PVR Cinemas and Imax Announces New Five-theatre Agreement in India At a business briefing to Canadian Prime Minister Justin Trudeau during his first official trip to India, IMAX Corporation and PVR Cinemas announced an agreement for five new IMAX theatres. In attendance were Mr. Ajay Bijli, Managing Director and Chairman of PVR Cinemas, and Mr. John Schreiner, Senior Vice President of Theatre Development, Russia, CIS, Middle East and India of IMAX Corporation, who provided details on their business partnership to the Prime Minister. The new IMAX theatres will be located in major metropolitan markets in a combination of new and existing flagship sites. The agreement brings PVR Cinemas' total IMAX commitment to 15 theatres and strengthens the exhibitor's position as IMAX's largest partner in India. "Our agreement is a direct result of the success of our IMAX box office, which, since 2016, has increased by 50% as the demand for IMAX among moviegoers continues to build," said Mr. Ajay Bijli. "We are delighted to strengthen our longstanding, successful partnership with IMAX, which we view as a competitive advantage to help solidify our leading position in India's exhibition market."Mr. Richard L. Gelfond, CEO, IMAX says "India is the fourth-largest market by box office and one we view as a long-term growth opportunity. We also continue to remaster more and more Indian movies, and had record-breaking success with Padmaavat earlier this year. We believe these factors, combined with expanding our partnership with India's top exhibitor PVR, will help set the stage for continued expansion in this important emerging market." In January, IMAX released Viacom18 Motion Pictures' film Padmaavat, which marked the fourth locallanguage IMAX Indian film release and the first to be presented in the IMAX 3D format. Padmaavat is now the Company's highest-grossing local Indian release and third highest-
grossing IMAX film overall in the country. The Company expects to announce more Indian IMAX movies for this year. PVR operates seven IMAX screens in Delhi, Gurugram, Mumbai, Bengaluru and Noida that are among India's top-performing IMAX theatres of 2017. The agreement brings IMAX's total theatre footprint in India to 31: With 14 currently open and 17 contracted to open.
Paytm Acquires TicketNew Digital payments and e-commerce company Paytm has acquired Orbgen Technologies, the entity that operates Chennai-based online ticketing platform TicketNew, in a bid to fortify its entertainment ticketing business. While Paytm did not disclose the deal financials, the stock-based transaction is pegged between $30 million and $40 million and will hereby see Paytm acquire the business from Alibaba Pictures, the entertainment arm of Chinese Internet giant Alibaba Group, which had acquired a majority stake in TicketNew in June 2017according to the people aware of the deal dynamics. Madhur Deora, Chief Financial Officer, and SVP, Paytm said, “We are on a mission to be the one-stop destination for all movie and entertainment ticketing needs. It is our goal to be the leader in every city in India and offer the opportunity to all cinema partners to reach Paytm’s customers. TicketNew founders have built a fantastic business in South India and share the same partnership mindset as Paytm. Under their leadership, Paytm is seeking to connect TicketNew partner cinemas to Paytm’s more than 300 million customers and further invest in helping grow their occupancy and revenues. With this acquisition, we have taken a step closer to our goal of making Paytm Entertainment the No 1 player in this space.”
Mukta A2 Cinemas Acquires Sun City Multiplex Located in Mumbai Mukta A2 Cinemas, has announced the acquisition of the Sun City Cinema in Mumbai. Mukta A2 Cinemas Ltd., is a wholly owned subsidiary of Mukta Arts Limited, with three iconic heritage properties across Mumbai that include New Excelsior Cinema, Jai Hind and Topiwala. Now adding another property to its repertoire of cinemas, Mukta A2 Cinemas will be taking over the operations of the two-screen Sun City Multiplex at Vile Parle in Mumbai, June 2018 onward. Sun City Cinema provides entertainment services and turnkey projects in renovation of old theaters and new multiplexes. The property in Mumbai has a seating capacity of 600 and is located in one of the prime locales of the city, with patrons of all age groups visiting the establishment. Mukta A2 Cinemas has assumed renovations of one of the screens of the theater and expects to complete it before the theatrical release of upcoming action-drama, “Race-3” in June 2018. Thereafter, second screen will also be renovated to then serve as a signature multiplex for Mukta A2 Cinemas. Commenting on this acquisition Rahul Puri, MD Mukta A2 Cinemas said, “We are proud to announce our 4th property in Mumbai by bringing the operations of Sun City cinema under the Mukta A2 Cinemas umbrella. The theater has been entertaining the audience for years, with this acquisition we intend to raise the quality of services, entertainment and the comprehensive movie-going experience for the existing and new patrons.”
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Inox Selected GDC to Supply Ushio Lamps GDC Technology Limited, a leading global provider of digital cinema solutions, today announced it has signed a three-year agreement with Inox Leisure Ltd (Inox Cinemas), one of India's leading multiplex chain to supply Ushio lamps. The agreement, which became effective in January 2018, covers supplying Ushio lamps for all Inox screens through 2020. Inox selected Ushio, one of the largest suppliers of specialty and general illumination lamps in the world for the company's continued technology innovations and wide range of reliable products. GDC, an authorized dealer for Ushio in India, will work closely with Inox to help select the best lamps to ensure bright and precise images are projected onto the cinema screen. Inox cinemas have redefined movie experiences. They are best known for their state-of-the-art facilities in terms of modern projection and acoustic systems, distinct architecture and aesthetics, plush micro adjustable leather recliners, gourmet meal choices curated by Masterchef Vicky Ratnani, bespoke staff uniforms by celebrity designerArjun Khanna, hassle free ticketing and most importantly high service standards upheld by a young and vibrant operations team. Alok Tandon, CEO Inox Leisure Ltd says, "Inox has changed the way cinema is consumed across the country with its 7-star offerings. We believe in giving the best in terms of projection, audio and service. Comfort and Luxury is at the core and all our partnerships are basis considering all these factors. We have used and been completely satisfied with the quality of Ushio lamps for several years. This agreement solidifies our trust in the Ushio and GDC brands. We selected Ushio lamps for the entire Inox circuit for the unparalleled quality and continual innovations to ensure our audiences see the best image possible." "Inox is a valued partner to GDC, said Dr.
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Man-Nang Chong, founder, chairman and CEO of GDC Technology Limited. By selecting Ushio lamps, Inox Cinemas will be able to project bright, vibrant images that meet the industry standard, ensuring their audiences enjoy the best possible visual experience."
Cinepolis Selects AAM to Manage Content and Operations across India Arts Alliance Media (AAM), the global leader in digital cinema software and services, today announces that it has been selected by Cinépolis, one of the world's largest exhibitors, to provide automated scheduling and content management across its entire circuit in India. AAM's Screenwriter TMS (Theatre Management System) and Producer Enterprise TMS software solutions are being deployed in all 273 of Cinépolis' screens, which span 51 sites across India. Combining both Screenwriter and Producer will provide Cinépolis with unprecedented visibility and control
of their sites, regardless of which continent they are on. From their head office in Mexico, Cinépolis' 24 hour NOC will be able to remotely manage everything from content, to KDM deliveries, to schedule building for all their sites in India. Centralising all these tasks with Producer means that head office can be assured of consistency, and local staff will have more time to invest in more valuable customer-centric areas. When Cinépolis acquired the Indian exhibitor, they had never used a TMS before, and relied on programming individual screen servers. By installing Screenwriter at every site, Cinépolis lays the foundation onto which they can build the rest of their brand in exactly the way they want. Automating playlist building and hardware cues and presenting site staff with a detailed overview of an entire complex will release them from their responsibilities in the projection booth and allow them to create the personal experiences that today's audiences want. Gabriel Morales Becker, Global Technology Director of Cinépolis, noted "Centralising our operations at both site level and head office with AAM is the best way for us to continue expanding in a sustainable way. The logistics of managing cinema chains across continents and time zones, as well as actively working to strengthen their reputations for quality and consistency, are substantial. Without the real-time oversight and control
Producer affords our head office, we would spend more time, effort, and money on our operations in return for much less insight into what was working. And without Screenwriter's time-saving automations, our onsite staff wouldn't be able to deliver the quality customer experiences that audiences expect from CinĂŠpolis."Producer is designed to control and monitor the status of all the sites in a circuit, displaying playback details in real-time and highlighting any upcoming issues for proactive resolution. Content can be managed remotely and preshow packs of ads and trailers built from head office- saving staff time at sites and reducing the possibility of human error. Screenwriter is the most powerful, flexible, and widely deployed TMS in the world, and AAM's continued expansion into Asia is testament to the universal advantages it presents. Acting as a central hub capable of monitoring and controlling hardware, playback, content, and KDMs from a single interface, it presents exhibitors with the opportunity to streamline their processes and automate their dayto-day. Patrick Foley, CEO at Arts Alliance Media, said "CinĂŠpolis are committed to optimising their operations so they can pass the benefits onto their customers. We are proud to provide the solutions that enable these efficiencies so that Cinepolis can continue to expand on their screen count as well their brand reputation for excellence."
Inox Revenue Up 12% on Robust Multiplex chain operator Inox Leisure reported 12 per cent increase in revenue from operations for the quarter ended March 31 (Q4FY18), to 3.24 billion from 2.89 billion in Q4FY17. EBITDA for the quarter rose 75 per cent to 438.8 million from 251 million last year. PAT stood at
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evening.Nolan is in India to support filmmaker-archivist Shivendra Singh Dungarpur, founder of Film Heritage Foundation (FHF) in drawing attention to the importance of celluloid in the digital age through "Reframing the Future of Film" along with noted visual artiste Tacita Dean.
577.1 million in Q4FY18.Average ticket price grew 11 per cent in the quarter, while advertising revenue grew 59 per cent.The average spends per head grew 13 per cent in the quarter.For the fiscal year 2017-18, Inox revenue was up 10 per cent from 12.2 billion to 13.48 billion. EBITDA grew 44 per cent at 2.1 billion as compared to 14.6 billion last fiscal. PAT for the year was 1.15 billion, up from 304 million in FY17.
Nolan Takes Centre Stage in Mumbai It was a packed house screening for renowned filmmaker Christopher Nolan's Interstellar and Dunkirk in Mumbai. A 70 mm IMAX film screening of Dunkirk was held at 6 pm at Carnival Cinemas, IMAX, Wadala and a 35 mm film screening of Interstellar at 8.30pm at Carnival Liberty Cinema, Marine Lines, where Nolan took the centre stage, last
The 47-year-old director first arrived for the screening of Dunkirk with his producer wife Emma Thomas and Tacita, Emma said Nolan always wanted to come to Indian with his film. Nolan said he was grateful for the welcome that he has received in India. "I have been to India before for a brief period for The Dark Knight. It is very exciting to be back here spending bit more time and for this great event that we have been doing with Tacita and Shivendra about 'Reframing the Future of Films'," he said. The director said he was happy to screen Dunkirk in India.Looking at the packed house, Shivendra, said, we want more 70mm films in India and requested Nolan to have a retrospective of his films. Later, they all arrived to equally enthusiastic audience for the screening of Interstellar. The director waved at the audience and thanked them for coming for the screening."For us it is about the place of films in the future. And screenings like this are very very important in showing people movies the way they were shot, made and wanted it to be shown. " Nolan said.
Record Imax Signings In India Continue as Five New Imax Theatres to Circuit Gets Added
Oscar NOD for Indian Firm at 90th Academy Awards In the recently-concluded 90th Academy Awards function, Jonathan Erland was given the Gordon E Sawyer Award for his technological contributions which have made an extraordinary and lasting impact on the motion picture industry. In Erland's acceptance speech, he thanked Rajesh Ramachandran, who worked for Chennai-based company Qube Cinema, in his endeavour to "continue the work of expanding the cinema palette".
IMAX Corporation and INOX Leisure Limited, a world-class multiplex chain in India, announced an agreement for five new IMAX theatres. The theatres will be added to a new complex, with two located in the city of Delhi and one theatre each located in the cities of Mumbai, Navi Mumbai and Gurugram. The deal, which IMAX announced concurrently with another four-theatre India agreement this morning, brings IMAX's total number of contracted theatres in India to 40, with 15 currently open and 25 contracted to open. "We are very encouraged by the rapid pace of our expansion in India, where we've nearly doubled our contracted network in the last year," said IMAX CEO Richard L. Gelfond. "We're seeing an evolution in the world's third-largest box office market towards more premium, event-driven cinema, and believe IMAX is ideally positioned to work together with world-class theatre chain, Inox, who shares our commitment to quality and innovation, to usher in differentiated cinema experiences across their flagship locations in India." Inox Leisure Ltd. CEO Alok Tandon said, "Inox stands for the best in luxury, comfort and technology. We have always believed in giving a 7-star movie viewing experience to our patrons and there is not a better experience than IMAX. We receive
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phenomenal responses from our patrons for the IMAX screens we already have. We are delighted to strengthen this and further expand our footprint of IMAX screens with this latest deal and strongly believe that this association will only grow." Inclusive of today's agreement, Inox has contracted for a total of 10 IMAX theatres, with two open and eight scheduled to open. Inox currently has an IMAX theatre open in Mumbai and another in Bangalore, both of which opened in 2017. With this deal, Inox will add new IMAX theatres to some of India's most prominent commercial developments, including a standalone IMAX theatre at the iconic Paras Theatre location in the heart of South Delhi and a theatre at the Reliance Convention Centre and Retail in Bandra Kurla Complex - Mumbai's prestigious business district.
Talking about Qube's collaboration with the Oscar winner, the company's co-founder Senthil Kumar says, "We've been collaborating with Erland for three years now. He has been working with different frame rates and how our eyes perceive it. He has also been working on the relation between creativity and higher frame rates. For this, we modified our software and built a system for him to try variable frame rates within the same clip."Kumar says they've been able to assist Erland in other aspects as well. "With Erland, we were able to devise a system to archive older films which were shot in lower frame rates of 18FPS or 16FPS that are lower than the usual 24FPS. We've managed to find a way to retain the frame rate at which it was originally shot, especially in the case of older silent-era films."
• INDIA PLEXING •
SB Cinemas:
A Prime Destination for Cinema With premium and advanced facilities to its credit, SB Cinemas, near Poonamalle, Chennai is an ideal entertainment destination for cinema lovers who wish to enjoy their favourite movie,seated in ultimate comfort.
Known for its rich cultural heritage, Poonamalle has witnessed the rapidly changing urban landscape of its neighborhood. Entertainment is a part of this change. Built in 1982 by Late T M. Subramaniyan, Shree Bagavathi Cinemas (SB Cinemas) has become one of the most popular entertainment destinations ever since its inception. His son Sivakumar, founder of the SB Cinema, which is a part of TMS Group,decided to renovate the theatre in 2017. With an aim to provide quality cinema (4K & Dolby Atmos) to the audience, SB Cinemas at Kumananchavadi, near Poonamalle, Chennai, was given a facelift recently.
Unmatched Renovation in Record 60 days! The renovation project was coordinated by Sharan, MD of SB Cinemas (son of Sivakumar) and his strong team of professionals from TMS Group of companies and technology partners. The project was completed within 60 days including the civil works. The city received a new addition to the list of theatres
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with advanced projection facilities and sound features. SB Cinemas has a total capacity of 692 seats, 4K digital projection and Dolby Atmos sound system. It is the prime movie spot in Poonamalle area. People who want to see their favorite movie stars on big screen with premium facilities like Dolby Atmos, 4K Projection, comfortable seating, and hygienic snaking options must visit and experience it.
At present, the cinema is single screen and will be converted into multi-screen very soon, with another three screens expected to be added.
Extraordinary Experience Unlike the traditional channel-based sound system, Dolby Atmos transports audience into the story with moving audio that flows all around you with breathtaking
• INDIA PLEXING • realism. Harry Martin (MD Theatre Concepts) elaborates, "The sound moves around you in threedimensional space, so you will feel like you're inside the action. You can experience this in SB Cinemas -- how Dolby Atmos transports you from the ordinary into the extraordinary".
Strong Technology Partners Harry Martin, Managing Director, Theatre Concepts shares his experience about SB cinemas: "We supplied audio (Dolby Atmos - 48 Channel & 3-way Tri-Amplified with complete QSC - screen channel, surrounds and amplification), video (CHRISTIE 4K 4230), screen (Harkness - Clarus 2.7 Gain Silver Screen), video wall (done with Samsung Displays), seats (22" Pushback with Cup Holder and Premium Sofa with Cup Holder), also for canteen (16oz Banaco Popcorn Machine, Milano Coffee Machine, 48" Popcorn Warmer, Ice Cream Holder 8 Flavors, Hot & Cold Display Counter & Freezer)." Anand, Managing Director, DNC Studio, said: "We did Architecture (Interior Design, Rest Room, Lobby & Canteen Design, and Elevation Design), Acoustics (Sound Absorbers, Sound Diffusers, Noise Barriers, and Sound Reflectors) and also the fabrication work. The interior was Zip theme which lend in greater elegance and premium look. My team worked hard to complete the project within the specified time". Jawahar, Managing Director, Aero Engineering: "To improve comfort of the occupants, we designed 3 X 25 TON Capacity inside the theatre to remove heat & moisture from the interior of an occupied space. We also gave 20 ton capacity in lobby area to maintain the comfort level of audience in and outside the hall." Sivakumar and Sharan of TMS said: "We started our civil work in last week of September 2017 and coordinated with all other vendors to complete the project in the last week of October 2017. On November 17, we screened Dheeran - the first movie after renovation. As planned,
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we all worked together day and night to complete the project on time, and we succeeded. It is completely a team work. Nothing would have been possible without the strong team". Theatre Concepts supplied Christie top of the line projector (Christie 4K 4230) to SB Cinemas, and Real Image Media Technologies integrated the QUBE server into the Projector. Sivakumar and Sharanadded: "We are extremely happy about the team who worked together (Theatre Concepts, DNC Studio, and Aero Engineering) to complete the project on time. Excellent Dolby Atmos Sound effects & 4K Visuals were greatly appreciated. There was overwhelmingly positive response from people regarding the interior, amenities, air-conditioning, audio and projection."
• INDIA PLEXING •
First Laserplex & 7-star Experience in the Capital After giving Mumbai its theatre of dreams, INOX now brings its 7-star movie experience to Delhi. Celebrating the technology, service and luxury in the world of cinema; INOX Leisure launches an all new INOX at Nehru Place in New Delhi. Movie buffs will be treated to nothing less than a signature INOX indulgence. Get ready for the latest technology in laser projection, plush recliners, larger than life grand interiors, food curated by celebrity chef Vicky Ratnani, butler on call, personalized ticketingand much more - all in all a complete celebration of cinema with a 7 star touch! After the inauguration of the property by Honorable Union Minister, Shri Piyush Goyal, the lead pair of the movie RAID Mr. Ajay Devgn and Ms. Ilena D'cruz were also seen lighting deeyas and launching the property along with Mr. Siddharth Jain, Director, INOX group. Speaking on the occasion, Mr. Ajay Devgn says, "I have been to the 7- star INOX properties in Mumbai and I am glad that it is now come to Delhi as well. Watching a movie here really makes your cinema viewing
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experience worthwhile and I am delighted to check the audience response for our movie RAID releasing next week". Ms. Ileana D'cruz says, "I am absolutely delighted to be a part of this launch. The experience is completely 7-star right from the interiors, screens, food, seats, technology everything. One would have never thought of this great a movie viewing experience before INOX introduced it. I am happy to be
promoting my next release, RAID as a part of this launch" Mr. Siddharth Jain, Director, INOX Group said, "It is indeed a pleasure to be extending the 7-STAR movie experience to Delhi now. Cinema is religion in our country and we are glad to be giving the movie lovers, a destination to make their experience unforgettable. Our newly launched property, INOX at Nehru place is an amalgamation of luxury, service and technology and it surely will bring a
• INDIA PLEXING •
INOX expands its footprint in Maharashtra INOX Leisure recently launched itsthird multiplex in Navi Mumbai with 4 screens and 779 seats. With this launch, INOX has further strengthened its presence in Mumbai and Navi Mumbai with a total 15 properties 69 screens which make it 28 properties and 122 screens in Maharashtra. The all new multiplex in Palm Beach Galleria Mall boasts of the latest, state of the art HFR (High Frame Rate), 2K digital projection system, 3D compatibility, Café Unwind and distortion free digital surround sound. Not just that, out of the four screens at the property, one screen is a dedicated INSIGNIA screen making it an ideal destination for
those who love an exclusive movie viewing experience. INSIGNIA lounge boasts of with menu curated by celebrity chef Vicky Ratnani, a
revolution to the cinema viewing experience". INOX, Nehru Place boasts of the following features:
•
Laser brilliance: Laser projection format with 300% enhanced picture quality. This is the first ever Laserplex in North India Dolby Atmos sound: Wholesome movie viewing
designed by renowned designer, Arjun Khanna.
experience with the best of surround sound with Dolby Atmos •
TECHNOLOGY •
butler on call facility and last but not the least uniforms
Volfoni 3D system: The Volfoni smart crystal diamond solutions, with the brightest 3D screens, bring movies to life like never before
LUXURY •
Exclusive theatres with plush ergonomic recliners: Plush ergonomic recliners crafted in Italian stitch-art leather, microadjustable headrests and touchscreen panel for controls
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Exclusive menu by Vicky Ratnani: An array of plated gourmet food specially curated by celebrity chef Vicky Ratnani
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Uniforms crafted by Arjun Khanna: The friendly and stylish staff provide impeccable service to guests in uniforms exclusively crafted by celebrity designer Arjun Khanna
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Butler-on-call: In-theatre guests enjoy dedicated service with a butler-on-call.
• TECHNICAL •
Multiplex Air Purification:
Transforming Urban Leisure technology to create a cleaner environment for a refreshing cinematic experience."
India's largest cinema exhibition company - PVR Ltd., became country's first entertainment company to revamp andretrofit central air purification systems powered by Nirvana Being to combat indoor air-pollution in the most effective manner. Pioneering the concept of transforming urban leisure spaces conscious of air quality standards; PVR is personalizing its cinema infrastructures to provide a refreshing and rejuvenating movie viewingexperience to its patrons. Driven by the environmental situation and consumer demand to live smart and breathe fresh, PVR inaugurated its first of many "Audit-Air-Ium" theatersat the Directors' Cut, Ambience Mall, VasantKunj. Retrofitted with customized worldclass air cleaners, the "clean air theater" concept maintains Indoor Air Qualityas per National Air Quality
Sanjeev Kumar Bijli Joint Managing Director - PVR Ltd
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Index (AQI) standard at under 100 and propose a 15 minutes' addition to one's life during the 3 hours of luxury cinema viewing. Focusing on metro cities with worst air quality in the world as per WHO; PVR 'Audit-Air-Iums' will be installed across Delhi - NCR, Mumbai, Bengaluru, and Hyderabad encompassing mainstream screens, Gold class, and playhouse cinemas. Addressing the gathering, Mr. Sanjeev Kumar Bijli, Joint Managing Director, PVR Ltd., said,"In the recent years, the air quality in India has deteriorated considerably. In times like today where air filters and purifiers are no more a luxury, but a basic living necessity, we at PVR are striving to address this growing cause of concern. We have developed this model in association with Nirvana Being by retrofitting our properties with air purification
Jai Dhar Gupta Founder - Nirvana Being
He further added, "Since sensitizing public areas is un-achievable on account of the area that needs to attain and thereafter maintain the air quality;movie theaters are indeed better situated to control and sustain it. Once the movie starts, there is very little opening and closing of doors and thus, premium indoor air quality is achieved and maintained. PVR as a pioneer in the exhibition space with the thought to serve its patrons with best multiplexes around the globe is also concerned about their health and not just their entertainment needs. Ensuring a luxurious cinematic experience in a clean-air environment is our vision of tomorrow and PVR intends to implement this in a phased manner to guarantee aninvigorating movie watching experience." Commenting on the occasion, Mr. Jai Dhar Gupta, Founder of Nirvana Being, said "By partnering with PVR, we aim to create a holistically safe and healthy environment for families to enjoy cinema with complete peace of mind. It is an established fact that Delhi has hazardous ambient air combine that with the fact that indoor air is 5-10 times more polluted(than outdoor air) due to other pollutants as well as allergens we think this initiative is simply "Responsible Business". Nirvana Being is a market leader in Indoor Air Quality (IAQ) compliance and PVR Ltd., India's largest cinema chain intends to establish a new benchmark in the multiplex industry through this collaboration. Nirvana Being and PVR Cinemas will retrofit air purification systems so that the patrons can watch movies in a luxurious and healthy space to completely unwind from their hectic lifestyle. This remarkable initiative, Audit-Air-Iums, will surely revolutionize people's cinematic experience!"
• BUSINESS TREND •
User Guide to Multiplex Design – Sandeep Mittal Born and brought up in Kolkata, my early years revolved around those single screens of New Market, Lindsay and Chowringhee. Later, shifting to Bengaluru, it was the single screens of MG Road, Brigade Road and Residency Road. Since multiplexes arrived, it’s always been the neighbourhood of Whitefield or East Bengaluru though as Founder Editor Publisher of TheatreWorld, for 15 years, I did visit multiplexes across the world especially Asia. Now why do I prefer to wait for new movies to release on the net and watch in the comfort of my home theatre even though it doesn’t give me the multiplex experience? What can multiplex owners and operators do to woo patrons like me back? The start point of a multiplex is not its entry doors and lobby on the top floor of the mall, but the sidewalk or the kerbside, depending on whether you arrive by public or private transport and how easy it could get for those arriving by subway, bus or app-based cabs to reach the lobby of the multiplex. Furthermore, how
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convenient or time consuming it is for those who opt to arrive in their cars. Can multiplexers coax, cajole and convince mall operators to offer valet services to car owners like hotels and restaurants? Multiplex owners can possibly argue the outside spaces belong to city governments and mall owners but as a major generator of footfalls and revenues, the multiplexers can surely influence traffic planning at the time of signing the lease. Dedicated lanes could be provided for public buses, autos and app-based cabs for easy drop off and pick up and also convenient access paths to be provided into the mall including from subway stations. The malls should not become the cause for traffic pile-ups else, it could feature on the curse list of other city dwellers! Similarly, car parking, which is usually in multiple basements, needs to be not only adequate but well-lit and ventilated for patrons to easily cross over to the elevator / escalator banks and reach the multiplex floor hassle-
free. All this sounds obvious and conceptually small, but is usually ignored and hence becomes the first sore point to keep patrons away. First impression is the last impression unless a very good movie changes that! Most ticketing is nowadays done online and a paperless scan of mobile screens at the lobby doors is definitely the way to go. For impulse buys by shoppers, the box office must be located not only on the multiplex floor but convenient kiosks to be set up on every floor of the
• BUSINESS TREND • chaat carts would favour better. As would live counters of Indian fries like pakodas or bhajjis and pancakes like dosa or cheela. Or go regional and cater to local tastes. Soda and popcorn, viewed as junk by many, is still factually the largest component of display and delivery with enticing combo deals. This is largely a western import where concession stands are popularly dominated by soda and popcorn options.
mall. Operators can easily see a spike in occupancy due to such kiosks, yes, on every floor. Another clause for the lease! Even the box office can push walk-in tickets onto mobile devices rather than print on paper. Truly paperless! Lobbies are usually very attractive and luxurious these days so no complaints there. However, everything being spit and polish leads to reverberant interiors and hence clever use of invisible acoustics can help dampen the cacophony when more patrons congregate at movie start or intermission times. Today a lot many innovative options are available in architectural acoustics that blend into the razzle- dazzle of the lobby without detracting the aesthetics.
masala chai that is freshly brewed is still not available as an option. Airport lounges and coffee shops in star hotels now cater to this growing preference as do successful startups like Chai Point and Chai Galli. All that is available in multiplexes is the sanitized machine chai or tea bags which are not even close to the real thing. When will multiplexers wake up and smell the coffee, er, chai! Indian snacks like samosa and sandwiches/puffs with tikka masala stuffing are available but authentic
Not sure of the regulations now but single screens of central Kolkata in the 70s and 80s like Metro, New Empire, Lighthouse, Globe had bars and fine dining options inside the cinema. For what it was worth you could arrive early or during the intermission, grab a quick drink and a freshly made snack. You were surrounded by studio themes or posters of black-and-white movies with lots of mirrors and polished brass. That was another era but can the bar and fine dining with a la carte menu make a comeback? It would take the multiplex experience to a whole new level, and heady at that! It has always puzzled me why multiplex owners overspend on the design and construction of washrooms. While digital advertising is fine as it pays for the maintenance costs of the washrooms, the excess jazz and dazzle is definitely going over the top. Washrooms need to be functional, clean and odourless with a janitor always in attendance as in seen in private airports. Small mercies like paper towel dispensers and not just air driers are a must.
The food and beverage options at the concessions stand have improved in the last two decades since multiplexes began to mushroom all over India but still leave a lot to be desired. For example, a hot cup of
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• BUSINESS TREND • Coming to the centerpiece of a multiplex – The Auditorium itself. The best design to enter the auditorium is the one where the passage from the lobby (at the rear of the audi) to the screen (front of the audi) is flat with no steps. Maybe a ramp if height differences between lobby and screen are a challenge. Kids and seniors find ‘no-step’ entry very convenient. It also helps wheelchair-bound patrons if that is the only access for them. Once the eyes are adjusted to the semidarkness then the climb on stadium steps towards the designated seats becomes very easy for all patrons. Again the best design of an auditorium includes a three floor setup wherein the main auditorium floor is at one level with stadium seating leading to an upper floor which has exit doors and the projection booth and a lower floor below the screen which again has exit doors. Usually the lower level exits are operated on daily basis and the upper level as emergency or for wheelchair access. Thanks to stadium seating for being the vogue, every seat usually has comfortable sightlines to all corners of the screen. Also the golden ratio is nowadays adhered to in terms of the width of an auditorium to its length and height as cinema designers seem to have finally grasped its importance. No more auditoriums that are like tunnels or square boxes which calls for painful viewing and listening. Screens, these days, are usually wall-to-wall and that makes “ALL the Difference” between a home theatre versus a multiplex experience. The other major difference being an expansive but immersive audio experience at the same time. Well the number of loudspeakers inside an auditorium, with height channels and the works, could actually rig up an entire arena or stadium but no comments on lateral listening and its spatial difference versus the insignificance of vertical separation of sound in small size
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halls. The multiplex community is leaving scientists behind in re-defining human physiology and psychology! The equipment companies are happy and the whole ecosystem is ecstatic while the multiplex operators enjoy bragging rights. “Mera multiplex tere multiplex se better”! In terms of operations, the audio levels between advertising, trailers and the feature presentations need to be better monitored in order to maintain uniformity at all times and also the fading of house lights as the movie begins or resumes. All of this, if automated, eliminates technician errors. Another open secret also needs to go for long term health of the industry. Multiplexers advertise movies with Atmos soundtracks, for example, but what they screen is Dolby Surround! My pet peeve is why do attendants open the exit doors below the screen a few minutes before a movie ends and the houselights come on? Usually a movie climaxes then and the view of the brightly lit exit
corridor distracts. Another pet peeve for gold class cinemas is why the F+B staff encourage orders and payments in the dark while the movie is on. It distracts and detracts from the movie viewing pleasure, plain and simple, after patrons rustle up top rupee for such opulent recliners. Surely a multiplex app can facilitate such orders while ticketing or staff can be trained to solicit patrons as they pass by the concessions but before they enter the gold class! Similarly why is the air-conditioning switched off towards the end of a movie? How much electricity is saved? Instead, why not incorporate higher temperature settings and run the aircon all through? It may seem like trivia but to the discerning patron all this is irksome! The less said about patron usage of their mobile devices during a movie is better as multiplexers just don’t know what to do with such errant behavior. Maybe more messages need to be flashed across the screen during trailers and intermission. And while we are on aircon, I hope there is sufficient, treated fresh air (TFA) introduced in the ducts. Indoor Air Quality (IAQ) is a major factor for indoor pollution which can be higher than outdoor pollution leading to respiratory issues for sensitive patrons. How often does the facility manager check air quality and not just the temperature? Neither are
• BUSINESS TREND • jet blowers and cold draughts welcome. My favorite is large duct diameters and supply air at very low velocities which makes the aircon almost indiscernible. Though there is greater awareness about architectural acoustics and its precise matching to the current cutting-edge digital surround or immersive audio, a neglected area is fire rating of internal surfaces. Often for capex budget constraints, fire rated interiors is given short shrift but this could be playing with human lives. External cladding world over is getting a makeover today after it was proven how non-FR panels actually facilitated the spread of external fireup a high-rise, so should not internal cladding similarly be a matter of grave concern. Nothing is fireproof in this world but FR stuff does retard the spread of fire. Our closest neighbor, China, has far higher and stricter standards for passive fire protection apart from active fire safety so as to ensure that the patrons can be safely evacuated by the time the fire tenders wend their way through traffic laden streets. India needs to not only legislate, but also ensure enforcement in this direction. Maybe in ten-fifteen years we will get there! I see India today as how China was at turn of the century. Even if the auditoriums are well designed, their maintenance presents a huge challenge to facility managers. Whereas the lobbies and washrooms are well lit and always under critical scrutiny, the auditorium, even with floodlights switched on between shows, are poorly maintained. This has a lot to do with show times squeezed to realize maximum number of screenings per day. The box office and initial collections matter a lot! This mindset needs a minor tweak and a small impact on bottom-line should be acceptable to top management for long term industry gains since inadequate cleaning is a huge put off. Popcorn on the floor, stained seats, sticky carpets and an all
pervasive stink is gradually becoming a norm in many multiplexes though not all. Like banquets halls of wellrun star hotels, auditoriums need to retain their freshness and synthetic air fresheners don’t help. To the litany of such complaints I can add several more! Torn and/or stained acoustic fabric on walls (can’t understand why fabric paneling needs to extend till pedestrian reach). An abuse resistant acoustic paneling till door level, which is usually 2.4m from finished floor, is a wise and practical choice. Step lighting that no more works and leads to stumbles by patrons. A layer of dust on the upper reaches of the paneling which obviously is out of reach of vacuum cleaners. Broken seats and corner cobwebs completes the list for now! On their way out, patrons need not be ushered into bland exit corridors which should be made more interesting with upcoming releases. Some digital advertising can also be thrown in. My pet design, which I have never had the good fortune of seeing the light of day, is to have a small exit lobby, yes an exit lobby for cinemas! This would have a couple of washrooms (can’t urgently hike to the distant mall washrooms located across the floor!), a concessions kiosk for maybe just a bottle of water, a cloakroom service (wherein you retrieve your shopping bags and bike
helmets that you left at the entry and which means dedicated staff would move it physically down), a souvenir kiosk where you can browse and buy movie merchandise or even the multiplex-branded stuff like mugs, caps, t-shirts and even a tiny box office where patrons make inquiries of upcoming releases or effect impulse buys. Multiplexes belong to the destination entertainment category that include theme parks and stadiums. To lure patons who are perpetually glued to their mobile or television screens, and in the case of India, now have a wide choice of sports spectacles that has seen an exponential rise in footfalls, is the challenge that multiplexers need to meet all the time. The passion that was palpable in the late 90s in the first multiplexers needs to make a comeback because, ultimately, passion is everything! (The author is the Technical Director at Anutone Acoustics Limited since 1988. This is his 30th year at Anutone. He founded TheatreWorld in 1999 before giving it up in 2014 after 15 years. During his years at TheatreWorld (1999-2014) he also founded and was principal consultant at Soundesigns, an acoustical design firm that specialized in auditorium design. He can be reached at sandeep@anutone.com) *All pictures in this article are for illustration purposes only. June-August 2018
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• TECHNICAL •
Pioneering In-theatre Occupancy Technology According to Deloitte’s study, in 2016, the Indian film industry suffered a loss of INR 190 billion due to several malpractices such as manual data collection and calculation. This has wedged a huge gap between investments and their returns. Cosmic Eye’s software solutions aims at bridging this gap by helping exhibitors reduce mismanagement, increase efficiency and revenue, and provide transparent reports to distributors and other stakeholders. Cosmic Eye is an automated occupancy detection system that offers the most accurate in-theatre seating count. This breakthrough technology maintains transparency and enables accurate reporting. Cosmic Eye’s innovative people-counting solution is custom-built for the cinema industry. On this note, TheatreWorld catches up for a conversation with Mrs. Shilpa Ramesh Ramani, Founder, Cosmic Eye: Tell us something about the company. Cosmic Eye aims at offering cuttingedge technology to combat the serious issues faced by the cinema industry. Our primary objective is to enable efficient management and promote transparency in the industry, through simple and costeffective products and services. What do you think are the major challenges in the cinema industry? The cinema industry is in dire need of transparency when it comes to theatre occupancy. It has been noted, quite evidently, that the number of footfalls in a theatre does not always materialize into exact box-office collection. Producers and distributors often fail to incur their fair share of the box-office collection due to outdated and inefficient practices. Another issue faced by the industry is piracy. It is responsible for supplying 90 percent of the new releases to bootleggers, according to National Association of Theatre Owners (NATO). The Indian film industry suffers a loss of several crores every year due to movie theft; globally, the damage can be weighed on the billions scale. How does Cosmic Eye address these issues? Cosmic Eye is an automated occupancy detection system that offers the most accurate in-theatre seating count. Computer vision, coupled with Artificial Intelligence and Machine Learning Algorithms, successfully offers real-time occupancy data with over 98 percent precision and accuracy. This breakthrough technology maintains transparency and enables accurate reporting. It
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June-August 2018
reduces the need for labour-intensive manual monitoring that depends on visual inspection. It is non-invasive as it is based on anonymous counting. How easy is it to install the device? The customised hardware and proprietary software allows rapid installation through which, one can obtain live information show-wise, cinema-wise, and screen-wise. It is a simple plug-and-play ioT device that requires absolutely no intervention from the user’s side. Centralized visibility, processing live-data streams, and online presentation are enabled through our remotely accessible cloud-based reporting dashboard. A detailed overview and user-friendly functions will prove to be a boon for theatre owners, especially those of multiple screens. What other benefits can Cosmic Eye offer? Apart from providing clarity and precision, in terms of occupancy, Cosmic Eye can help identify potential threats, which range from environmental hazards to even piracy. In association with the Film Chamber of Commerce in the Indian states of Kerala and Andhra Pradesh and several prominent exhibitors and distributors, Cosmic Eye aims at combating these menaces by flagging probable instances through signals and warnings. Beyond this, this technology can guide you to better understand the full impact of cinema performance. Artificial Intelligence and Machine Learning Algorithms gather useful insights based on patron behaviour over a period, which are used for future assessments.
What are your long-term vision as an organization and future plans for Cosmic Eye? The company is focussed on offering products and services that address some of the pertinent issues of the industry, while being cost-effective. The team plans on developing a range of products that cover the crucial areas of surveillance, analytics, and ticketing. By vertically integrating the products, it could be aspired to be a one-stop-shop for the cinema industry. The complimentary cloud-based ticketing solution is one such prospect directed towards eliminating obsolete practices and getting the exhibitors online. One Page Spotlight is another product of the parent company, which is an endeavour towards bringing the art community together. It is a social platform enabling intercultural, intergenerational, and cross-industry collaborations; both locally and internationally. It aims at bridging the gap between deserving talent and their prospective recruiters by overcoming lack of opportunities, scarcity of resources, and geographical isolation. We are committed to empowering performing and nonperforming artists and organizations to network, create, and grow.
• BUSINESS TREND •
Mukta & Zee:
Reviewing Golden Days of Indian Cinema Classic movies have captured the heart of cinema lovers time and again and have reinforced the belief that 'Old is Gold'.In keeping with the spirit of love for classics, Mukta A2 Cinemas - one of India's most reputed and esteemed chain of cinemas and Zee Classic with its brand proposition 'WohZamaanaKareDeewana' are charging ahead to bring back these super hits from the era gone by, on to the silver screen. Such is the power of 'classics' that fans from different age group happen to be familiar with the cast and dialogues, even if they haven't watched the movie. With the advent of cutting edge technology and digitalization, anyone can watch these movies anytime, anywhere. However, the joy of watching 'Classics' on the Big Screen in heritage cinemas continues to remain unmatched.In keeping with the spirit of love for classics, Mukta A2 Cinemas - one of India's most reputed and esteemed chain of cinemas and Zee Classic with its brand proposition 'Woh Zamaana Kare Deewana' are charging ahead to bring back these super hits from the era gone by, on to the silver screen. They have been supported in this endeavor by 1018MB especially to curate a list of much-loved classic movies for screening. The popular movies will be screened at New Excelsior Mukta A2 Cinemas, one of the heritage theaters in Mumbai. New Excelsior Mukta A2 Cinemas is one of the oldest cinemas in Mumbai. The operations of the cinema were taken over by MUKTA A2 Cinemas this February. The revamped cinema has maintained most of the elements from the yesteryears, with the biggest screen in India and an auditorium that can accommodate 596 people. The experience is bound to invigorate
nostalgia amongst the audience and bring back memories of watching matinee shows in big single screens.
experience. The films will be screened on the largest screens in India at New Excelsior Mukta A2 Cinema."
So far, Mukta A2 Cinemas have screened movies like 1942: Love Story, Karz, Taal and Andaz Apna Apna, Khal Nayak, Iqbal, Kalicharan, Hero, Karma, Saudagar, Hum Aapke Hai Kaun, Padosan, Pardes, Jab We Met, Ram Lakhan, Silsila, Dil toh Pagal Hai, the era of the classics and the highly acclaimed movies of the past, since 9th April. The campaign will continue further as Zee Classic associates with Mukta A2 Cinemas and will present films like Disco Dancer, Hero No 1, Hum Saath Saath Hai, Aitraaz amongst others at New Excelsior Mukta A2 Cinemas in Mumbai.
Speaking on the occasion, Mr Rahul Puri, MD, Mukta Arts Ltd said, "Our belief always motivates us to bring better viewing experiences for our audience. With our partnership, we want to bring back some of the greatest movies and invite cinema lovers to India's biggest cinema screen. In our past screenings, we have observed that the audiences are showing interest. We plan to continue these special screenings regularly at New Excelsior Mukta A2 Cinema."
Commenting on the association, Mr Subhash Ghai said, "We are going to deepen our ties with evergreen movies, this association will help the audience in experiencing the yesteryear cinema with upgraded technology. Our tie-up is aimed to enhance the audience-
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• BUSINESS TREND •
Spreading the 'Real' Digital Cinema Revolution If there is one biggest digital cinema technologycompany in India spreading across the world, it surely is QUBE Cinema Technologies. Their innovative end-to-end digital cinema technology and solutions have changed the way the Indian and global cinema exhibition and distribution industry operates. TheatreMagic talks to Harsh Rohatgi, COO of Qube Cinema Technologies on where we are in today's digital cinema era and the recent VPF issue across South India. Congratulations on your role as COO of Qube Cinema Technologies. How do you look at this role and what are the challenges you anticipate? Qube Cinema in the digital cinema industry, are now moving into the next phase of its evolution. The entire market is now digital, and therefore as an organisation, we need to move from driving growth through market expansion, to growing the business by further leveraging our strengths in technology and customer service, to grow the business and further add lines of business that aid our theatre partners. We are also looking at the international market keenly to develop technologies that will aid theatres and distributors. Tell us more about Qube Cinema and UFO Moviez merger. What inspired Qube to foray into the merger? What particular strengths and strategies are you planning to bring in to place with this merger?
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Harsh Rohatgi COO - Qube Cinema Technologies
Qube and UFO have a strongly complementary set of strengths, be it geographically or within individual business lines. The logic of the merger stands along two principles:
us more about it. What did Qube offer to the Telugu, Malayalam and Kannada film industry to break the deadlock and get things on track?
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How do we make the business relevant for our customers in the future through new technology, and greater efficiency. We shall do this by standardising the nonDCI platform across the network, thereby reducing the hassle of multiple mastering and delivery mechanisms that distributors have to use for each of our networks. The benefits of this will be passed on to our customers.
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The combined network has unparalleled reach across India for our advertising partners, with its presence in over 2600 towns and cities across the country, and will be a formidable reach and an impact platform. This is also going to be the growth engine for the combined entity.
This entire episode was extremely unfortunate, and I believe this was because we did not do a good enough job of explaining the benefits of our business model to all the constituents of the business. We believe that our theatre partners understand the shift we have brought to the cinema business by enabling a wide and secure release of films, which has led to a quantum jump in not only collections, but also the volume of films being produced and released, thereby benefiting the production and distribution fraternities. This has been one of the main reasons for the revival of the theatrical business, which had evidently been in a slump from the 1980s. Our industry has also revived the cinema advertising business, and created a viable platform for advertisers. All of this was done on the back of risk capital put in by the digital cinema players, and at a cost
The South Indian film industry went on the rampage with regards to the VPF charged. Tell
• BUSINESS TREND • that is less than 1.5% of the cost of production of an average movie. The film business, being a cyclical one, goes through peaks and troughs, but blaming VPF for the ills of the business is illogical on the extreme side. Either ways, we had a series of meetings with multiple film chambers across the south via the Joint Action Committee (JAC) constituted by them, and in a manner, had to accept a rate cut for VPF which ranged from 1823% for non-DCI and about 10% for DCI. We did this because we believed that they represented all the southern film chambers, and a halt in business would not only have hurt us, but would have hurt the entire industry a lot more. What was the final offer to the Tamil film industry to continue the show? What are the estimated losses incurred by the industry during this strike period? The Tamil industry situation was ridiculous in the extreme. We had discussed matters with the JAC in good faith, assuming they represented all the southern chambers, so we were surprised to learn that the Tamil Film Producers Council (TFPC) was refusing to go along with the terms that we had to agree with the JAC, but had another set of demands - which would have effectively put us out of business and declared an indefinite strike, not only of film releases in Tamil, but subsequently of Telugu as well. Soon the reasons for the strike extended to issues regarding transparency of theatrical collections, monies generated by theatres from other streams such as online ticketing, F&B sales, parking, advertising, etc. As for Qube, it was difficult for us to understand that an industry that generates Rs. 3-4 crores per day would be brought to a halt for VPF, which accounts for less than 1.5% of their cost. We estimate that the total loss to the Tamil industry would be around Rs. 350-450 crores in the course of the 47 day strike, which basically are the multiples of the VPF that is paid in an entire year. For a logical person, it cannot be that the VPF in itself could
PLF solution for markets such as India, and will drive theatrical footfalls and yields as PLF has done across the world.
be the driving reason for the strike, and I can think of a few others, but let's leave that for now. Again, in the case of the Tamil industry as well, we agreed to a rate card which causes us significant losses at a meeting convened by the Government of Tamil Nadu. We have agreed to this experimental rate card for a period of 6 months, at a huge cost to our revenues and profitability, in order to get the Tamil industry back to work.
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Justickets and our box office system, Quicktickets, is a key element of bringing the exhibition sector to digitize their front-end, and also enable online ticket sales through multiple channels.
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We are working on a next-gen advertising platform which will enable centralised control and management of advertising and other theatrical functions from anywhere. Given the growth in the theatre advertising business globally, we believe that there is a significant opportunity for us in this area.
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We are also working with our OEM partners to develop a new and extremely cost-effective DCI projector, which will enable us to push for DCI conversion across India in the next few years.
Tell us about your future plans and strategies for Qube? As with any other business, the future is technology. We are working on multiple technology platforms for distribution, advertising, our service and support to theatres, ticketing, etc. We want to further build our organisation as a technologyenabled one to drive our customers' growth across all the facets of the cinema business. Qube Cinema is known for pioneering and enhancing the technology advancement in the Indian and international markets. What is the next wave of future technologies that Qube is planning to roll out? We have a few key tech platforms and/or technologies that we have rolled out and are also working on: •
Qube Wire is an end-to-end DCP delivery and Key Management system to deliver content across the world. As of today, we have the capability to deliver DCPs and KDMs to 126 countries across the world, and we are adding to this every month. Barring China, we can deliver content to over 95% of theatres worldwide.
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Qube Epiq is our Premium Large Format (PLF) offering which we announced last year at the Big Cine Expo. We should have the first screen ready later this year. It will be one of the largest screens in India with a 100 ft width, and with a flat aspect ratio, certainly the tallest at 54 ft. We believe that this is a very cost-effective
How do you foresee the growth and the future of the cinema exhibition industry in India? The growth of the cinema exhibition business in the last 15 years has been driven by the real estate business. The growth of malls was the primary driver all this time. This has now slowed down significantly. Due to this, there are multiple other models being tried out across the country, with low cost technologies being adopted, we believe that this will lead to the next phase of growth across tier 2/3/4 cities and towns across India. Besides this, the south Indian market has seen large-scale refurbishment and renovation of older properties, with single screens being converted to 2-3 screen plexes. This adds to programming flexibility and also increases the screen count. A mix of these will drive growth, and is already happening. We believe that the total screen count in India can easily double with the right kind of market and regulatory incentives over the medium term.
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