit heat by radiation. Depending on surrounding temperatures a body may receive more heat than it emits. It can best be described by touching the external wall of a building at say 20° C (which will be emitting a lot of radiant heat). It will feel cold because your body temperature is at 37° C and in consequence the wall will be absorbing more radiant heat from your body than it is giving back.

This characteristic is important when heating buildings, because even if the air is warm, if the fabric of the building is cold it will feel uncomfortable. As a useful guide if the fabric of a building is at about 18° C, then it will then absorb just that amount of heat that the body should lose.

•

Conduction is a form of heat transfer by the direct contact of molecules in a substance. For instance when you heat one end of a metal bar the heat will travel along its length.

•

Convection is similar to conduction but is between two substances. An example of this is hot water in a radiator warms the metal of the radiator which in turn warm air passing over it-one of the more common ways of heating a modern cinema today.

Pressure: Pressure is measured by gauges which indicate the difference between the actual pressure of the substance concerned and that of the atmosphere. If is above atmospheric pressure is 14.7 psi which in metric is 1.03 Kg/cm² or 1.03 bar.

For heating and ventilation, water and air are made to travel through pipes and ducts, both being subject to friction and consequently the greater the pressure to overcome it. The practical pressures which can be used are strictly limited because of power consumed and noise generated. These pressures are created by pumps or fans. The volume of water or air delivered will be in relation to the cross-sectional area of the pipes or ducts.

Cont'd...

CINEMA SYSTEMS

The Big ‘Screen’

Difference Among the many aspects that make a cinema experience a truly fulfilling one, screen occupies a very critical role though ironically it is one of the last things that most exhibitors consider when making a cinema. The greatness of a cinema’s sound and projection system may not create as good an experience if the same is not reflected on/from the screen which is why the screen is as important as other aspects. That’s probably the same mindset at the two cinematic settings recently – one in Hawaii and the other in the UK – where the cinema operator accorded a high importance to the screen. The honours, were, taken by Harkness screens. A TW snapshot:

Hawai on Big Screen with Harkness When Moving Image Technologies' Rydt Entertainment Systems Division faced the challenge of installing Hawaii's largest commercial movie screen, part of Consolidated Theatre's latest venture to attract more moviegoers, it turned to Harkness' Perlux 220 3D screen for the solution.

Named Titan Extreme Cinema (Titan XC), this new big-screen concept treats guests to an enormous wall-to-wall movie screen, pristine, eye-popping 3D images, ground-breaking sound and brand new, first-class leather seating.

The Titan XC, which made its Hawaiian debut at the popular Ward Stadium 16 on Friday, June 18, 2010, to coincide with the release of Disney/Pixar's Toy Story 3 in 3D, has quickly established itself as Hawaii's premier cinema viewing experience. The auditorium offers a seating capacity of 500 and features a 66foot wide Harkness Perlux 220 screen.

"We chose the Harkness brand because we believe it is the best screen on the market," says Jerry VandeRydt, president of the Rydt Entertainment Systems Division of Moving Image Technologies. "For this unique project, we selected Harkness' Perlux® 220 because we wanted the higher

2.2-gain screen. When dealing with such a large screen, you are always starved for light when running 3D. The 2.2-gain screen gives us the most reflectivity and, in turn, the most light output to utilize for a 3D situation."

In addition to the selection and installation of the Perlux 220, Rydt also designed the sound system and performed all of the installs of the speakers and equipment inside the theater. VandeRydt and his team installed QSC amplifiers, JBL backstage speakers and surrounds and QSC subwoofers for a total of 18 surround speakers in the walls, 14 surround speakers in the ceiling and eight subwoofers.

All movies shown in Titan XC and on the Harkness Perlux 220 will be presented digitally with a new, stateof-art NEC digital projection system, providing Titan moviegoers with striking, vivid images. Additionally, 3D blockbusters will be showcased using XpanD's 3D system, the first of its kind in Hawaii.

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CINEMA SYSTEMS Harkness Perlux screens are considered by leading cinema exhibitors worldwide to be the premier gain projection surfaces. The Perlux line of screens provides a choice of gain characteristics, high contrast, bright pictures, generous viewing angles and excellent color temperature. The Perlux 180 and 220 high gain screens are perfect companions for digital 3D systems that use non-polarized light, such as XpanD 3D and Dolby 3D.

Harkness Sails into Land's End When Simworx, market leader in 3D/ 4D effects theatres, was given the challenge of creating a turnkey, 100seat, 4D high-tech cinema at the UKbased Land's End amusement park, it turned to Harkness Screens Spectral 240 for its 3D presentation surface.

The installation of the Harkness Spectral 240 screen and custom frame is part of the amusement park's milliondollar investment that also includes state-of-the-art projection equipment and digital surround sound. In addition, the multi-sensory 4D experience offers high-tech moving seats, air blasts, water sprays, aromas and even leg ticklers. Added in-theatre effects include special effects lighting, wind, bubbles and low smoke.

"Simworx has been using Harkness screens for almost six years," says Terry Monkton, Simworx managing director.

"Harkness' screen quality and frame materials, as well as the brightness and clarity of images on screen, are excellent."

adventure that pits plucky cabin girl Jill Hopkins against the tyrannical Captain Scabb in pursuit of the legendary lost treasure of Skull Rock.

The film has also won two international animation awards, including Best Children's Film.

The Harkness Spectral 240 3D screen is considered by cinema exhibitors and special venue operators worldwide to be the optimum 3D projection surface for systems using polarised light. The Spectral 240 features a high extinction ratio and provides spectacular 3D images. The surface also supports 2D images and can be used successfully in auditoriums where 2D and 3D are both shown. The intrinsically high gain (2.4) overcomes light losses in 3D systems.

The Land's End site is one of the top tourist destinations in the South West of England, attracting over 400,000

visitors a year. Land's End is one of Britain's best loved landmarks, famous for its unique location, natural beauty and stunning scenery.

"The effectiveness of 3D imagery makes Harkness our screen of choice," adds Monkton. "In fact, every 4D theatre installation that Simworx has done to date has a Harkness screen."

Other UK-based projects that Simworx has used Harkness presentation surfaces on include, Drayton Manor Park, The Deep Aquarium, The National Aquarium, The Beatles Story, Le Pal Theme Park, Manchester Science Museum, Pleasure Beach, The Works at Ebbw Vale, Grand Pier Weston Super Mare, Bagatelle Theme Park, Amneville Theme Park, Flamingoland, Babbacombe Model Village, Familiepark Drievliet and London Science Museum.

"The Curse of Skull Rock" is a 12minute swashbuckling animated

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REVIEW 7-9 December 2010 Honk Kong Convention and Exhibition Centre Hong Kong CineAsia 2010 - the 19th edition of Asia's premier event for the continental motion picture exhibition industry was held from 7-9 December at the Honk Kong Convention and Exhibition Centre in Hong Kong- for the third time in the running after moving out from Macau three years ago.

The event - held in an upbeat atmosphere of market recovery and digitally rejuvenated cinema building expansion across the continent - turned out to be more constructive and interactive than it had been in the recent years. While driving past the apprehensions and skepticisms about digital roll-out, the platform took up issues of bigger potential like that of 3D digital, enhancement to 4k on one side, and the compelling technologies of 3D in film and lasers on the other.

Besides, it had piracy too to debate on.

The Programming Realizing the imperativeness of the issues it had on its agenda, the event began its day one with a seminar on an Overview of the Asian Market: The Role of Technology in Film, presented

by Sunder Kimatrai, Senior VP-AsiaPacific at Twentieth Century Fox International. The seminar had as its panelists DCinema Today publisher Bill Mead, Artisan Gateway CEO Rance Pow, Parabucks Co. Director Henri Wong, and Chibi Digital Vision Co.Ltd. Founder Koan Hui. The session was followed by another cinema beneficial session called Cinema Profitability.

Moderated by Artisan Gateway MD Kurt Reider, the session had as its

panelists Tushar Dhingra, COO of Big Cinemas; Irving Chee, GM of Golden Screen Cinemas; TJ Green, Chairman and CEO of Apex Entertainment; and Naoshi Yoda, MD of T-Joy. Day two began with an ICTA (International Cinema Theatres Association) seminar on 'Cost-Effective Upgrades for Sound Systems When Converting to Digital Projection.'

Moderated by Ioan Allen, Senior VP of Dolby Labs, the session was presented

by Barry Ferrell, Senior Director of Product Strategy at QSC Audio. It was also marked by yet another interesting

TW on display at the CineAsia Pub Bin

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presentation on Digital Cinema: Present and Future by Tony Adamson, Manager-Worldwide Customer Marketing at DLP Cinema.

Considering the growing concerns of unabated movie piracy, the Geek to Sleek programme that began last year aiming at issues of online piracy was continued at this event too. A series of programmes that began at Cinema Expo 2010, was presented by Frederick Huntsberry, COO of Paramount Pictures.

Another continuation from previous cinema conventions to mark CineAsia

Raghav of TW with Vista Solutions Chief Murray Holdway during the Gala Nite

2010 was the compelling technology of 3D on film by Technicolor. Titled 3D For Everyone, the session will be presented by Tim Meade Sales and Marketing Director for Asia Pacific at Technicolor, with a demonstration of how 3D on 35mm film will be costeffective and easy-to-use solution for cinemas.

Hollywood majors woven around the technical programming. Day one had the screening of Walt Disney's TRON: Legacy shown in Imax 3D at the iUSQUARE on the evening, and 20th Century's 127 Hours in the night in the same cinema. This year's event scored more movie screenings than the preceding editions, with each studio bringing at least two movies each.

Movie Screenings‌ On the lines of its previous editions, CineAsia 2010 too had its own dosage of movie entertainment and product reels of forthcoming releases from

Awards‌ CineAsia 2010 Awards Night, held on the evening of 9 December, had its surprises too. While leading Chinese

exhibitor Wanda Cinema Line was chosen for the prestigious Exhibitor of the Year Award, the DLP Market Achievement Award was presented to Lotte Cinemas and Distributor of the Year Award was given to Katherine Kim of CJ Entertainment.

Wanda Cinema Line - a subsidiary of Dalian Wanda Group Company Limited - is regarded number one exhibitor in China with over 600 screens from 71 locations across the country, and accounts for about 18 per cent of the total Chinese box office market share. The company's objective

Barco

Christie

Dolby

Doremi

DVA Architecture

GDC

Golden Link

Harkness

Harman

Klipsch

MasterImage

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is to double its presence by 2012, to over 1100 screens from 120 locations in the country.

The Tradeshow‌ The all-important tradeshow this year presented all that the region had to showcase in terms of its local strengths and global scales. The dominant show, of course, was obviously from the global digital equipment players such as Barco, Chrisite, Doremi, MasterImage, Qube, GDC, NEC, Sony and XpanD. More, the event had its local flavour too in that it had Future

There were, of course, global players like GoldenLink in cinema branding,

Klipsch in seating, Spectro Screens in cinema screens, and Preferred Popcorn in cinema concessions.

One of the important exhibitors was Technicolor Asia which pitched its film3D solution very aggressively against the digital solutions providers.

Ballantyne Strong Inc. was the other player from the film-based exhibition front.

Overall, CineAsia 2010 presented the industry with an interesting proposition for the Asian exhibition industry.

Osram

Preferred Popcorn

QSC

Qube

Schneider

Sony

Technicolor 3D

Ushio

USL

Vista

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3D Technology (HK) Co. Ltd. and Kwan Cheong Ho Company Ltd. From the digital audio and integrated cinema systems, Dolby and Datasat were two big players, followed by Qube, QSC, and Harman (Schenzen), in addition to the local player First Audio Manufacturing (HK) Ltd. Global Cinema equipment and solutions providers such as USL, Harkness Screens, Vista Entertainment, Jos. Schnieder, Ushio Inc. and Osram Asia Pacific all made their presence felt.

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PREVIEW

A New Showbiz From 28th - 31st March 2011 the eyes and ears of the worldwide motion picture theatre industry will be focused on Caesars Palace in Las Vegas, as the inaugural CinemaCon, the official convention of NATO, takes flight. When it debuts, CinemaCon

28 - 31 March 2011 Caesars Palace, Las Vegas

will be the largest and most important annual gathering of cinema owners and operators from around the world. With all of the fanfare and excitement of a major Hollywood Premiere, replete with stars and filmmakers, CinemaCon

2011 will attract upwards of 6,000 industry professionals, all on hand for the same reason-to celebrate the cinema industry, the moviegoing experience and the world of the movies. As well, CinemaCon will accord the industry the opportunity

Floor Plan - Augustus Ballroom

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Exhibitor List 1better LLC ............................................................ 329F ACS Enterprises ...................................................... 207F Adaptive Micro ...................................................... 100A Advanced Specialty Lighting ................................. 1608A American Cinema Equipment .................................. 506A American International Concession Products ............. 825F American Licorice ................................................ 1018F American Paper Optics ............................................ 935F Ballantyne Strong .................................................. 600A Barco .......................................................... 911A, 1006A Baseline ............................................................... 1003F Bass Industries ........................................................ 734F Betson Enterprises .................................................. 831F BGW System ........................................................ 1802A Boca Systems .......................................................... 728F Bright Star Systems ................................................ 618F Business Russia Group .......................................... 1029F C Cretors & Co ........................................................ 413F Caddy Products ....................................................... 519F California Seating + Repair ...................................... 834F Camatic Seating ...................................................... 713F Changzhou Yuyu Electric Light ............................... 402A Christie Digital Systems ........................ 1200A, Milano 1 Cinedigm Digital Cinema ...................................... 1404A Cinema Concepts ..................................................... 717F Cinema Equipment & Supplies ............................... 1804A Cinema Hosting ....................................................... 332F Cinema Lighting ...................................................... 529F Cinema Scene Marketing ........................................ 913F Cinema Solutions .................................................... 919F CinemaLive ............................................................ 403A Cinemeccanica SPA ............................................... 1606A Cinestar Touchscreen Technologies ........................... 929F Cinetize ............................................................... 1811A Coast To Coast Cleaning ........................................ 1033F Color Ad Packaging ................................................. 433F Component Engineering ....................................... 1800A ConAgra Foods ....................................................... 331F Connie's Pizza ....................................................... 104A Continental Concession Supplies .............................. 520F CRU-Dataport - Wiebetech .................................... 1803A Datasat Digital Entertainment .................... Neopolitan 2 D-BOX Technologies ................................................. 125F Deluxe ............................................ Neopolitan 3, 1028F Digital Media Solutions .......................................... 202A digitAll .................................................................. 304A Dippin' Dots ........................................................... 502A Dolby Laboratories .............................................. 1600A Dolby Laboratories .......................................... Milano 7 Dolphin Seating ...................................................... 430F Doremi Cinema ...................................................... 604A Durkan Hospitality .................................................. 630F DVA Architecture ................................................... 628F Eisenberg Gourmet Beef Hot Dog ............................ 307F Embedded Processor Designs ................................... 730F Eomac .................................................................... 818F Everything Cinema ................................................. 511A FBD Partnership, LP ................................................ 928F Figueras Int'l Seating .............................................. 931F Filmack Studios ....................................................... 321F Fishbeck, Thompson, Carr & Huber ........................ 1000F Fox Blocks .............................................................. 829F Franklin Designs ..................................................... 213F F'REAL! Foods ........................................................ 426F Funacho ............................................................... 1009F FunFlicks Outdoor Movies ...................................... 406A Future 3D Technology ............................................. 203A GDC Technology ................................................... 1208A Gehl Foods .............................................................. 916F Gold Medal Products ............................................... 707F Goldberg Brothers .................................................. 101A Golden Link ............................................................ 531F

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Golterman & Sabo ................................................... 431F Great Quantas International ................................. 1031F Great Western Products .......................................... 418F Greystone Public Seating ........................................ 230F Harkness Screens ................................................... 904A High Performance Stereo ..................................... 1801A Hollywood Movie Money ........................................ 114F Hurley Screen Corp ................................................ 201A Hytex Industries ..................................................... 629F iCount-USA ............................................................. 228F Immerz .................................................................. 129F Inorca Seating ....................................................... 200A INTEG Process Group ............................................ 1706A International Cinema Equipment ............................ 906A International Cinema ......................................................

Technology Association ........................................ 1307A International Electrical Wire & Cable .................... 1001F Irwin Seating Company ........................................... 201F J & J Snack Foods ................................................. 1012F Jack Roe USA ....................................................... 1604A JBL / CROWN ........................................................... 301F JKR Partners ........................................................... 924F Jolly Time Popcorn .................................................. 828F Kernel Seasons ....................................................... 821F KinotonGmbH ..................................................... 1204A Klipsch Group ........................................................ 806A Konica Minolta .................................................... 1407A Lancer Corporation ................................................. 133F Lavazza Premium Coffees ....................................... 214F LBI Boyd Wallcoverings ........................................... 324F Lightspeed Design .................................................. 305A Look3D .................................................................. 130F MARS Chocolate, North America ............................. 701F Martek Contracts ................................................... 719F MasterImage 3D .............................................. Milano 2 Mediamation ....................................................... 1005F Meyer Sound .............................................. Neopolitan 1 MikromGmbH ....................................................... 303A Mobiliario SA de CV ................................................ 801F Moviead ................................................................. 634F Moving Image Technologies .................................... 808A Mycinemastore.com ................................................ 416F Nathan's Famous .................................................... 225F National Association Of Concessionaires .................. 428F National Ticket Co .................................................. 505A Nebraska Popcorn ................................................... 917F NEC Display Solutions ............................................ 207A Nestle USA ............................................................. 512F Nevada Film Office .............................................. 1021F Odell's .................................................................... 725F Omniterm Data Technology ..................................... 625F Osram Sylvania ....................................................... 312F Paciugo Gelato & Caffe ........................................ 1014F Packaging Concepts ................................................. 824F Panavision 3D System ........................... Milano 3, 1704A Paradigm Design ..................................................... 217F Pelican Production ................................................... 907F PepsiCo Foodservice ............................................. 1000A Peters Pretzels ....................................................... 404F Peter's Pretzels ...................................................... 420F Philips Specialty Lighting ....................................... 503A Photo Research .................................................... 1207A Pot O' Gold ............................................................. 816F PowerDirect Marketing .......................................... 128F Preferred Popcorn ................................................... 731F Premium Performance Sound .................................. 405A Prime Ticket .................................................. 218F, 118F PrintTixUSA ............................................................ 319F Proctor Companies .................................................. 306F Progressive - Flooring Services ................................ 429F Promotion In Motion Companies .............................. 921F ProSTAR Industries ............................................... 1025F

Qingdao Fuyi ......................................................... 204A QSC Audio Products ................................................. 613F QubeCinema ......................................................... 407A Quest .................................................................. 1019F Radiant Systems ..................................................... 807F RCM Media ............................................................. 830F Ready Theatre Systems ........................................ 1211A Retriever Software ................................................. 827F Reward Wall Systems .............................................. 326F Reynolds & Reynolds ............................................... 316F RGS International ................................................... 925F Richardson Oilseed .................................................. 126F Ricos Products Company .......................................... 419F Roney International ............................................. 1507A Royal Paper Corporation ......................................... 817F Schneider Optics .................................................... 804A Schult Industries ..................................................... 813F Schwan's Food Service ............................................ 119F Seating Concepts .................................................... 513F Severtson Corp. ................................................... 1707A Simply Right ........................................................... 732F SinoCinetech Co. ..................................................... 231F Sirius3 ............................................................. Milano 8 SLS Audio ............................................................ 1808A Socal Safe .............................................................. 934F Solo Cup Company ................................................... 317F Sonic Equipment Company .................................... 1511A Sony ......................................... 100F, Milano 5, Milano 6 Soundfold .............................................................. 409A Stadium Savers ....................................................... 229F Stadium Seating Enterprises .................................... 729F Stein Industries ....................................................... 901F Steve's Frozen Chillers ........................................ 1002F Summit Food Enterprises ........................................ 305F Superior Quartz Products ..................................... 1408A Surveillance Technologies ........................................ 124F Sweet Amanda's .................................................. 1017F Taste Of Nature ...................................................... 424F Taylor Company ...................................................... 631F Technicolor 3D ....................................................... 400A Tempo Industries ..................................................... 525F Texas Digital ....................................................... 1411A THEATREWORLD ................................................. Pub Bin The Cawley ............................................................. 909F The Coca-Cola Company ........................................... 401F The Hershey Company ............................................. 115F The ICEE Company ................................................ 1006F THX ....................................................................... 508A TicketPro ............................................................... 311A Ticketsoft ............................................................... 918F Titan Technology ..................................................... 318F Tivoli .......................................................... Neopolitan 4 TK Architects .......................................................... 325F Tootsie Roll ............................................................. 905F Tr3nDy ................................................................ 1016F Ultra Stereo Labs ................................................... 313F Universal Cinema Services ...................................... 608A Ushio America ....................................................... 102A Vantage / Glassform ............................................... 926F Variety .................................................................. 328F Ventura Foods LLC .................................................. 635F VIP Cinema Seating ................................................. 219F Vista ...................................................................... 425F Vistar ..................................................................... 619F Vivian .................................................................... 534F Volfoni .................................................................. 205A Waiven ............................................................... 1611A Weaver Popcorn .................................................. 1013F Weldon Williams & Lick ........................................ 1015F White Castle Food .......................................... 530F, 528F Wulf Installations ................................................ 1020F XpanD ............................................................. Milano 4 Zimotion ................................................................. 330F

to gather so as to learn and share ideas about the current and future state of the motion picture theatre industry.

Whether you work in Cinema Exhibition, Film Distribution or Production, or, in the Equipment or Concession fields, CinemaCon is where you should be come March 28th. If you're involved in Marketing, Advertising or the burgeoning field of Social Media Networking, CinemaCon is where you should be come March 28th. And, should your field of expertise be in the design, construction or financing of movie theatres or the exciting world of digital cinema, then CinemaCon is where you definitely should be come March 28th. If your business is the motion picture theatre business, or, if this is the industry in which your business needs to be, then CinemaCon is the place for you!

The CinemaCon schedule will be complete with studio presentations and screenings (showcasing exclusive footage for the cinema industry); sponsored food events and the most topical of seminars geared to all facets of the industry. CinemaCon will also feature the largest theatre industry trade show - featuring the latest, most important and innovative technological advances in theatre equipment, and, the newest, most delectable offerings from the concession world-everything you need to satisfy the demanding needs of today's sophisticated moviegoer.

And to conclude the week in grand style, The Coca-Cola Company will be host to the Annual CinemaCon Big Screen Achievement Awards that will see top honors bestowed upon some of today's most glamorous and talented stars and filmmakers.

it takes to outfit and run a state-ofthe art motion picture theatre, sitting down and talking with the key executives and decision makers from the nation's theatres, or, listening to some of today's top stars and

filmmakers, then you won't want to miss out on CinemaCon 2011.

Remember-When The World Goes To The Movies, The Movie World Goes To CinemaCon

Floor Plan - Forum Ballroom

Floor Plan - Promenade Level Meeting Rooms

And, given the dominant role played by the International Boxoffice today, for those professionals involved in the worldwide cinema industry, CinemaCon is delighted to be holding an International Day of programming just for you on Monday, March 28th.

So, if it's networking with peers old and new, being a part of exclusive studio presentations and screenings highlighting the upcoming summer slate of releases, catching up on what April-June 2011

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PREVIEW

FRAMES 2011 23-25 March, 2011 Hotel Renaissance Powai Mumbai, India

FRAMES 2011 - the 12th edition of Asia's largest global convention on the business of entertainment - will be from 23-25 March at Hotel Renaissance in Mumbai. The FICCI(Federation of Indian Chambers of Commerce and Industry)-promoted event - being held in the postrecession buoyant time - is hoping to be bigger than ever with over 2000 Indian and 800 foreign delegates making up for different 'frames' of the three-day event that is rearing to spring some incredible surprises in its programming.

Themed on 'unlocking profitability for media and entertainment industry,' the event this year will unfold 'a vision for the next decade,' through two of the most prominent brand names in Indian media industry- Aroon Purie, Chairman and Editor-in-Chief, India Today Group, and Dr. Prannoy Roy, Chairman and Wholetime Director NDTV. The event will be laced with focused technical sessions on movies (both film and digital), broadcast, animation, gaming and visual effects through structured one-to-one business interactions, innovative workshops and masterclasses, knowledge forums, seminars, keynote addresses and more.

Some of the highlights of the event would be: Roundtable on European Film Financing & Co Production: A twohour in depth presentation, consultancy and analysis by Finance Consultant Juliane Schulze of Peacefulfish from Germany, the session brings detailed presentation on European markets. It seeks to detail Treaties, EU Funding - national and regional - specialized fund and cash rebates etc.

David Freeman Masterclass on Live Action Films & Animation: The session would bring to the fore two very important phenomena of the domain- The Secret Behind Pixar's Magic, and The 6 Layers of a Great

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Film Character. While the first one would unravel the 11 techniques that make Pixar films successful, the second one presents precise techniques to make the animated movie characters unforgettable, realistic and emotionally layered .

Cinema With Global Appeal: A Session With Stalwarts.' It will be followed by a technology keynote address before going to yet another cinematic session titled 'Digtial Cinema: The Way Ahead for Indian Box Office.'

FICCI - NASSCOM Game Developers Conference: This one-day conference on Game development includes power packed CEO's panel discussion and tracks on game programming, design and the art that makes it all the more enterprising.

Day Two too has two more sessions post-lunch relating to cinema and exhibition. One will be on 3D content integrating movies, television and gaming, while the other will be on 'Market Research for Indian Cinema: Gut Feel vs Market Realities.'

And there are more.

Day Three also has two sessions concerning cinema exhibition. The morning session is on 'Successful Film Content for the Future: The Rise of Debutants,' and the post-tea break session is on Cinema and the Digital Consumer.

While the technical sessions are also laced with a good number of keynote addresses by some of the most highprofile speakers, the event is bringing some of the best known names in the industry to share their knowledge and solutions with the delegates.

Some of the speakers at the event include James Murdoch, Chairman and Chief Executuve-Europe and Asia, News Corp.; David Perlmutter, Vice-President and Co-General Manager at Intel Architecture Group; Mitch Singer, CTO at Sony Picture Entertainment, Taylor Hackford, President, Directors' Guild of America, Michael Fink Hollywood's famed VFX Director, and Daniel Aelgre, PresidentJapan and Asia-Pacific, Google Inc. Interestingly enough, unlike the previous editions of excessive dosage of television and overseas coproduction businesses and relegating filmy entertainment to non-priority area, FRAMES 2011 is giving significant representation to movie industry and its exhibition component- thanks to the emergence of digital cinema and its ramifications all over the entertainment space.

The event's recognition of the digital entertainment is evident in that it accorded the Day One deliberation space to the phenomenon, and more in the following days too. The postlunch programming on Day One begins with a session on 'Making

There are, of course, more debating on television, gaming, children content in 3D, media - both electronic and print - and the role of trade bodies in impacting the industry dynamics.

Canada Partner Country: That Canada accounts for as much as 80 per cent of animation and special effects used in Hollywood, and it is third largest after USA and Japan in the gaming industry, the North American country has been accorded the Partner Country status with the FRAMES 2011.

As Partner Country, Canada, with the support of the provinces of Ontario and British Columbia, and in collaboration with Export Development Canada (EDC) will be showcasing their capabilities and attractiveness through the Canada country pavilion. While the country is also presenting sizeable number of speakers at the event, the most prominent is the one by Side Effects Software CTO Dr. Paul Salvini. More, there will be an Indo-Canada Student Innovation Award to be presented during the FICCI BAF Awards Ceremony.

PREVIEW

24 - 25 June, 2011 Renaissance Convention Centre Hotel, Powai, Mumbai Cinema India, India's premier tradeshow platform for motion picture industry has been charting new directions and dimensions even as the exhibition industry continues its robust growth. Having got elevated into an exclusive cinema event of scale, Cinema India beckons the industry with many a unique programming features. Theatre World (TW) talks to Anil Chopra (AC), managing director of Diversified Communications -promoters of the event - to know what difference it makes to Indian industry now. Excerpts: TM – What are the important issues confronting the theatre industry the conference hopes to address?

TM – Cinema India Expo is a separate show from the PALM Expo and moves to its own dates and location. What motivated this?

AC – We are realizing our purpose and vision and efforts of the last decade, with a major initiative this year, in bringing the Cinema India Conference to the Renaissance Convention Centre.

It's an act of faith. We do believe the conference is meaningful to be taken seriously enough to present a worldclass event and facilities and it must be noted that Cinema India was always an independent expo and conference since inception. This year it is a standalone international convention at a five star hotel as the theatre industry is in a dynamic phase with a tremendous investment and energy and in response, we need to provide a complimentary opportunity. Indeed, the Indian market is one of the biggest potential growth markets in the world and it is only decent to provide a topclass event to global investors. We have a long-term commitment.

AC – The single theatres associations are fragmented and without a federation. There is no concerted agenda and theatre business is bullied by state governments. We need to present the movie theatre business in the right perspective and hopefully the conference will result in a national cohesive action committee, as things stand the theatre business has been mauled (not malled!) and needs urgent action to put the industry on a fast track to growth. India has about the lowest density of theatres and a majority of the population does not have an opportunity to watch a movie on the day of release. I consider this opportunity of importance. India's

movie industry has not witnessed the true potential of revenue and this in turn adversely affects the entire chain.

Television and digital media like DVD, DTH or VOD is definitely not the solution. Our emphasis is first and foremost on the box-office!

TM – There is a view the conference is for the multiplex chains?

AC – Absolutely, and more so for the single theatres. Our vision is all inclusive. In fact one of the major concerns of the conference is the fact that hard top theatres in India have witnessed a 24% reduction. You will be shocked to know that from 12,500 theatres in India in 2009, which in any case was a dismal figure, today there are only 9,500 hard top theatres. 3,000 theatres have shut down, and wait a

Enter Cinema India...

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EVENT CALENDER

SPRING 2011 MARCH 23-25 FRAMES, MUMBAI, INDIA www.ficci-frames.com

MARCH 28-31 CINEMACON, LAS VEGAS, USA www.cinemacon.com

SUMMER 2011 JUNE 24-25 CINEMA INDIA EXPO MUMBAI, INDIA www.cinemaindiaexpo.com

JUNE 27-30 CINEMA EXPO AMSTERDAM, NETHERLANDS www.cinemaexpo.com

JULY 29-31 CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in

AUGUST 21-25 AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au

minute, there is no contradiction here, because the market does need these theatres. These theatres have shut down due to pressure of taxation, property tax, sales tax, entertainment tax, and many more harassment. Its almost a sin to run a theatre. But yes coming to your question, at present the multiplex chains are investing hugely and surely the conference will present the state of the Indian market for further investment into multiplexes. When you consider the Indian market is complicated in terms of market dynamics, there is the language and regional cinema factor and tastes and cultures, our forum intends to provide knowledge on the market space, and encourage investment by providing information and solutions. It is aimed at professional approach to the industry based on transparent growth factors which need to be identified. We all have heard and known about the investment from Mexico, Cinepolis as the first international investor and believe there are more. The international theatre industry needs an independent and neutral platform to present the Indian industry facts and figures and professionals who drive this industry to take the multiplex movement to the next stage.

AUGUST 24-27 BIRTV, BEIJING, CHINA www.birtv.com

SEPTEMBER 12-15

TM – What in your opinion is the next stage?

AC – We need to get past the stage of

infatuation and enamored stage. Posh multiplexes and show-off multiplexes is one thing, good for the mall and good for the upper crust. But the real challenge lies in expanding the market, tremendously, with functional multiplexes located where they are needed most, where there are no theatres. We wish to focus on the growth areas and motives and dynamics at the conference. Frankly, the cinema exhibition industry does need to be restructured. There lies the opportunity.

The next stage also involves changing the rules relating to cinema theatres, archaic rules which need to be urgently changed to allow growth and represent the market and technology.

TM – Could you define them in regard to the single theaters?

AC – Single theatres need to be allowed to go multi-screen on an automatic route. There are almost 1015 new movie released a week across various languages and movie distribution is a dodgy business, the conference will equally focus on movie distribution as well, cinema is educative above all else and our masses need exposure to go up the social ladder, new releases too need to be screened on an equal opportunity basis, there has a be a positive perspective in regard to cinema.

Cinema India is the only dedicated platform which has an international

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

AUTUMN 2011 OCTOBER 24-27 SHOWEAST, FLORIDA, USA www.showeast.com

WINTER 2011 DECEMBER 6-8 CINEASIA, HONG KONG www.cineasia.com Scrabble Digital Initiative to boost Cinema India

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reputation and I believe the industry must convene at this conference to make its voice heard and bring real solutions. We have taken the positive step in providing an appropriate venue and event. As I said above its an act of faith. I must say it is rewarded adequately enough with strong participation from Scrabble, UFO, Christie, Texas Instruments, Sony, Barco, Qube, QSC, Master Image, and almost all the companies in the market and committed to India.

TM – What is the scope of the conference?

AC – Well, the conference will focus on the digital transition from film to digital, and the digital technologies across various formats, from D-Cinema to e-Cinema and 3D projection, from 2k to 4K and 8K and satellite cinemacasting on mpeg 1 to mpeg 2, to digiplexes and distribution on proprietary storage devices to complimentary servers and the need for open architecture. Surround sound processing and sound reinforcement

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April-June 2011

and acoustics. The convention focus is as much on theatre design and the range of theatre equipment, from theatre lighting to seating and interiors and especially the networking, box office computerization and displays, and concessions. The revenue in the cinema exhibition business is across many streams and all of this is the business of cinema.

TM – Does Cinema India cover the important aspect of movie production and 3D? AC – Yes and it always has. The American Society of Cinematographers has always supported Cinema India, and our mutual cooperation is growing. Last year we presented an ASC stalwart Don McAlpine of the Moulin Rouge fame, and this year we expect the ASC to draw its own pavilion of technology companies. This year we will present another world renowned cinematographer, courtesy the ASC, to Indian cinematographers for a Master

Class session. There is real appreciation for the Cinema India convention internationally. Investment flows into markets that are transparent and willing to adopt international trends.

TM – What is the support from within India?

AC – Definitely very positive, the Multiplex Association of India is supporting as is the Mumbai based COEAI representing the theatre owners in Maharashtra and Gujarat and various theatre owner associations across North India, Kolkata and South India.

We are confident that the standalone Cinema India convention at the Renaissance will be path-breaking and provide the Indian cinema industry a very dynamic and high-energy event that will set the tone for technology and growth in the coming years, and attract increasing international participation.

entertainworld Inoxication Quadruplexed

Bengaluru and Inox - despite being two different entities - have few things in common.

Emerging, dynamic, and great promise for the business of entertainment and vice versa! The Garden City, often referred to as the Silicon Capital of India, is also considered the most ideal city in the country for cinema entertainment business for its sheer cosmopolitan nature and a perennially supporting climate too. A city where economy and movie enthusiasm go hand in hand Bengaluru is a multiplexer's dream ground.

Inox on the other hand carries the combined potential of corporate strength and cinema acumen that had been standing it a gainer and winner even in the face of adversities.

Expanding its footprint in the country both in organic and inorganic formats - by pursuing strategic acquisitions - the cinema circuit had been a model of controlled aggression in the cinema exhibition domain.

The result of the two coming together is the emergence of an arresting multiplex destination in Bengaluru - 10th for the city and the fourth for the operator, the maximum for any operator in town.

Entertain World this time presents a pictorial fiesta of what is among the best and mostsought after entertainment destinations in town.

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entertainworld Inox, JP Nagar, Bengaluru The launch of Inox's latest and fourth multiplex recently in Bengaluru not only took the cinematic enthusiasm in town to a new high but also raised the bar for cinema exhibition and services. The four-screen multiplex, created as part of the Bengaluru Central Mall at J P Nagar in South Bengaluru, has upped the ante of movie watching with a good blend of services and cinematic settings.

With a total seating capacity of 1118 seats amongst four characteristically designed auditoriums, the cinema offers a combination of regular rocker and plush reclining couple and sofa seats incorporated in the back row.

In line with true Inoxican tenets, the cinema relives a simple yet appealing and functional design with suave mix-n-match of

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entertainworld colours and space. Spacious, as it appears from the outset, aesthetics are woven into the space design where a combination of wood, veneer, glass, plasmas and LEDs, and marbles is employed ingenuously to impart a pleasing and mood-setting ambience.

While the box office features two ticket kiosks apart from the counters, the signature impact begins with the entrance itself, with a huge veneer-clad Inoxsignature reception invites the patrons into the cinema lobby.

Spacious, as it is, the lobby is made to look doubly voluminous with hugely sized and evenly designed plasma screens adorning the walls all around. Ingenuous enough, the pillars in the space have been transformed into fancied colour themes that can also translate

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entertainworld Scrabble Entertainment, the other three feature 35mm filmbased systems supplied and installed by MRH Digital, the parent company of Scrabble.

Fourth from Inox in Bengluru, the cinema took the exhibitor's total screen count in the country to 144 from 38 locations spread across 25 cities.

The auditoriums, though typically Inoxican, bring in a different element here in that the rear end has a row of swanky, extra-plush recliners that can recline almost into a bed. The theatre design is simple, yet aesthetically appealing and technically apt.

With the traditional ebony marking the ceiling, the interiors are done in a combination of purple, red and dark snuff shades in tune with seating. into movie promo expressions.

Of the four auditoriums, one is done in 3D digital with Christie projection and Doremi servers supplied and installed by

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One side of the lobby is the typically stylized Refuel counter neatly decked with in-house concessions.

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 Hop

Arthur Production Universal Pictures

Production Warner Bros.

Director Tim Hill

Director Jason Winer

Starring James Marsden, Russell Brand

Starring Russell Brand, Helen Mirren

Genre Action / Comedy

Genre Comedy, Romance

Insidious

Born to be Wild Production Film District

Production Warner Bros.

Director James Wan

Director David Lickley

Starring Patrick Wilson, Rose Byrne

Starring Morgan Freeman Genre Adventure, Documentary

Genre Horror

Hanna

Source Code Production Summit Entertainment

Production Focus Features

Director Duncan Jones

Director Joe Wright

Starring Jake Gyllenhaal, Michelle Monaghan

Starring Saoirse Ronan, Cate Blanchett

Genre Action,Thriller

Genre Action, Drama

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F U T U R E

Soul Surfer

R E L E A S E S

Scream 4 Production TriStar Pictures

Production Dimension Films

Director Sean McNamara

Director Wes Craven

Starring Dennis Quaid, Helen Hunt

Starring Neve Campbell, David Arquette

Genre Biography, Drama

Genre Horror, Suspense

Your Highness

African Cats Production Universal Pictures

Production Disneynature

Director David Gordon Green

Director Alastair Fothergill, Keith Scholey

Starring Danny McBride, James Franco

Starring African cats Genre True Life Adventure

Genre Adventure, Comedy

The Conspirator Production Roadside Attractions

Production Dimension Films

Director Robert Redford

Director Gonzalo LopezGallego

Starring James McAvoy, Robin Wright Genre Drama

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Starring Harrison Ford Genre Sci-Fi, Thriller

Tyler Perry's Madea's Big Happy Family

Rio

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Apollo 18

Production 20th Century Fox

Production Lionsgate

Director Carlos Saldanha

Director Tyler Perry

Starring Anne Hathaway, Jesse Eisenberg

Starring Tyler Perry, Loretta Devine

Genre Animation, Comedy

Genre Comedy, Drama

F U T U R E

Kung Fu Panda 2

R E L E A S E S

Something Borrowed

Production DreamWorks

Production Warner Bros.

Director Jennifer Yuh Nelson

Director Luke Greenfield

Starring Jack Black, Angelina Jolie

Starring Ginnifer Goodwin, Kate Hudson

Genre Animation, Adventure

Genre Comedy, Romance

Pirates of the Caribbean: On Stranger Tides

Thor

Production Walt Disney

Production Paramount

Director Rob Marshall

Director Kenneth Branagh

Starring Johnny Depp, Penelope Cruz

Starring Chris Hemsworth, Natalie Portman, Tom Hiddleston

Genre Adventure, Comedy

X-Men: First Class

Genre Action, Adventure

Bridesmaids

Production 20th Century Fox

Production Universal Pictures

Director Matthew Vaughn

Director Paul Feig

Starring James McAvoy, Michael Fassbender

Starring Kristen Wiig, Maya Rudolph

Genre Action, Adventure

Genre Comedy

Priest

Cars 2 Production Disney•Pixar

Production Screen Gems (Sony)

Director John Lasseter

Director Scott Stewart

Starring Owen Wilson, Larry the Cable Guy

Starring Paul Bettany, Karl Urban

Genre Animation, Comedy

Genre Horror, Thriller

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F U T U R E

R E L E A S E S

Thank You

Ready Production T-Series

Production UTV Motion

Director Anees Bazmee

Director Anees Bazmee

Starring Salman Khan, Asin, Paresh Rawal

Starring Akshay Kumar, Sonam Kapoor

Genre Comedy

Genre Comedy / Romance

Dum Maaro Dum

Zindagi Na Milegi Dobara Production Eros International

Production Ramesh Sippy

Director Zoya Akhtar

Director Rohan Sippy

Starring Hrithik Roshan, Katrina Kaif

Starring Abhishek Bachchan, Bipasha Basu

Genre Romance / Drama

Genre Thriller

ADVERTISERS’ INDEX Company

Page no.

Product

Email

Website

Amar AV

TM-2

Screens

anandb@vsnl.com

Anutone

TM-22

Walls & Ceilings info@anutone.com

www.anutone.com

Barco

TM-3

Projectors

sales.besl@barco.com

www.barco.com

Christie Digital

TW-7

Projectors

Juliana.Tong@christiedigital.com

www.christiedigital.com

Cinema India

TW-45/TM-24 Tradeshow

sales@cinemaindiaexpo.com

www.cinemaindiaexpo.com

Datasat

TW-5

Audio Processor cinemainfo@datasatdigital.com

www.datasatdigital.com

DLP

TW-9

Digital Cinema

guns@ti.com

www.dlpcinema.com

Doremi

TW-3

Digital Cinema

info@doremicinema.com

www.doremicinema.com

Galalite

TM-9

Screens

info@galalitescreens.com

www.galalitescreens.com

Harkness

TW-27,33

Screens

sales@harkness-screens.com

www.harkness-screens.com

Harman

TW-55

Sound

indiapro@harman.com

www.harman.com

Scrabble

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Digital Cinema

ranjit@scrabbleentertainment.com

www.scrabbleentertainment.com

Shri Krishnashray TM-5

Signage

info@shrikrishnashray.com

www.shrikrishnashray.com

USL

TW-2

Sound

uslinc@uslinc.com

www.uslinc.com

Vista

TW-31

Ticketing

info@vista.co.nz

www.vista.co.nz

The next issue of TheatreWorld is our Summer Special. It will be promoted at Cinema Expo - Amsterdam, Cinema India - Mumbai and Cinema Today - Chennai. The last date for advertising orders is 21 May 2011. Email bobby@sandy.in

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