MINDSHARE THEATREWORLD EDITORIAL
Censored movies admittance The current trend at multiplexes is to check all the patrons for their tickets at the main entrance with no linkages to the particular auditorium or movie. At the auditorium entrance itself there is no checker or usher. A patron once checked at the main entrance finds their own audi and seat. This results in underage patrons easily watching UA and A movies. UA means kids accompanied with adults whereas A means for adults only. There are compelling reasons why the Censor Board issues such certificates and parents would be equally anxious. Earlier, single screens could enforce this rule better since the movie being watched and its rating was known to all. The exhibition industry thus has a responsibility … to enforce censor certification and ensure underage moviegoers are not watching content not meant for them. A vigilant checker at every audi entrance is the answer. Just as pubs insist on age id so must exhibitors to patrons they suspect to be underage.
F&B Food and beverage forms an important part of the moviegoing experience for patrons. Coincidentally the same holds true for the multiplex operators as f&b contributes significantly to the topline and bottomline of the business. And therein lies the rub. Once the patron is inside the multiplex they are a
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captive audience and hence a monopoly situation for f&b servings. Soggy crisps, diluted soda drinks, cold snacks are dished out at the same high prices thus shortchanging the customer. With a little more care and a slight dent in the bottomline it is possible for multiplexers to greatly enhance the f&b part of the moviegoing experience. With health foods being the current fad the f&b service can be expanded with choices beyond the usual suspects. This will enable cinemas to be the ultimate in entertainment destination and score over competition like sports, live shows, theme parks etc.
Mobile menace Whether it is the chatter class taking the all-important call and animatedly talking into their handsets or the text-savvy users that can’t stop clicking messages on social media platforms, the use of mobile phones inside auditoriums during a movie that disturbs others has assumed menacing proportions. The best way to tackle this is to run aggressive campaigns onscreen hoping better sense will prevail. An even better and somewhat innovative idea that has caught up with some of the chains in the USA is to encourage patrons to upload an app that provides discounts on movie tickets or on food & beverage if the phone is not used during the duration of the movie. How this works is a message flashes on the screen before the movie to launch the app which then darkens the mobile screen and puts the ringer on vibration mode. As long as the app remains engaged through the movie there are rewards at the end otherwise if the patron disables during the movie then all bets are off! This has helped to reduce the mobile menace by encouraging and incentivising non-usage. Neat!
Technology 4k 3d in projection and 3d in sound, as the multichannel surround sound with overhead effects is popularly called, are gaining traction across the world. In projection there is the DCI-compliant TI’s DLP that is offered by a plethora of and Sony’s SXRD. In 3d sound, as of now, there are two technology platforms – Dolby’s Atmos and Barco’s Auro – that have had a headstart over others from Germany, Spain and other countries. Right from production and post-production wherein the studios have given a thumbs up to the above technologies down to exhibition wherein multiplexers have showcased these at their top cinema sites the business value-chain shows commitment in taking the industry to the next level of presentation which augurs well for the future and staves off competition from television, gaming etc.
CineEurope CineEurope represents the best of European cinema industry and is only next to CinemaCon in size and importance. All major movie studios showcase their upcoming releases as do equipment brands their innovations or upgrades. The technical seminars carry forward the momentum gained at CinemaCon. The food events and side promotions are also top class that lend fun, vibrancy and excitment. Though CineEurope is primarily targeted at the European community it is worthwhile for others in the trade to attend and imbibe the spirit of the industry. Since a decade, TheatreWorld has had presence at CineEurope and this year is no different. See you there!
Sandeep Mittal
Editor / Publisher
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Kinoton D-Cinema Solutions in Austria Kinoton offers appropriately dimensioned, top-quality DCS Digital Cinema Solutions and service packages that are tailored to let smaller cinemas fully leverage the benefits of digital technology according to their needs. Recently three theatres in Austria purchased a complete DCinema solution and full service from Kinoton; the Stadtkino in Hallein and the Stadttheatre in Gmunden, each of which has two auditoriums, and the single auditorium Top Kino in Vienna. As part of its DCS Digital Cinema Solutions, Kinoton installed equipment that included Barco DP2K-10Sx projectors and, in all of the auditoriums, its proprietary KRS remote maintenance system. In order to seamlessly link the new D-Cinema technology with classic auditorium functionality, the cinemas in Hallein and Gmunden both opted for Kinoton DCA Digital Cinema Automation. To ensure maximum flexibility on an everyday basis, the individual components were hooked up to the Kinoton CAN bus via flexible modules. Good quality sound is ensured by modern CP 750 and CP 650 audio processors from Dolby. The Stadttheatre in Gmunden now also boasts the integrated 3D system from Dolby.
LA's First Barco Auro 11.1 System The Dub Stage, a leading independent audio postproduction facility in Burbank, has installed a 37-loudspeaker Meyer Sound cinema system for the Barco Auro 11.1 immersive surround format. The Dub Stage is the first Barco Auro 11.1 mix room in
Southern California, and is one of the first Auro 11.1 facilities in the world. Marti D. Humphrey, The Dub Stage's owner and principal re-recording mixer, explains that he was determined to set the highest benchmarks for quality. "I felt that Meyer Sound in conjunction with Auro 11.1 was the best possible system out there,"Humphrey says. "Everybody who comes into the room has been blown away by the sound quality. The clarity is second to none, and the lack of fatigue after a long day is refreshing. Finally, the best thing is that everything you mix on in here translates extremely well. The system really shows off the potential of Auro." Wilfried Van Baelen, CEO of Belgian based Auro Technologies played an active role in facilitating the installation. "An Auro mix produced on the Meyer Sound system translates very well into each theater," says Van Baelen. "Auro is all about reproducing the best audio quality with the minimum number of speakers, and in combination with Meyer Sound, it results in the ultimate audio experience." In The Dub Stage's new system, low and high LCR channels for Barco Auro 11.1 are reproduced by six Acheron 80 screen channel loudspeakers, aided by four X-800C subwoofers. A total of 20 HMS-10
loudspeakers carry the lower and upper surround channels, plus four more HMS-10 loudspeakers for the overhead channel. In addition, three 500-HP subwoofers are programmed for bass management of surround channels, maintaining consistent bandwidth for sounds panned from behind the screen into the room. A Galileo loudspeaker management system with two Galileo 408 processors provides drive and equalization. Commenting on the Auro 11.1 mix of "Rise of the Guardians, "the first movie to be mixed in The Dub Stage for this new format, supervising sound editor Richard King says: "I was really happy with the way the movie sounded in The Dub Stage. It's a great room, and I'm very impressed with the Meyer Sound system." The Dub Stage's Auro 11.1 mix room also features a 64-fader Avid Icon console and a Pro Tools HDX system. Visioneering Design Company of Los Angeles provided consultation and assistance with the Meyer Sound system installation. The remix of
"Rise of the Guardians" was handled by Marti D. Humphrey CAS and Chris Jacobson CAS, with participation by Richard King.
Christie Donates Digital Cinema Projector Christie has donated a top-of-theline Christie digital cinema projector to help entertain the local community in the new Gianopulos Family Theatre at the Wilson-Hanks Family Cultural Center, Saint Sophia Greek Orthodox Cathedral, California. The theatre is the latest addition to the Huffington Center, located in the Byzantine-Latino Quarter of Los Angeles. Christie's Managed Services team worked with audio-visual innovator Blackstar Engineering to install the Christie Solaria series projector and other theatre equipment, transforming a basketball court by day into a fully professional movie theatre by night. A gala dedication ceremony took place on March 17, to unveil the new theatre to the community and parishioners of St. Sophia, and to celebrate all of the benefactors involved in the development of this new venue. Christie will also be presented with a plaque that will be affixed to the theatre in honor of its contribution to the center. "Christie is pleased to provide a truly meaningful gift that will assist the church in serving the community," said Jack Kline, president and COO, Christie. "Movies offer a great medium for telling stories, for sharing education, culture and history, and of course for entertaining. The Christie projector at the Wilson-Hanks Family Cultural Center is an integral part of the church, and we feel it serves an important function because movies are also a great way to bring a community together under one roof to share in a magical experience."
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Sony Digital Cinema Partners with Eclipse Cinemas Eclipse Cinemas, Bundoran, has become the first cinema complex in Ireland to be fully converted to Sony 4K. Eclipse Cinemas is an Irish independent cinema group which have had 12 Sony 4K projectors installed across two of its three venues, Bundoran in Co Donegal & Downpatrick in County Down. These will also be equipped with the Sony 3D solution, allowing cinema goers to enjoy the best possible picture quality and entertainment experience. The installation also means Eclipse Cinemas now has the ability to offer new services beyond traditional mainstream content, such as comedy, sports, music, theatre, opera, multiuser big screen gaming and cultural events. The organisation already plans to screen live Irish sporting events such as Six Nations Rugby, International Football and Gaelic Games, offering customers an alternative solution to watching it at home that brings a taste of the atmosphere and occasion right inside the cinema. John O'Connell, Director of Eclipse Cinemas commented: "We are truly excited to be bringing the 4K offering to our customers. We always aim to go the extra mile and provide our customers with the best possible cinema experience and having Sony 4K projectors installed means we are taking it to a whole new level. Eclipse Cinemas' customers can now enjoy the mainstream and alternative content with crystal clear picture quality and sound." David McIntosh, Director, Sony Europe, commented: "Sony is delighted to partner with Eclipse Cinemas. Having 12 Sony 4K digital projector systems installed allows customers of Eclipse Cinemas to enjoy a full range of alternative content and blockbuster releases projected in outstanding picture quality. Eclipse Cinemas will also be offering Sony's 3D solution across
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eight of its projectors, allowing their customers to have the full 3D picture experience thanks to Sony's cinema technology." With Sony's Virtual Print Fee (VPF) programme, the transition to digital is easier and more affordable. Sony helps shoulder the costs for independent cinemas switching to 4K. Sony Digital Cinema works closely with major movie studios and distributors to subsidise the cost of exhibitors' technology transition. Sony's VPF programme dramatically cuts capital investment and eases the cash flow as the audience enjoys the benefits of 4K projection from day one.
Qube Installs 4K 3D System at Moody Gardens Qube Cinema installed its single server 4K 3D system at Moody Gardens. The single Qube XP-I server delivers 4K stereoscopic imagery to two Barco 4K projectors each with its own embedded Qube Xi 4K Integrated Media Block (IMB). Moody Gardens now joins the ranks of giant screen theatres in North America with 4K 3D
capabilities, offering visitors stunning stereo digital imagery. The MG 3D Theatre at Moody Gardens upgraded from film to digital two years ago with two 4K Barco projectors and a 2K server. Because they wanted to show high-resolution content, they immediately began the search for a server and integrated media block that could deliver the full 4K power of their two Barco 4K projectors. Their search led them to the Qube Cinema XP-I server, which offers up to 1 Gbps throughput of uncompressed data to paired Xi 4K IMBs, delivering 4K resolution at 30 fps or 2K 3D content up to 120 fps per eye. "The only server and IMB technology we saw that could deliver 4K 3D content was the Qube XP-I server," said Brandon Compton, theatre director at Moody Gardens. "Its High Frame Rate and high bit rate capabilities offer a much improved viewing experience to our audiences." In addition to its HFR 3D capabilities, the XP-I server can synchronize dual DLP projectors, thus increasing screen brightness for 3D exhibition to 14 foot-lamberts, a level which is comparable to that of 2D screenings. This is especially pertinent for giant screens like the 80' by 60' screen at the MG 3D Theatre where high brightness adds greatly to the power of the experience. But it's the ease of operation that has really impressed the staff at Moody Gardens. "The results of audience surveys are consistently great, with high marks for image clarity," noted Compton. "The big difference from our perspective is in the equipment booth. The XP-I makes it so simple to ingest content and build show files. Qube has made life a lot easier for the guys in the booth."
FunTime Cinemas Goes Digital With Christie Solaria One The FunTime Cinemas, a specialty exhibitor with three cinemas in Pennsylvania, has completed its conversion to digital projection at its Kendig location using the Christie Solaria One, an all-in-one DLPCinema solution designed especially for independent and community owned theatres. "All six Kendig Square screens have Christie Solaria One projectors and the reaction from customers has been fantastic," says Ronda Fitzsimmons, president of FunTime Cinemas, Inc., of Willow Street, PA. "They love the picture and sound improvements and were relieved that we had made the change and will remain in business in their area. "We were already having some delays in getting film prints, and many prints were coming in badly scratched, so we were requesting replacement films more often. Digital format fixes this problem, and in any case we knew film prints would be phased out completely by the end of the year," she adds.
delivering awesome experiences to their customers. And it can be easily upgraded to show High Frame Rate (HFR) movies as well, using its built-in Christie IMB (Integrated Media Block).
'The Croods' in Barco's 3D sound backed up with long-term support." The exhibitor was very pleased with Integrity's customized service and expertise. "The Integrity people are really wonderful to work with, and our representative bent over backwards to help me understand the things we absolutely had to have for digital to run, plus advised me as to what extras made the most difference" says Fitzsimmons. "Integrity's installer was super helpful in guiding us through the new setup. I'm pleased with everything they've done for us, and plan to use them in the future for the remaining locations we have to convert."
With cinemas in Kendig Square in Willow Street, South York Plaza York and Colonial Park Mall Harrisburg, FunTime Cinemas specialize in youth and family movies at economy prices. The company also offers private screenings and parties, a customer newsletter and advertising opportunities for local businesses, which are easier to include with digital.
Craig Sholder, vice president, entertainment solutions at Christie, says that Christie is committed to helping the independents enjoy the same quality solutions as bigger exhibitors. "We want them to be able to achieve top quality digital projection at a price they can afford. Our Solaria One projector, our global network of first-rate installation partners such as Integrity and our participation in industry programs to help them finance the change are just some of the ways we're serving this important market sector."
The Solaria One was installed by Integrity Entertainment Systems, LLC. "We recommend the Christie Solaria One for smaller screens because it is the most cost-effective choice for quality screening, adaptability and reliable support options," says Gary Engvold, president of Integrity. "With features such as the built-in media block, the Solaria One can be easily upgraded to show High Frame Rate (HFR) movies. Overall, the Solaria One gives smaller exhibitors everything they need in a single purchase,
The best possible movie-going experience is achieved by arming exhibitors, particularly those tens of thousands of smaller, independent and community theatres worldwide that have not yet converted from film to digital projection, with an "all-inone" solution and the Christie Solaria One fits the bill perfectly. Whether it's alternative content or packaged, feature film content in 2D or 3D, Christie's product is a safe, secure and DCI-compliant choice, the easy choice-for exhibitors intent on
Already screened in Auro 11.1 at the CineStar Sony Center in Berlin during the 63rd Berlinale, 'The Croods' has now been released worldwide. Thanks to Auro 11.1 - Barco's 3D cinema sound format, moviegoers across the world will be totally immersed in the adventure of DreamWorks Animation's cave family 'The Croods'. This is the second movie featured in Barco's alliance with DreamWorks Animation to mix their animation films in the most natural cinema sound format. "This is the first movie where we have started postproduction using the Auro 11.1 sound format from premix through to final mix. The Auro workflow has exceeded our expectations in terms of ease of use, sound quality and meeting our budget. We actually finished the mix ahead of schedule," remarks Jim Beshears, head of postproduction at DreamWorks Animation. 'The Croods', written and directed by Chris Sanders and Kirk DeMicco, tells the story of the world's first family road trip. When their cave is destroyed, the Crood family must embark on a comedy adventure into strange and spectacular territory in search of a new home. As if patriarch Grug didn't already have enough to handle, it goes from bad to worse when they encounter an imaginative nomad named Guy. With Guy's help the Croods conquer their fear of the outside world and discover that they have exactly what it takes to survive each other. May-June 2013
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Blackstar and Christie's Managed Services Team install a "Slam Dunk" Blackstar Engineering worked with Christie's Managed Services team to install the equipment for a new convertible movie theatre for the Center. The installation included a Christie CP2230 digital cinema projector, a Stewart Filmscreen projection screen, and a new sound system, all of which were designed and integrated to fit flawlessly into the architecture of the Huffington Center's gymnasium. "The idea to convert the gymnasium into a permanent, fully-functional theatre came later, so the end goal was to allow for the gymnasium to host sports activities during the day and screen movies and other digital content in the evening, and to make the transformation with a minimal need for any special technical assistance," explained Sean James, Vice President, Managed Services, Christie. "We had to do more than transform a basketball court, complete with retractable baskets and bleachers, into a dynamic and multipurpose venue. We also had to ensure that the room could be converted with as little effort as possible, and that the theatre would entertain an audience with the same degree of quality and comfort as a permanent theatre." According to Andrew G. Setos, CEO of Blackstar Engineering and the lead designer who worked on the project, Blackstar and Christie had to come up with solutions to overcome a number of technical and design challenges. This included adjusting the location of the retractable basketball supports to allow for enough room for the screen case and designing a projector
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pedestal that would keep the light path above the audience. "The transformation of the venue required acoustic, electrical, sound system, projection, and other design disciplines to be brought to bear so that, in the final result, it would not sound and look like 'a movie screen in a gym'," said Setos. "Christie Managed Services took my team's design for the sound and picture aspects of the theatre and realized it with top level professionalism. It has been a complete pleasure working with them to achieve this ambitious vision." The installation was completed in January 2013 and the Christie DLP digital cinema projector is now lighting up a 36-foot-wide by 15foot-high screen in brilliant color and high definition. To convert the theater for screenings and events, the bleachers are retracted, theatre flooring is placed over the hardwood court, theater seating is installed, the screen is lowered, and the digital cinema equipment is powered on and ready to go. "Everyone at the center is extremely happy with the final result and thoroughly impressed with the quality of the exhibition," said Setos. "With all of the new upgrades, we have developed a truly state-of-theart facility. This is a no-compromise 3D digital cinema and, when the lights go down, the experience of sound and picture is unsurpassed. This is owed in large part to the exceptional brightness afforded by the Christie projector, which has been a central element to the systems' performance."
Cinesystem Expands Digital Cinema Footprint in Brazil Barco is expanding its relationship with Cinesystem Cinemas to supply additional digital cinema projectors to complete the exhibitor's deployment. This recent influx will enable the Brazilian movie chain to keep pace with an increasingly young and growing movie going public by elevating the quality of cinema entertainment in the region. As cinema owners in Latin America continue to rapidly embrace digital cinema technologies to upgrade and expand their theatres, local service and support as well as total cost of ownership are key factors in their projector decision. To complete its digital cinema deployment, Cinesystem Cinemas looked to Barco as the clear choice to fulfill both objectives, while also enjoying unrivalled image quality and reliability. Top-notch local service and support "What really distinguishes Barco is their absolute dedication to customer service and support, which is unmatched in the industry. Their responsiveness to our needs has been outstanding and their technicians are highly knowledgeable," comments Marcos Barros, CEO of Cinesystem Cinemas. "We are excited to grow our relationship with Barco because they truly take care of our needs." Barco will provide 24/7/365 onsite technical support through local service teams, with parts conveniently available from eight parts depots in Latin America. In addition, Barco's installation and advanced service certification training is available in Sao Paulo, Brazil; Mexico City, Mexico; and Sacramento, California.
UNIC President Ad Weststrate to be Accorded UNIC Achievement Award at CineEurope CineEurope is pleased to announce Ad Weststrate, independent cinema owner, entrepreneur, and President of the International Union of Cinemas (UNIC) as the recipient of the UNIC Achievement Award at this year's convention. The UNIC Achievement Award is given each year to an outstanding person for his or her dedication and service to European cinema exhibition. Past recipients include LeneLøken, head of Film&Kino Norway, Jean Labé, President, FédérationNationale des CinémasFrançais and John Fithian, President, National Association of Theatre Owners (NATO). "We are equally delighted that UNIC has decided to award this prestigious honor each year at CineEurope and we extend our congratulations to Ad Weststrate on this auspicious occasion," stated Robert Sunshine, Managing Director of CineEurope. Ad Weststrate is an independent cinema owner and entrepreneur with more than 40 years' experience in the Dutch and the international cinema industry. He is currently President of the International Union of Cinemas ("UNIC"), the international trade body representing cinema associations and cinema exhibitors in the EU, Russia, Turkey, and Israel. He was amongst the first exhibitors in the Netherlands to build a multiplex cinema (in Vlissingen, NL) and today runs two additional theatres. Aside from being an exhibitor, Weststrate also engages in film distribution (AFilms), production and finance. He runs together with his son, a local television station in Vlissingen and is the founder of Dutch film festival Film by the Sea as well as the co-founder of the trade magazine Holland Film Nieuws. In 2012, Weststrate received the Silver Rose, the most prestigious award of the Dutch film industry, for services and dedication to cinema. Most recently, Weststrate has put
together a consortium to open a cinema in the Kingdom of Buthan, South East Asia. Throughout his career as a businessman, but also as a champion of the European exhibition community, Ad Weststrate has been a strong proponent of continuous innovation and collaboration in our sector. As President of UNIC he was instrumental in moving the organisation to Brussels and in strengthening the voice of European cinema exhibition. Weststrate has also been a member of the board of the Dutch exhibitors' association NVB for 20 years and served as its chairman for six of those. He also spent ten years on the board of the Dutch cinema charity "Bio" which helps children with special needs. Weststrate personally supports charities in Senegal, Sierra Leone and Gambia.
Dave Hollis to Receive Award at CineEurope 2013
“It is a great honor for CineEurope to be able to single Dave out for all he has done throughout his career as a respected and admired distribution executive in the business,” noted Robert Sunshine, Executive Director of the event. “You could not ask for a more dedicated leader whose passion and commitment to both his company and the industry have helped bring quality films to so many moviegoers around the world.” Dave Hollis is responsible for The Walt Disney Studios’ global motionpicture sales and distribution efforts for all motion pictures released under the Disney, Pixar, Disneynature, Marvel, Touchstone Pictures, and Lucasfilm banners. An 11-year Disney veteran, Hollis collaborates with exhibition, film - makers, production partners and the broader Disney enterprise to successfully launch film product in movie theatres around the world. He was previously Senior Vice President of Distribution for Walt Disney Studios Motion Pictures International, where he was responsible for the growing sales and distribution operation across 70 countries. Hollis has overseen the distribution of such blockbusters as Pirates of the Caribbean: On Stranger Tides, Cars 2, Brave, Wreck-It Ralph, Marvel’s The Avengers (3rd biggest film of all time), and Iron Man 3. Hollishas also served as Senior Vice President, Distribution Strategy, helping develop and implement profit optimization strategies across the various businesses of The Walt Disney Studios.
CineEurope will present its 2013 International Distributor of the Yearaward to Dave Hollis, Executive Vice President, Theatrical Exhibition Sales &Distribution, TheWalt Disney Studios. This honor will be bestowed upon Hollisduring the Awards Ceremonyon Thursday, June 27 at the Centre Convencions Internacional Barcelona (CCIB), in Barcelona, Spain.
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Wanda Cinemaline Selects Dolby Atmos for X-Land Giant Screen Dolby Laboratories, Inc. announced that Wanda Cinemaline Corporation, owner of the largest cinema chain in China, has chosen Dolby Atmos as the standard audio system for its giant screen, X-Land, and plans to equip all current and upcoming X-Land screens with Dolby Atmos technology. The chain aims to provision the XLand screen in Wanda's Chongqing Wanzhou cinema branch with Dolby Atmos, with the debut scheduled for July 2013. Wanda executives plan to install Dolby Atmos capability in at least six of the cinema chain's XLand locations by the end of 2013. X-Land is a brand of giant screens from Wanda that aims to provide an extraordinary moviegoing experience. The adoption of Dolby Atmos will allow Wanda X-Land to offer a captivating listening experience with more natural, realistic sound that truly envelops the audience, transporting them into the onscreen story while staying true to the filmmaker's original artistic intent. "When we build Wanda X-Land, we want to provide audiences with the best cinema audio and visual experience possible. Dolby Atmos brings the level of excellence and quality we look for in providing that experience," said Ye Ning, General Manager, Wanda Cinemaline Corporation. "Major studios, directors, sound teams, and exhibitors from around the world have embraced Dolby Atmos as the clear choice for delivering next-generation cinema sound to moviegoers," said Doug Darrow, Senior Vice President, Cinema, Dolby Laboratories. "Patrons of Wanda's X-Land premium cinemas in China will soon get to experience cinema sound as if they, too, were right in the middle of the action."
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Qube Cinema Partners with Microcinema to Install D-Cinema Servers Throughout Italy Qube Cinema continues to work with the Italian digital cinema service provider, Microcinema, to supply its D-cinema servers and Integrated Media Blocks (IMBs) to theatres throughout Italy. Since 2008, the partners have installed the Qube XP-D and XP-I servers in over 250 theatres. Due to this ongoing collaboration, cinema owners in Italy have equipment providing them with access to a wide array of digital content, including Microcinema's vast library of movies, as well as live and recorded events. Qube Cinema engineers worked closely with Microcinema to deliver a system for theater owners who need to be able to show both DCI and VC-1 encoded content. They developed Microcinema's proprietary M-box, an interoperable server that contains either the Qube XP-D or XP-I server to play DCI content and another server that can play VC-1 encoded content. The servers work in parallel with the same projector using Theatre Management System (TMS) software and automations. "We chose Qube Cinema because it was the only company capable of realizing our idea of interoperability of DCI and non-DCI content," said Silvana Molino, CEO of Microcinema. "Qube delivers whenever we ask for experimentation and improvement. They offer complete and ongoing support to our wide network of theatres."
The Equipment that Runs the Show Both the XP-D and XP-I servers are fully DCI compliant and integrate seamlessly with all major TMS software. Microcinema has aroundthe-clock access to Qube technicians to remotely access any server via its web interface, ensuring the systems stay up and running. The XP-I server and Xi IMB allow theatres to exhibit 3D and High Frame Rate (HFR) movies, such as The Hobbit, as well as offering full 4K resolution. "Exhibitors are free to choose the server they prefer," explained Molino, "but 90 percent of the time they choose to install Qube Cinema equipment based on our recommendation." In addition to installing D-cinema systems, Microcinema, with headquarters in Legnano, a town close to Milan, offers theatre owners content and advertising. Microcinema relies on bidirectional satellite transmission to send and receive data. Pre-cleared content is delivered directly to theatres while Microcinema receives diagnostic data that allow it to manage, control and maintain the system. The company monitors data about the status of hard drives, software, projector lamps and whether the UPS is connected and functional. Microcinema also receives the projection log, showing which screens are showing what content and when.
"The exhibitors are happy to have their content monitored by us," said Molino. "Often we can resolve an issue before they even know something is wrong."
Simple Upgrade for the Advent of HFR 3D Content Qube Cinema and Microcinema have upgraded theatre systems in Florence, Trento and other cities to the XP-I server and Xi IMBs so they are outfitted for full 4K playback and HFR 3D content. Recent showings of the HFR 3D The Hobbit: An Unexpected Journey have met with great audience appreciation. "Although most of our installations have used Qube's XP-D server, we are seeing more and more theatre owners upgrading to the Qube XP-I server and Xi IMB," said Molino. "Now they have access to the high frame rate and 4K capabilities they offer. It's an easy upgrade for us to do." Microcinema partners with a postproduction facility in Rome that provides it with VC-1 encoded content. Recently the post house also upgraded to the Qube XP-I server, networking it into their projector with QubeMaster Pro, Qube Cinema's powerful encoding and packaging system, to deliver DCI content to Microcinema.
"Our post partner found Qube's XP-I server to be the most complete and flexible option to simulate the full digital chain in their dedicated projection room," said Molino. "Now they use their internal studio for DCP encoding and content review."
Offering an Extensive Library of Content Microcinema is an installation company with a twist. In addition to its first-class equipment and service, the company has a catalogue of content available to theatre owners, including art-house films, first-run movies and live-event showings. Among its most popular offerings are live and recorded opera and ballet performances from around the world. "We are well known in Italy for providing a rich library of alternative content," said Molino. "In February we offered a live performance of the ballet, Notre Dame de Paris, from La Scala in Milan, to over one hundred theaters. The final box office was 120,000. This is a good approach for expanding audiences." It's not just classical events that are popular either. In November 2012, Microcinema distributed a concert film, QUEEN Live in Budapest, to 240 theaters. As well as working with conventional theatre chains, Microcinema works with art houses and cinemas run by associations connected to the Catholic church. "Qube Cinema is pleased to have found an innovative partner in Microcinema for our Italian installations," said Nigel Dennis, director of sales and marketing for Qube Cinema in Europe. "Theirs is a good model for enhancing business opportunities for theater chains as well as independent theatre owners. The quality of the equipment, the level of service and their extensive library of content expands what is possible."
Independents Choose CinTech for Installation and Service CinTech, a leader in the digital cinema and digital signage industries, assists several independent theatres in making the conversion to digital cinema. With the support of Moving Images Technologies (MiT), CinTech is able to provide small, independently owned cinemas with their choice of digital cinema equipment while providing unparalleled skill in installation service, thus making the possibility of conversion accessible to all types of theatres. CinTech has already assisted in converting several small theatres in the Michigan area and looks to continue this process. CinTech's relationship with MiT has enabled these theatre owners to access quality digital equipment and expert installation service from some of the best technicians in the industry. Bob Baehr, Owner of West Branch Cinemas, commented, "It has been an absolute pleasure working with CinTech. They have assisted us with equipment that was installed by another company and are now installing our final screen next month. One of the greatest compliments to a company is when a customer makes referrals to others. We have referred CinTech to many of the independently owned theatres and hope for the continued success of their company." Dan Ruppel, CinTech's North Central Regional Manager, said, "Assisting smaller theatres with the transition to the digital cinema marketplace is one of the goals of CinTech. CinTech's core values begin with a foundation to provide all theatres with service for a wide range of equipment types, no matter the theatre's size. Seeing communities come together to help fundraiser for their hometown theatre is amazing. I couldn't be happier to be a part of this venture."
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Barco's Post Production Projector Featured in Canon's 4K DI Suite Digital cinema pioneer Barco debuted its new 4K post production projector in Canon U.S.A.'s, a leader in digital imaging solutions, 4K Digital Intermediate (DI) Suite at this year's NAB Show. The projector was shown as part of a platform utilizing the Qube Cinema Xi 4K IMB with Quad 3G inputs and Quantel's Pablo Rio with new 4K output, which when combined, facilitates a true 4K workflow. The system will be used to grade and show content shot on Canon's EOS C500 4K digital cinema camera. A derivative of Barco's 4K Digital Cinema Projector, the DP4K-P offers an extended native color gamut and higher contrast levels, and comes complete with a Quad 3G input facilitating the connection of 2K and 4K signals. The solution also includes Barco's unique and powerful Post Communicator software which integrates with the Quad 3G input to offer various split screen and image analysis functionality specifically designed for the needs of the post community.
needs of post production houses, the DK4K-P has been enhanced with several new components: a dedicated 4K (4 x 3Gb/s) input board which enables playback of native 4K content; a wide color gamut filter for accurate color matching; and, a high contrast lens to display images with exceptional detail. "We are delighted to participate in Canon's DI suite with these dynamic industry players who share our passion for uncompromising color precision in movie making," comments Patrick Lee, Vice President Digital Cinema for Barco North America. "Just like DP4K-PDP4K-Pall of our digital cinema solutions, our DP4K-P represents our painstaking attention to detail to ensure a consistent, reliable post production platform for the most discerning producers."
Technology synergies create a leading-edge solution Canon's DI suite harnesses best-inclass technologies to create a 4K digital intermediate workflow that efficiently processes digital cinema output during the post production phase. Canon selected Quantel's Pablo Rio software for high-end color and finishing, the Qube Cinema Xi 4K Integrated Media Block (IMB) and Barco's DP4K-P post projector because of their seamless integration and ability to generate 4K resolution output with extremely high color accuracy and uniformity. Ultimate image quality The DP4K-P is the first 4K DLP projector to address the highperformance demands for postproduction, archiving, restoration and 4K color grading. To respond to the highly specialized
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Technicolor and GDC Enter Digital Cinema Strategic Alliance Technicolor announced a new strategic alliance with leading Asian global digital cinema solution provider GDC Technology. The Technicolor and GDC Tech alliance will streamline the distribution process for Asia, allowing customers to benefit from high quality drive replication without the expense of transporting drives across distant international borders or the complexity of managing multiple vendors. "This strategic alliance means Technicolor and GDC Tech can offer studio clients a single point of contact for in-country drive replication, distribution and KDM
support, initially focusing on Hong Kong, Japan and Singapore with plans to expand across the region," said Claude Gagnon, President of Technicolor Creative Services Worldwide. "As the largest supplier of digital cinema servers throughout Asia, GDC Tech is the ideal partner to enable us to offer content owners and distributors the most comprehensive set of digital cinema services in the region. The agreement will provide our clients with the same exacting standards they have come to expect from Technicolor's owned and operated facilities across the globe. "Dr. Man-Nang Chong, founder and CEO of GDC Tech added: "We are delighted to be entering this venture with Technicolor, which, like GDC Tech, has a long-standing reputation for outstanding delivery of services and solutions for the cinema industry. By working side by side we can combine our knowledge of digital cinema technology and avant-garde facilities with Technicolor's renowned technology and worldwide distribution services to offer studio clients an integrated, high-quality, value-driven replication and distribution fulfillment service. This move represents the latest validation of GDC Tech's ongoing efforts and we will continue to deliver value to our customers in Asia. "Technicolor offers a suite of services including localization, digital cinema content mastering and distribution. The company delivers its customers' content to digital cinema screens worldwide by leveraging a hybrid distribution platform comprised of physical and electronic distribution mediums, including key management to ensure the security and reliable delivery of content to movie theatres. Technicolor continues to seek opportunities to grow its digital cinema distribution footprint both organically as well as through partnerships with leading distribution providers in various markets.
Platinum Theatres Selects Barco's 0.69" DLP Cinema Projector Purpose-built for Smaller Theatres Barco is helping smaller theatres reap the image quality and low total cost of ownership benefits of digital projection, recently supplying Platinum Theatres with its DCIcompliant Barco DP2K-10S models. Proving that big things do come in small packages, the award-winning DP2K-10S enables small theatres and art house cinemas to offer first-class movie experiences, delivering the same superior image quality offered by Barco's larger models. Platinum Theatres has outfitted many of its auditoriums with the new 10S projector, in addition to several DP2K-23B units, making it a 100 percent Barco cinema. Compact and simple, yet powerful In designing the projectors, special consideration was given to the specific needs of smaller exhibitors, resulting in a highly intuitive user interface that simplifies operation and ensures low operating costs. "We're very happy with the compact size of the Barco DP2K-10S, which makes it ideal for small booths and screens. We also have the Barco DP2K-23B projector, and the image quality of the 10S model is just as good!" comments Al Guerra, Owner of Platinum Theatres. "We really appreciate the ease of programming and operation of the 10S. It's one of the simplest things I've worked with in many years in the cinema business."
Superior image quality and economy Purpose-built for screens up to 10 meters (33 feet), the DP2K-10S features exceptional brightness thanks to its superior optical efficiency, DMD cooling system and patented sealed engine. Energy-efficient Xenon lamps, a standby eco-mode, and reusable air filters help to minimize operating cost. "The Barco DP2K 10S Digital Cinema Projector is a great option for smaller screens. Easy to install, bright and efficient, it's a very affordable option compared to most other projectors," comments Kyle Connor, Owner of TECS (Theatre Equipment, Construction & Service, Inc.) The 10S is highly portable, with integrated handles and a smart, modular architecture accompanied by user-friendly software tools. It is also available with an integrated media server and redundant storage in a DP2K-10Sx model. Committed to theatres, large and small "We've channeled all the best attributes of our digital cinema technologies into a tight, elegant model that offers amazing brightness and brings today's movies to life," comments Patrick Lee, Vice President Digital Cinema for Barco North America. "We are thrilled to provide Platinum Theatres with a projection solution that truly meets the needs of their smaller auditoriums."
Imax EightTheatre Deal in Indonesia IMAX Corporation and Cinema 21, Indonesia's largest exhibitor, announced an agreement to install eight IMAX theatres throughout Indonesia, bringing to 10 the exhibitor's total IMAX commitment. Cinema 21 currently has an IMAX theatre open in Gandaria City, South Jakarta, and another slated to open in Kelapa Gading, North Jakarta. "Due to the success, superior quality and performance of our IMAX theatre in South Jakarta, we have exercised our option to expand our relationship with IMAX to further penetrate the Indonesia market," said Mr. Suryo Suherman, President of Cinema 21. "We believe that IMAX provides a unique and differentiated premium experience that our guests appreciate and will continue to seek out, further strengthening our business." "Today's agreement marks an important step in expanding our presence in the Indonesian market the most populous country in Southeast Asia, with one of the more robust economies in the region," said Richard L. Gelfond, CEO of IMAX. "Cinema 21 is a strategic partner that will help IMAX seize the growth opportunities that exist in Indonesia, where consumer spending and investment remain strong and the demand for IMAX continues to build." Commenting on the agreement, IMAX Senior Vice President and Managing Director, Asia Pacific Don Savant said, "When the nation's largest exhibitor expands their IMAX business, it is truly an endorsement of the results IMAX delivers to its partners and underscores the level of enthusiasm we're seeing for The IMAX Experience in Indonesia. We are delighted to strengthen our relationship with Cinema 21 and bring more audiences across the region the biggest blockbusters in the world's most immersive format."
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Moving iMage Technologies Passes 2,000 in Shipments of its XL-Mover Moving iMage Technologies has surpassed the 2,000 unit shipped milestone of its RealD XL automated mover system. The system allows for the complete automated and pre-programmed moving of the RealD XL 3D optics from the image path of the digital projector, making the transition from 2D to 3D and back to 2D seamless and incredibly quiet. Full registration and manual overrides ensures the system stays in perfect alignment with the image path in both automated and manual modes. The XLMover can also be used with other 3D systems, as well as with anamorphic lenses. Damian Wardle, VP of Global Theatre Technology & Presentation, says of the XLmover "Cinemark needed a system that worked to our exacting standards so we worked closely with MIT's Tom Lipiec, VP Sales and Customer Service and Dave Richards, VP Engineering, early in the development process. As a result the finished product integrated perfectly with our digital projectors in the field".
4DX Signs Theatre Deal with Cine Hoyts CJ 4DPLEX, the world's first 4D cinema for feature films, announced an agreement with top Chile exhibitor Cine Hoyts to bring the all five senses immersive 4DX experience to several multiplexes across Chile. The deal, which will add to the current 42 4D theatres worldwide, was signed as a result of the growing availability of first-run movies available by top major Hollywood studios as well as the successful business model 4DX provides to exhibitors. 4DX is an all-five-senses, immersive cinematic experience that puts audiences into a film's environment with motion, wind, fog, lighting and even scent-based special effects that go beyond 3D. Launched in 2009 by CJ CGV, the largest theatre chain in Asia, Cine Hoyts joins a growing list of theatre chain partners that include Cinepolis, one of the top three worldwide exhibitors in Latin America, Cinema City of Eastern Europe and Israel, Major Cineplex Group in Thailand, and Koronaworld in Japan. Plans for U.S. theatres are progressing swiftly, with continued worldwide expansion to over 800 4DX theatres expected by 2016. "4DX will deliver an amazing experience for our clients, bringing not only high technology that will delight our audiences but also, to work with a great partner who shares our commitment of making Chilean theatre experience one of the best in the world," said Cristian Varela, CEO, Grupo Chilefilms. "As a company with extensive operations in Chile, Argentina, Peru, Brazil, Colombia and Mexico, we are continuously searching for the latest technology innovation in all our divisions; we are thrilled to have a business partner who shares our global perspective." "The incremental revenue received by adding a 4DX equipped theatre helps exhibitors' bottom line, while providing a premium experience that cannot be duplicated at home." Said Byung Hwan Choi, CEO, CJ 4DPLEX.
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"Global exhibitors understand the power of adding a premium experience in a multiplex to provide a variety of options to its customers." 4DX has established relationships with Hollywood studios, resulting in a growing number of movies available for theatres which have most recently included 20th Century Fox's A Good Day to Die Hard, Lionsgate's The Last Stand and Paramount Pictures GI Joe: Retaliation. 4DX theatres have shown more than 120 movies since 2009 with an average of 3-4 available each month. "Our expanding partnerships with the top studios in Hollywood is recognition that the 4DX experience has resonated with moviegoers, which provides a steady stream of top movies for exhibitors," said Bruce Greenberg, SVP Studio Relations, CJ 4DPLEX. "Our unique theatergoing experience adds very subtle enhancements throughout the movie, that studios and filmmakers are now starting to see the potential to enhanced storytelling." 4DX can be retrofitted in an existing theater with minimal downtime. Joint venture revenue models help ensures manageable up-front costs for exhibitors. CJ 4DPLEX will continue to announce new movies and studio partnerships for a growing, regular slate of first-run content for theatregoers. Since opening a 4DX Laboratory in Hollywood, the company is working closely with major studios and filmmakers in post-production to harness the technology of 4DX to enhance storytelling.
IMAX and Cinépolis Sign Agreement for Five Theatres in Mexico IMAX Corporation and Cinépolis, one of the world's largest exhibition circuits, announced an agreement to install five IMAX theatres in existing multiplexes across Mexico. The deal brings to 13 Cinépolis' total IMAX commitment, with seven IMAX theatres currently open in Mexico and one open in Brazil. "Our vision is simple, offer the highest quality entertainment experience possible and continually surpass our guests' expectations," said Alejandro Ramirez, CEO of Cinépolis. "IMAX helps us deliver on this promise and we're delighted to expand our partnership. We are also excited about IMAX's powerful line-up of blockbusters titles and the fact that more of Hollywood's leading directors are making IMAX a unique part of their films. We expect that this, together with IMAX's immersive format, will allow us to offer our guests a differentiated experience for which they're willing to pay a premium."
Barco Celebrates New Mexico Offices On May 23, Barco officially opened its brand-new offices in Mexico City by treating various customers and business partners to an exclusive showcase of Barco’s latest products and solutions. Emphasizing the importance of Barco’s presence in the Mexican market, the Belgian ambassador in Mexico also attended the opening. “We are very happy to be expanding in Mexico”, said Ney Corsino, VP Barco Latin America. “Barco is yet another multinational that believes in the economic and political progress of the country as one of the largest growth engines in Latin America. This investment further reflects our commitment to Mexico as one of Latin America’s main markets”. Significantly investing in its Mexico operations in 2010, Barco was able to successfully capture more than 90% of the Mexican Digital Cinema market over the past three years. After installing local teams for each of its core divisions, the new Barco offices in Mexico City were a logical next step. “Mexico has proven to be an attractive emerging market for us; it is like an awakening tiger”, commented Ivan Cannau, Country Director for Barco Mexico. “After 3 years of ever-increasing activity, it was time to consolidate our operations. We used the opportunity to create an innovative place where we can collaborate as one single team with our stakeholders, presenting them with the latest technologies for their visualization projects and necessities”.
SMPTE Creates New Technology Committee Dedicated to Cinema Sound Committee will explore and standardize new sound measurement techniques with the goal of consistent sound reproduction. The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, announced the creation of a new technology committee, TC-25CSS, dedicated to cinema sound. The committee will work to update SMPTE standards and recommended practices to address opportunities created by the many technical advances since standards last were created, as well as to improve the quality and consistency of cinema sound. "Improvements in measurement technology, digital sound delivery, and in sound reproduction equipment, as well as the greater detail and dynamic range of movie soundtracks, present a variety of challenges in providing quality cinema sound," said Brian Vessa, executive director of digital audio mastering at Sony Pictures Entertainment and chair of the new SMPTE committee. "Existing SMPTE standards and recommended practices help to minimize variations, but cinema sound quality today is highly dependent on the skill, talent, training, and hearing acuity of the adjusting technician," added Vessa. "TC-25CSS, the first SMPTE technology committee dedicated solely to cinema sound, will explore and standardize new sound measurement techniques with the goal of consistency in
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of a standard pink noise test signal, a final report on data and findings from the Theatre BChain Study Group, and work by two new study groups examining immersive audio systems and new electroacoustic measurement methods and target curves. sound reproduction between the mixing stage and diverse cinema spaces." TC-25CSS was formed following an extensive study by the Theatre BChain Study Group, which conducted tests of current test equipment and methods, measured reference and commercial theatres, and collaborated on observations and results. The committee currently has 130 members, representing more than 90 companies and academic institutions from 14 countries. "The introduction of Digital Cinema is helping to provide a consistently high quality of image display. Sound is at least as important in the movie theatre experience," said Hans Hoffmann, head of production technology for the EBU and SMPTE standards vice president. "The Cinema Sound Systems committee will work to ensure that the latest science and technology are used to allow cinema-goers to enjoy the full impact of the sound experience as created in the mixing room." As TC-25CSS works to standardize techniques and tools for optimizing sound systems and theatre acoustics, the committee will correlate human sound perception with the science of sound reproduction and measurements as the underlying principle. Current activities include development of a recommended practice for measurement and calibration of B-chain sound systems using modern standards and measurement technology, creation
"This is the first time since the late '70s that cinema sound has been addressed in depth," said Mark F. Collins, director of projection technology for Marcus Theatres. "Over the past three decades, we've seen huge changes in audio technology, and our hope is that, through the work of the new SMPTE technology committee and its subcommittees, the tools used to measure audio signals will be brought into tune with today's technology. With signal-testing tools that support very consistent audio quality throughout the industry, cinema owners can provide very good presentations and assure movie creators that what's being reproduced in the field is consistent with the studio mix." "The work of TC-25CSS will help bring cinema sound into the 21st century," said Matt Basford, system design manager for technical services at Regal Entertainment Group. "Regal Entertainment Group presents over 30,000 individual shows per day, striving for quality and consistency on each and every screen - this technology committee shares these same goals. We participate in the work of TC-25CSS and believe that new cinema sound standards will pave the way to improvements in calibration consistency, quality, and sound-system design, creating the best moviegoing experience possible."
Harman’s New 2-Way Screen Channel and Subwoofer System At CinemaCon 2013, Harman's JBL Professional announced the introduction of its 3252N 2-way screen channel cinema loudspeaker system, a cost-effective solution for movie soundtrack reproduction in small to mid sized auditoriums. The loudspeaker is available as a fully passive system. "The 3252N is a space-saving, easyto-install loudspeaker that delivers smooth, accurate reproduction of movie soundtracks with wide dynamic range and maximum output over a wide coverage area," noted Chuck Goodsell, Senior Manager, Cinema, JBL Professional. "The 3252N is a great solution for cinemas and auditoriums where space and budgets may be limited but where top-quality multichannel theatre sound is required." The 3252N measures 43-1/3 inches (1100 mm) high by 25-1/5 inches (640 mm) wide by just 17-3/4 inches (450 mm) deep and its speaker cable connections are made from the side, a configuration that facilitates easy placement behind a screen. The loudspeaker ships as a complete unit, no further assembly is required. The 3252N employs a 2414H-C Teonex diaphragm high frequency compression driver that operates into a molded Optimized Aperture Waveguide. Two 15-inch woofers with 2.5-inch aluminum ribbon wire voice coils provide powerful, detailed low-frequency response. The 3252N has a high 103 dB sensitivity and can be driven to up to 124 dB maximum rated SPL. A newly designed passive crossover network provides a seamless transition between the drivers for clear, articulate dialog and high-fidelity music reproduction. The speaker's built-in protection circuit ensures that all components operate within their optimal power handling range.
JBL Professional also introduced the 4181 Cinema Subwoofer System, a cost-effective movie soundtrack reproduction loudspeaker for basic cinema applications. The 4181 is a high-quality subwoofer system featuring an advanced technology 460-millimeter (18-inch), low frequency transducer mounted in a direct radiator, bass-reflex enclosure for smooth response to the lowest audible frequencies. "JBL has recognized a need for costeffective, low-frequency augmentation of digital soundtracks in motion picture theatres and for general sound reinforcement applications," said Chuck Goodsell, Senior Manager, Cinema, JBL Professional. "The 4181 addresses this need at a very affordable price point." The driver unit utilizes a vented cooling loop, which pumps air through the magnetic gap and directly over and around the voice
coil, providing immediate heat transfer. Through the use of computer-aided magnet optimization and analysis techniques, JBL engineers were able to optimize magnet weight, flux density and field saturation, resulting in a significant reduction in harmonic distortion. The 75-millimeter (3-inch) voice coil, using dual coils in parallel and with holes in bobbin, offers greater thermal stability with increased power handling. All elements of the optimized parts of the driver ensure smooth low frequency response, lower power compression and enable the system to carry a 500 watts continuous pink noise rating. The enclosure is constructed of dense stock and is extensively braced on all panels. It is tuned to 30Hz with three large ports to minimize port compression and to reduce distortion due to turbulent airflow. May-June 2013
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Alcons Extends its Digital Cinema Compliance With the Digital Cinema standard of 24-bit, up-to-16-channels of PCM non-compressed audio, now becoming reality, new challenges have arrived for existing equipment; Upgrading with just higher powered versions of existing solutions is just not enough to benefit from the new audio standard; Speech, music and effect should be reproduced with non-compressed non-colored detail, with lowest distortion and fullest digital dynamics.
Christie, a global leader in cinema projection, launched a set of four new Superior Performance Xenolite lamps for its Series 2 Christie Solaria projectors, ranging from 2kW to 6kW, at CinemaCon 2013. The new Christie Superior Performance Xenolite lamps are designed specifically for the Christie Solaria CP2220, CP2230 and the Christie 4K DLP Cinema projectors. Designed to maximize the brightness and reliability of today’s digital cinema projection solutions, the Christie Superior Performance Xenolite lamp series uses the latest Xenon lamp technology to provide increased brightness, improved stability and a longer life span.
Extending Alcons' evolutionary Digital Cinema sound system program, the company developed the CR3 thee-way pro-ribbon cinema screen system, specifically aimed at medium sized applications, where excellent projection control and superb, 1:1 accurate, non-compressed digital sound reproduction is required. It is designed to meet and exceed all requirements of current and future Digital Cinema sound formats. Due to the multiple-patented Alcons pro-ribbon transducer technology, the CR3 offers a unique linear response to above 20.000Hz; The absence of a compression mechanism caters for the same tonal balance from the lowest to highest SPL's, while the patented "Real-90" horizontal dispersion of the proribbon transducer guarantees a very stable sound field throughout the operating bandwidth. This also widens the stereo experience for far left and right seated audience. The driver arrangement consists of a double RBN401 pro-ribbon HF driver array, two 6.5" mid-range drivers and two vented 15" woofers for LF reproduction. The CR3 HF section has an 1600W peak power input, enabling a 1:16 dynamic range with up to 90% less distortion from 1kHz. to beyond 20kHz. The 40° vertical cylindrical projection of the HF section (inclusive screen
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Christie Launches Xenolite Lamp Series
spreading compensation), in combination with the 10º pre-tilt, caters for a very precise projection control, preventing unwanted ceiling reflections. The bi-amped CR3 is powered and controlled by the ALC Sentinel amplified loudspeaker controller; through the integrated processing and feedback, the Sentinel offers CR3-specific drive processing with optimal response and reliability. The shallow system design of 35cm/ 13,7" guarantees space economic mounting, that could even add an extra (money-making) row of seats. The Signal Integrity Sensing prewiring ensures complete cable/ connector compensation between the CR3 and ALC Sentinel; This offers an undistorted natural sound reproduction, regardless of cable length and amplifier impedance load (system damping factor >10.000 down to 2 ohms).
This increased brightness offers more captivating 2D and 3D experiences, without no reduction to overall lamp performance. In fact, Christie’s Superior Performance Xenolite lamps are not only brighter than previous models, they last 30 percent longer than comparable Xenon lamps while still offering the same extraordinary 99.999 percent in-theatre uptime. “Exhibitors want to use their lamps for longer periods of time while getting outstanding performance with the lowest possible operating costs,” said Jim Dukes, senior product manager for Christie’s Entertainment Solutions group. “With these new lamps Christie is offering better power and longer-lasting brightness with the cost-effectiveness that exhibitors demand, as befits the leader in cinema projection.”
More lumens for less money Christie Superior Performance Xenolite lamps leverage the latest in Xenon lamp technology. The new series includes four new lamps: The CDXL-20SP (2kW) and CDXL-30SP (3kW) have an estimated average expected life of 3,500 hours and 2,000 hours and are designed for the
Ushio Offers Lamps for Barco DP2K-10Sx Ushio, the leading lamp manufacturer for digital cinema projectors, has the largest line-up of Xenon lamps for all brands and types of digital cinema projectors. All lamps are certified by the projector manufacturer. Christie CP2220, CP2230, CP4220 and CP4230, with a maximum lumen output from 9,000 to 19,000 lumens. The CDXL-45SP (4.5kW) and CDXL60SP (6kW) are expected to last for 1,500 hours and 1,100 hours respectively, and are designed to achieve light outputs of 24,000 to 34,000 lumens. Lasting up to 30 percent longer than existing Xenon lamps, the new Superior Performance Xenolite lamp series offers 99.999 percent in-theatre uptime reliability, while maintaining brightness for longer periods than current lamps, resulting in a lower total cost of ownership. With
warranties of up to 3,200 hours, exhibitors can increase their theatre’s overall profitability by postponing lamp replacements, benefiting from reduced lamp costs and fewer maintenance interruptions. Christie Xenolite lamps deliver true representation of color in any cinema environment. They offer stable color temperature, a wide range of power levels, excellent color rendition and a long-lasting performance consistency, with excellent resistance to flicker, ignition difficulty and explosion. All Christie Xenolite lamps are covered under the Christie Xenolite Lamp Champion Warranty.
Ushio's latest release is the line-up of 0.85kW, 1.6kW and 2.2kW DXL lamps for Barco's new DP2K-10Sx projector. With these new lamps Ushio is now able to offer a complete line of DP2K-10Sx lamps from 0.85kW2.2kW. All lamps are certified by Barco NV. Ushio is very dedicated to the cinema market. Ushio follows the market closely and work to address the needs of cinema operators. In the final stage of the global roll-out. Ushio recognized the trend towards implementing smaller projectors early and started to develop lamps that are suitable for these projectors.
QSC’s New Series of Loudspeaker and Subwoofer At this year's CinemaCon, QSC Audio Products, LLC., announced the introduction of several new products which offer extensive cinema surround options to meet the needs of virtually any cinema or surround sound application. The new products include a new line of loudspeakers, AcousticPerformance, additions to the AcousticDesign, series surfacemount line, as well as a price reduction on GP series subwoofers. For immersive sound surround applications requiring high output performance, the new AcousticPerformance series includes three models: AP-5102, AP-5122, and the AP-5152. The AP-5102 uses a 10" woofer, while the AP-5122 features a 12" woofer, and the largest model, AP-5152 uses a 15" woofer.
All AP models can be used as a passive (full-range) loudspeaker to minimize amplifier channel count or they can be bi-amplified for greater control and performance. To further enhance performance, bi-amp and full-range tunings using QSC Intrinsic Correction techniques are available for Q-Sys and future QSC products. All three enclosure sizes feature M10 mounting points for suspension via eye-bolts as well as mount points for an optional yoke bracket. For immersive sound surround applications requiring great sound and enhanced aiming flexibility, new additions to the AcousticDesign series includes three models: S8T, S10T, and S12. Ease-of-installation is the driving principle behind these next generation small format, surface mount surround loudspeakers. Installers will appreciate flexible mounting options offered by this
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(DMT), a QSC design approach that matches the high frequency transducer to the woofer at the crossover point, resulting in remarkably consistent coverage and smooth, accurate reproduction on and offaxis.
series. Euro-block connectors allow for convenient pre-wiring of the system. The included X-Mount hardware enables the installer to simply lift the loudspeaker onto the mount and lock it into place The XMount also allows pan, tilt and yaw aiming for front and rear-mounted surrounds to be a simple adjustment. Knurled surfaces on the X-Mount's pivot points enable loudspeaker deployment angles to lock in place in 7.5 degree increments and ensure that aiming stays fixed, with no special tools required. S8T, S10T and S12 models also feature M10 mounting points for suspension via eye-bolts as well as mounting points for an optional yoke bracket, with an integral seismic mount for added safety. Both the AcousticPerformance and AcousticDesign loudspeaker series feature Directivity Matched Transition
For theatres and immersive sound surround applications requiring low frequency extension of the surround channels, QSC is pleased to offer the popular GP subwoofers at significantly reduced prices. The GP118 features a single premiumgrade, long excursion, high power 850 W 18-inch woofer, while the GP218 features two of these woofers. The GP-118 and GP-218 enclosures are constructed of 18mm Baltic birch plywood with internal bracing to eliminate acoustic losses due to panel resonance while maintaining the enclosure's robustness. Included M10 threaded fittings allow the GP-118 and GP-218 to be easily and safely suspended. For floor placement, the transducer is well-protected by a 16gauge, powder coated steel grille. With an impressive combination of low-frequency extension and sonic accuracy, the GP subwoofers are an ideal companion to the both QSC AcousticPerformance Series and AcousticDesign Series surround loudspeakers when used in high output immersive sound surround applications.
• INSTALLS • JBL, Crown & Dolby Atmos Powers
South African Theatre Underscoring its commitment to the increasingly popular Dolby Atmos platform, South African cinema chain SterKinekor recently deployed Harman's JBL Professional cinema loudspeakers and Crown amplifiers at its flagship Gateway Cinema in Durban. The system was unveiled in December at a premiere for Peter Jackson's The Hobbit: An Unexpected Journey. South Africa professional audio distributor Wild & Marr supplied all the Harman components for the installation. amplified, creating 48 separate channels of surround sound in the cinema. The use of JBL loudspeakers enables greater realism with a heightened impact in every scene. "Being part of the scientific process of taking a piece of art and recreating it as the director had intended is awe inspiring. Interacting with Dolby to overcome technical challenges that face this very new concept was an honor and it was great to hear from Dolby that our method of installation was way above average," stated Wild & Marr Systems Engineer, Gustav Teitge.
The theatre features five JBL Screen Array 4732 loudspeakers with three suspended left-right-rear JBL 4642A dual 18-inch subwoofers. Forty-eight JBL 8350's serve as the surround speakers for the sides, rear, and overhead. Twenty-nine Crown XTi4002 amplifiers power the system and three Crown XTi6002 amps power the subwoofers.
Dolby Atmos creates life-like sound where each of the 48 JBL surround speakers are independently
"We are proud to bring this groundbreaking technology to our No.1 Ster-Kinekor cinema in the country - Gateway. We are especially excited to launch this offering to the city of Durban where South Africans go to play, to holiday, to relax and to have fun this time of year. We think South Africans deserve the best. And we're happy to bring it to them," added Fiaz Mahomed, CEO of SterKinekor Theatres.
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• INSTALLS •
Eye Cinema in Galway
Ireland Fully Digital
Eye Cinema, one of the green island's most modern movie venues, has now completely switched to Kinoton 2K and 4K D-Cinema projection solutions (DCS). Since the cinema first opened eight years ago, its independent operator has relied on projection systems from Kinoton. He had two of the auditoriums equipped with Kinoton D-Cinema projection solutions with integrated 3D systems back in 2009. Now the other six auditoriums, which had used analog FP 50 D projectors from Kinoton, have also been upgraded to state-of-the-art Kinoton DCS systems. Eye Cinema contracted the U.K. based Kinoton sales and service partner Omnex Pro Film to install the high-end Kinoton DCS Digital Cinema Solutions. Omnex had already equipped each of the first two auditoriums with a DCP 70 L of the Series I, including a 3D system. The newly installed projection systems include a premium 4K D-Cinema projector of the type DCP 30 LX II - 4K
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as well as five type DCP 30 SX II - 2K projectors. As a result, Eye Cinema is now able to fully tap the potential of digital programming in all of its auditoriums. The projects are based on projection technology supplied by Barco. 1.38-inch 4K and 1.2-inch 2K DLP Cinema Series II technology from Texas Instruments ensures
highly precise color reproduction and brilliant contrast. Eye Cinema in Galway, a culturally and economically important city in western Ireland, now offers moviegoers an exceptional experience. The building is real eye candy with its modern design, fully living up to its name's promise. All of the auditoriums feature large screens to accommodate widescreen and Cinemascope formats for brilliant images, backed by Dolby digital surround sound for pure listening enjoyment. The Eye Cinema's operator has made a point of making the theatre fully accessible to people with disabilities. All of the auditoriums are designed so wheelchair users can easily get to them and have sufficient space for maneuvering. They also all include a system for on-screen subtitles and audio descriptions for the deaf and hard of hearing. For visually challenged patrons, the cinema has infrared headphones.
• INSTALLS •
VOX Expands in Middle East!!! VOX Cinemas has continued its ambitious 2013 expansion plan after opening its newest cinema in Mercato Mall, Dubai. The renovated seven-screen cinema at Jumeirah's shopping destination is the second opened this year after Fujairah City Centre and is VOX's seventh in the UAE, said Ahmed Galal Ismail, CEO of Majid Al Futtaim Ventures, which owns VOX Cinemas. Vox Cinema in Mercato Mall VOX Cinemas, formerly CineStar Cinemas, said last year that it is set to launch a total of five new locations in 2013, doubling the company's screen count. "We are delighted for Mercato to be the next step in our expansion plan as VOX Cinemas more than doubles our screen count in 2013," said Ismail. "It's a very exciting time for the
coupled with Dolby 7.1 surround sound in every cinema.
Majid Al Futtaim Ventures family and Mercato has been an incredibly supportive partner in helping VOX Cinemas fulfils this vision."
"VOX Cinemas is doubling our company size in 2013, opening cinemas in the UAE, Lebanon and Oman, making us the largest Middle Eastern cinema exhibitor, and we are delighted that VOX Cinemas, Mercato is the next step in this exciting journey," he added.
Cameron Mitchell, CEO of Majid Al Futtaim Cinemas, added: "VOX Cinemas has invested heavily in renovating the entire complex and in ensuring that all cinemas are 3D equipped, feature brand new Christie digital projectors, large VIP seats,
VOX Cinemas in Fujairah City Center VOX Cinemas is set to redefine the entertainment landscape in Fujairah, as it inaugurated its 11screen state-of-the-art cinema at an official ceremony under the patronage of His Highness Sheikh Rashid bin Hamad bin Mohammed Al Sharqi, Chairman of Fujairah Culture and Media. Anchoring Fujairah City Centre, VOX Cinemas offers a completely new and modern movie-going experience for residents with
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• INSTALLS •
100% fully digital screens of which 6 are 3D-enabled, and it is the only cinema in the emirate to offer the VOX MAX 20-metre 'big screen' and a luxury cinema experience. VOX Cinemas is now fully operational and showing a variety of Hollywood, Bollywood and Arabic films that cater to the growing and increasingly diverse Fujairah population. "The opening of VOX Cinemas' sixth strategic location in the UAE reflects the wider vision of Majid Al Futtaim Ventures to expand its entertainment concepts across new markets in the UAE and the Middle East," said Ahmed Galal Ismail, CEO of Majid Al Futtaim Ventures. "The expansion into the northern emirates addresses the relatively underserviced entertainment industry in Fujairah, and having invested the latest in cinematic technologies we are confident that VOX Cinemas in Fujairah City Centre will raise the benchmark for entertainment in the emirate." For the time, residents will be able to enjoy a truly immersive experience with VOX MAX, which will boast Fujairah's largest cinema screen at 20 metres wide. The 'big screen' concept also includes ultracomfortable MAX VIP seats and Dolby 7.1 digital surround sound, the best in cinema sound technology. In addition, VOX Cinemas is introducing another first, a new premium cinema concept called VOX Plus, which offers movie goers the chance to watch movies in luxury with reclining seats in a more exclusive surrounding. VOX Plus also features a full restaurantstyle menu, with delivery service directly to your seat. This is a new concept for VOX Cinemas and gives Fujairah residents the convenience to choose how they prefer to enjoy their movies.
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"VOX Cinemas will set a new standard of premium cinemas that will meet the increasing demands of Fujairah's growing population," said Cameron Mitchell, CEO of Majid Al Futtaim Cinemas. "We've invested in the latest digital cinema technology to offer a compelling movie-going experience unmatched in our key markets. I'm delighted to open the doors to VOX Cinemas in Fujairah City Centre, creating a true, wholly integrated leisure, entertainment and shopping destination for the wider community." Officials taking part in the inauguration of VOX Cinemas in Fujairah City Centre included esteemed members of the Ruling Family and Fujairah Municipality. Ahmed Galal Ismail, CEO of Majid Al Futtaim Ventures, the owner of VOX
Cinemas; Cameron Mitchell, CEO of Majid Al Futtaim Cinemas, Peter Walichnowski, CEO of Majid Al Futtaim Properties each gave opening remarks while recognizing this exciting milestone. "When we opened Fujairah City Centre, we provided a much needed boost to the retail landscape in the northern emirates and created a new landmark for the community," said Peter Walichnowski, CEO of Majid Al Futtaim Properties. "The opening of VOX Cinemas marks another milestone for the mall, which will introduce a new, exciting dimension of movie-going experiences for the community. Today, Fujairah City Centre is a true lifestyle destination, offering unique shopping, dining and premium entertainment."
• INSTALLS •
Giant Screen at
The Air Force Museum Theatre The Air Force Museum Foundation (AFMF) announced an upgrade to the Air Force Museum's giant screen theatre to digital 3D, beginning in January, 2013. The Air Force Museum Foundation, Inc., was established in 1960 as a philanthropic, non-profit organization to assist the museum when federal funds are not available. Since its inception, the
Foundation has contributed more than $52 million for museum construction, expansion and facility upgrades. The Foundation operates the Museum Store, IMAX Theatre, cafeteria and simulators. It receives its funds primarily through the operation of these activities as well as through Foundation membership, donations and bequests.
Since 1991, the Air Force Museum Theatre has provided the highest quality giant-screen film experience to visitors, from the first titles The Dream is Alive and To Fly!, to the ever popular Fighter Pilot: Operation Red Flag. This year, advances in digital projection have made it possible for the Museum to upgrade to 3D projection while maintaining the theatre's reputation for high quality as well as providing the Foundation with a significantly improved economic model along with greater programming flexibility. With better programming options from educational presentations and live broadcasts, in addition to expanded documentary choices the theatre will be able to better align itself with the Museum's mission as well as public demand. At the same time, substantial savings in operational costs will provide enhanced support of Museum programs and ongoing expansion. AFMF has partnered with D3D Cinema (D3D) to provide a state-ofthe-art digital 3D system featuring May-June 2013
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• INSTALLS • Giant Severtson silver 3d screen, dual Barco 4K projectors, Qube's "Xi" integrated media blocks, MasterImage 3D, and a premium 7.1 surround system from QSC Audio. In addition to supporting higher frame rates, the system will be capable of true 4K-3D playback at bitrates that far exceed industry standards for conventional cinema. The theatre will also feature state of the art accessibility technology by Doremi, including hearing impaired/visually impaired audio devices, and the CaptiView personal closed captioning system. "Since the theatre opened in 1991, I have been a fan of the quality largeformat film brings to the screen," said Mary Bruggeman, Chief of Theatre Operations for the AFMF. "However, at a recent gathering of giant-screen professionals at a digital symposium, I viewed a 15/70 film exhibited side-by-side with its digital counterpart and was excited to find that the quality of digital projection matched, if not exceeded, that of film. In a postscreening poll, an overwhelming majority of those in attendance agreed." Over a period of more than half a year, the AFMF undertook a thorough review of the digital landscape. "When combined with the vastly improved economics and expanded programming possibilities afforded to our theatre by a switch to digital, we knew that a digital system from D3D Cinema was the right choice for moving the Museum forward." "We are truly honored to be working with the Air Force Museum Foundation, one of the nation's great institutional venues," said Don Kempf, president and founder of D3D Cinema. "Flight-themed films occupy a special place in the history of the giant screen medium, and we believe that this theatre conversion represents a significant milestone in the accelerating conversion of our industry from film to digital."
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• TECHNOLOGY • New Possibilities: Digital Projection Opens
New Frontiers in Theatre Design As deployment of digital cinema is well on its way to completion worldwide, clients are asking about its impact on and potential changes to theatre design. From an architectural standpoint, digital projection provides new opportunities that were not possible without this new technology. The big question is how much of the sound, automation and theatre management equipment needs to be housed in a central location? Technically, the answer is that this is not necessary but some operators may require a hybrid solution based on how they do business. For example, with a boothless configuration, staff can enter from inside an auditorium. Or, this access can be hidden from the public view. Is it acceptable for your staff to access the projector from a ladder? Also, how will staff access the projector to
replace a lamp or troubleshoot problems? Some of our clients want the projector and access to be hidden from the public. We have utilized two solutions that we call catwalks and platforms. If access to the projectors via a ladder does not fit your business model, then catwalk approach may be more appropriate. This option creates a room or larger platform for the projectors that is connected by a series of catwalks. The catwalks generally run from room to room and are accessed via stair or public seating space. The advantage of this design approach is that once in the catwalk system, staff can access any projector; however, a separate catwalk system in each wing of a building can also be designed. The choice to enclose the room is generally driven by ventilation and concerns about dust and security.
If accessing projectors via ladder is an option, then a less expensive construction alternative to consider is a platform approach. The projector is located on a platform that is accessed by ladder from a closet or room off of the lobby or promenade. Depending on building configuration, the platform would be clustered to house two, three or four projectors which are accessed from the same ladder. The advent of digital cinema offers other more aggressive approaches available to designers. For example, we have converted a retail space into a cinema. There was limited structural height available and it would not have been a practical candidate for conversion to cinema without the elimination of the projection mezzanine. However, the issues of sight lines, projector access and installation, servicing and eventual
• TECHNOLOGY •
orientation of auditorium can also be rethought, as it is no longer constrained by the interconnected projection booth. Screen and sound quality remain critical so an oval or domed-shaped auditorium will not become a part of the design. What you will likely see is unusual groupings of auditoriums. Three or four auditoriums can be clustered together with little or no circulation space if the projector is located within the auditorium volume. Most auditoriums are entered from the rear which happens because of common projection and circulation. Without that constraint, we as designers will continue to develop unique ways of entering and exiting auditoriums. There are also opportunities to achieve new level of space utilization, efficiency and revenue generation.
Figure 1
replacement were very challenging. Careful co-ordination with the client resulted in development of a functional, cost effective solution. Two options for placing the projector within the volume of an auditorium have been illustrated: (Figure 1 illustrates a concept we call an internal catwalk. We typically design an auditorium so that the screen size dictates the height and width of the room. This usually provides adequate space so that a projector platform and internal catwalk can be located above the back row of seats.)
solved patron circulation and exiting requirements and creates an efficient, interconnected projection booth. With the need for an interconnected projection booth eliminated, owners can consider the most effective patron circulation and existing options. Some of this traffic can occur beneath the stadium seating, reducing the building footprint. The
It is a very exciting time to be a designer of movie theatres. We will continue to create world-class environments that enhance the unique social experience going to the movies creates. With the advent of digital cinema, a whole new world of possibilities awaits. Think outside the booth.
(Figure 2 illustrates a fabricated solution called a "Hush Box" that occupies the centre portion of the back two rows of seats.) In both scenarios, access to the equipment occurs inside the room and the digital projector remains in a fixed position, eliminating the need to recalibrate the alignment of the projector after service. Both scenarios eliminate the projection booth and make unique auditorium configurations possible. The traditional in-line, T and H plan configurations evolved because they Figure 2
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• TECHNOLOGY • Harkness Screens Brings
Digital Screen Archiver From the Digital Screen Selector and Digital Screen Modeller for design optimisation through to the Digital Screen Checker for verifying onscreen brightness and the Digital Screen Archiver for storing key cinema data obtained during site inspections, Harkness Screens has the tools to assist with managing the entire cinema screen lifecycle. The Digital Screen Archiver was one of the two apps launched by Harkness during the recent CinemaCon Show in Las Vegas. The Digital Screen Archiver is an app which can be downloaded from the Apple App Store free of cost. The Digital Screen Archiver is a tool that allows cinema managers, engineers, projectionists and exhibitors to ensure that their cinemas always deliver the best presentation. This is done by capturing various data, monitoring the data and taking corrective action wherever and whenever necessary in terms of maintaining industry defined standards of projection quality. •
Streamlined remote site management
•
Support your NOC deployment/ remote management
•
Assist maintenance planning
•
Increase customer satisfaction
•
Reduce operating costs and energy consumption
Features and Benefits The Digital Screen Archiver from Harkness Screens is a secure cloudbased data capture and reporting tool that aids projectionists, managers, engineers and exhibitors to maintain their digital cinema auditoria. Quick and easy to use, the Digital Screen Archiver allows key digital cinema data such as auditoria geometry, power settings, lamp life and on-screen brightness to be captured in a standardised format during maintenance visits. Extensive
back-end reporting tools allow those responsible for maintaining cinema auditoria to monitor the performance of their entire screen portfolio through one source, schedule planned and reactive maintenance visits and benchmark screen performance against key industry-standards. Account creation and management Create a free account for your cinema circuit. Requesting administrative access allows one or more individuals to monitor and maintain the entire screen portfolio for a specific cinema circuit and create and maintain additional users for the account and assign user access rights. Set up unlimited sites and auditoria Whether you manage two screens or a circuit of 200 multiplexes, the Digital Screen Archiver allows you to create as many sites as you need and within each site, an unlimited number of auditoriums. All inputs are a minimum one-time operation and can be configured and are accessible by any approved user. Real-time reporting (requires 3G, 4G or WIFI connection) Use the Digital Screen Archiver to store data relating to a specific auditorium during a maintenance visit. One-time setup for each auditorium enables fast and efficient regular reporting for a specific screen. Keep track of lamp type, lamp hours and centre screen brightness levels in 2D Flat, 2D Scope, 3D Flat and 3D Scope formats. Add any additional notes for future reference before storing the report. Extensive back-end reporting tools with industry-standard benchmarking Users with administrative rights are able to access comprehensive
reporting tools for their entire screen portfolio. View all historical reports for any specific auditorium or view an entire site. Reported screen brightness levels are colour coded for benchmarking against industrystandard (DCI for 2D) specifications. Commenting on the release Worldwide Marketing Manager and visionary behind the apps, Richard Mitchell said "the apps mark the next generation of tools for digital cinema. After many months of planning, designing and field testing we're delighted to finally release them to the industry and we believe that these will help exhibitors to significantly enhance on-screen brightness levels." "Harkness Screens strongly believe that the movie going experience is incomplete if the quality of presenation, especially picture quality including picture brightness, colour and contrast is not as per industry accepted standards. The Digital Screen Archiver is a tool that helps in achieving this objective and is a small contribution from Harkness towards this goal" says Sriram Sistla, Sales Director, India. Below is a guide for measuring digital cinema auditoria. The equipment specified is recommended for efficient and accurate measurement. These dimensions can be used in Harkness Screens’ Digital Screen Modeller and Digital Screen Archiver tools. Equipment necessary to measure an auditorium 1. Electronic Distometer Laser Measurer with Pythagoras Feature 2. Manual or Electronic Clinometer (Apps for Smart Phones are available) 3. Wooden or metal strut measuring minimum 1.2m or 4ft in length 4. A4 piece of paper or card, folded in half (to A5 size)
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• TECHNOLOGY • Measuring the auditorium length, width and height.
the overall width of the auditorium. For example:-
To measure the length, place the Distometer on the back wall of the auditorium and point the distometer in a straight line to the screen.
8.5m (distance to wall) - 10m (half the overall width of a 20m auditorium) = 1.5m offset. Measuring seating rake for stadium or sloped seating (Fig 2).
To measure the width, place the Distometer on either side wall of the auditorium and point the distometer in a straight line to the opposite wall. Note that in many cases the auditorium widens progressively from the screen. It is recommended to measure at the widest point.
In auditoria with sloped flooring (rather than steps) place the Clinometer on the floor to obtain the seating rake. In auditoria with steps, place the wooden or metal strut over the back of a seat with the other end touching the back of the seat behind. Place the Clinometer on top of the strut to obtain the rake.
To measure the ceiling, place the Distometer on the floor directly in front of the screen and point up to the ceiling.
Measuring screen width. Place the folded piece of paper or cardboard on the floor directly parallel to the edge of the screen, Place the Distometer at the other end of the screen on the floor and point at the piece of paper.
Measuring the Bottom Picture Line (BPL). Place the Distometer level with the bottom of the screen and point to the floor. Note that this will vary for screens with variable height (top and bottom or bottom masking).
Measuring screen tilt. Place the Clinometer against the edge of the frame of the screen taking care not to place the Clinometer on the screen surface and take the reading.
Measuring the distance to the screen from the front row of seats. Place the Distometer at head height in the middle seat of the front row and point at the bottom of the screen directly in front.
Fig 1: Measuring height of projector
Stand at the centre of the screen facing the screen. Position the Distometer in line with the approximate edges of the screen. Take a measurement. Divide the measurement by the overall screen width to ascertain screen curvature percentage. For example:-
Measuring the height of the projector (Fig 1). Set the Distometer to Pythagoras mode. Position the Distometer at floor height from the back row of seats in the auditorium either side of the port glass window (in order to shoot onto a solid surface). Point/tilt the Distometer up the wall to the height of the port glass. Secondly, shoot directly to the bottom of the wall. The two measurements should provide you with the height of the projector.
1m (distance to screen / 20m (width of screen) = 5% curvature.
Measuring projector offset. Stand beneath the port glass and point the Distometer at the wall. If a visible offset exists, point the Distometer at the closest wall. Subtract the measurement from half
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Measuring screen curve.
Fig 2: Measuring seating rake
Australian Open TheatreWorld in conversation with Michael Hawkins, company director of diverse commercial experience. His roles include Executive Director of the National Association of Cinema Operators - Australasia; Chair of the Australian International Movie Convention and Director of the Intellectual Property Awareness Foundation Ltd. He is also the Chair of Screen Queensland and a director of Qi Power Limited. He serves on the Foundations of the Queensland State Library and the University of Queensland Diamantina Research Institute. He was formerly CEO of Australian Multiplex Cinemas Ltd and also served for many years as an Executive Councillor of the Australian Entertainment Industry Association. He is a lawyer by training and a Fellow of the Australian Institute of Company Directors. TW – Tell us about AIMC and how does it feel to have the 68th Convention this year? MH – The Australian International Movie Convention (AIMC) on Queensland's Gold Coast is one of the great film conventions in the world. The 2013 AIMC will be the 68th convention hosted by the National Association of Cinema Operators-Australasia (NACO) and its predecessors, and will run from October 14-17 at Jupiters Hotel & Casino, Broadbeach.
The AIMC brings exhibitors, distributors, producers and allied trades and suppliers together in one place for four days and provides an opportunity for industry participants to make a smart investment in their businesses. From humble beginnings as a Queensland state-based conference in the mid-1940s with only about 60 delegates, the Convention had grown to around 200 delegates by the 1970s and increased steadily to
Michael Hawkins
around 550 in the mid-1990s. We now host around 950 delegates each year. To reflect the growth in delegates nationally, the Convention was officially branded as the "Australian National Movie Convention" in 1989. The Gold Coast became the official "home" of the Convention. In 2000, as a reflection of the increasing number of international speakers and delegates, the Convention was rebranded as the "Australian International Movie Convention", as it is now known. The move to Jupiters Hotel & Casino at Broadbeach in 2009 was an initiative designed to amalgamate all convention activities - film screenings, seminars, trade show and networking functions - in one venue. Adding to the convenience this offered was the opportunity for the majority of delegates to stay on-site if they wished, or in alternate accommodation in close proximity in the Broadbeach area. In 1992 the inaugural Australian Star of the Year Award was won by Paul Mercurio for "Strictly Ballroom". Since then other actors to be honoured, all of whom have gone on to international success, have included Russell Crowe, Eric Bana, Hugo Weaving, Geoffrey Rush, Jacqueline McKenzie, Hugh Jackman, Jacqui Weaver, Ben Mendelsohn and the late Heath Ledger. May-June 2013
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2013 AIMC The AIMC continues to go from strength to strength, working continually with its partners in movie distribution, technology & sound, auditorium fit-out, catering and marketing to provide the optimal convention experience. In 2013, the AIMC organisers are reaching out to representatives from allied film industries such as home entertainment to attend. We will also be welcoming a larger international contingent from the Asian, United States and European markets. We will have speakers and presentations who will appeal educationally to all attendees. It is always gratifying to receive positive feedback from each convention, and our team works hard to provide an informative and exciting event each year within our basic framework. The program is very full, but it represents value for money and a good business investment. TW – If you could tell us more about the Australian Cinema / Exhibition Market? The potential of the Market? MH – The Australian Box Office remains particularly buoyant. According to the Motion Picture Distributors Association of Australia (MPDAA), 2012 was a strong year for the Australian cinema industry. The total box office gross of $1,125,536,000 marked a 2.8% increase on the previous year and was just 0.2% off the all-time record set in 2010. It is estimated that 72% of the total 1995 cinema screens have converted to digital projection. Of those, 57% are 3D-capable. Of the country's 1995 screens, 1204 are operated by the four major exhibitors in Australia, being Amalgamated Holdings Ltd (Event / Greater Union / Birch, Carroll and Coyle brands), Hoyts Cinemas, Village Cinemas and Reading Cinemas. Australia enjoys a strong independent cinema segment, with five independent operators controlling 130 screens over multiple locations.
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Australia is a mature market. Further expansion would be limited. There is likely to be a refurbishment program undertaken as many cinemas approach lease term renewals. We have some of the best exhibition minds in the world in Australia, and those minds will continue to focus on what is required to get people out of their homes and into the cinema environment. Therefore, expect to see continual upgrades of cinemas, including premium offerings, bigger screens, sharper sound and better seating, both in size and configuration. It is possible, that within the next five years, we could see satellite delivery at this stage limited largely to alternate content - we are a big, expansive country with a population very adroit at adopting the latest in technologies. TW – What would you like to say about the cinema market in Hollywood and Asia? MH – Australians by nature do not generally discriminate in their choice of movies, and our multi-cultural society ensures a strong acceptance of international movies as well as those from the Hollywood studios. They quite simply enjoy all entertaining movies!! TW – What special and new will the audience witness at AIMC 2013? MH – In 2013 the AIMC will be held
in October instead of August, for the first time. We hope this will facilitate better exposure to the very latest feature product from abroad, especially as it is closer to the Christmas blockbuster season. Being slightly later in the year will mean participants can enjoy late spring weather on the Gold Coast, where it is said that the weather is beautiful one day, and perfect the next! TW – Could you give us a brief on (NACO) National Association of Cinema Operators - Australasia MH – A national association of cinema operators did not happen overnight. For the past 70 years, cinema exhibition was represented by various state associations, independent associations, trade associations, employer associations and state chambers of commerce, but never by a national association made up entirely of cinema exhibitors. NACO evolved out of the Motion Picture Exhibitors Association of Queensland (MPEAQ), which was incorporated in 1947 and continues to host the annual AIMC as part of this long tradition and as a service to the film industry in the Australia/ Pacific region. There has been a very significant investment by exhibitors in Australia, New Zealand and the Pacific region, with 1,995 screens in nearly 500 locations in Australia and over 400
screens in New Zealand. More than 10,000 people are employed in the cinema industry, and the big screen consistently rates as one of the top social outings for all demographics. NACO's primary objective is to protect this very substantial investment made by its members. It is an organisation for all exhibitors majors; independents; multi-screen; single screen; or drive-in - from the city or the country - and it represents all member exhibitors, irrespective of their size or structure, in genuine, whole-of-industry issues. These issues could include movie theft, licencing fees, movie classification, collapsing of windows, digitalisation. Movie theft, or piracy, costs our industry and economies billions of dollars, and too many people their jobs and livelihoods. The industry is taking very active steps to protect itself, and NACO supports the activities of the two key agencies in Australia working to protect the industry - the Australian Federation Against Copyright Theft (AFACT) and the Intellectual Property Awareness Foundation (IPAF) - as well as with the movie distributors through the Motion Picture Distributors Association of Australia (MPDAA) and the Australian Independent Distributors Association (AIDA). We also work with international organisations such as the National Association of Theatre Owners (NATO) and the Motion Picture Association of America (MPAA).
AFACT works closely with industry, government and law enforcement authorities to protect the film and television industry, retailers and movie fans from the adverse impact of copyright theft in Australia. NACO has collaborated with AFACT, MPDAA and the Australian Home Entertainment Distributors Association (AHEDA) in the preparation of submissions to government relating to new standards of regulation of telecommunications, television, radio and the internet. TW – The venue for the 2013 AIMC MH – Holding the AIMC at Jupiters Hotel & Casino allows the AIMC to hold all convention activities in one venue - distributor product presentations, movie screenings,
industry speakers, trade show and networking functions - which eliminates travel. Jupiters Theatre has just recently completed a $20 million refurbishment, including the installation of state-of-the-art digital cinema equipment for optimum visual and audio presentation. The cinema can accommodate close to 2,000 guests. Many international and interstate delegates who attend the AIMC take the opportunity to bring their families and stay for a holiday at one of Australia's leading holiday destinations. The attractions of the Gold Coast make the region an ideal destination for conferences and many delegates choose to extend their stay either before or after the convention. With 300 days of sunshine a year and an average temperature of 25 degrees Celsius, the Gold Coast offers a full spectrum of interactive entertainment - from dazzling bigbudget theme parks to small, hilariously kitsch museums; worldrenowned beaches and over 70 kilometres of pristine coastline; world-class golfing facilities; sporting events from surfing to V8 supercars; sophisticated dining and shopping precincts; shows and live entertainment; lush, green Hinterland - just a few of the reasons 10.5 million visitors flock to this vibrant city each year; a destination as scenic and peaceful as it is fastpaced and active. May-June 2013
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REVIEW
15-18 April 2013 Caesars Palace, Las Vegas
CinemaCon, the Official Convention of National Association of Theatre Owners (NATO) was delighted to return to Caesars Palace and to have The Coca-Cola Company on board as its Official Presenting Sponsor for the third straight year. CinemaCon, the largest and most important annual gathering of cinema owners and operators from around the world that more than 5,000 motion picture professionals from all facets of the industry - from the exhibitor, distributor, equipment and concessions manufacturer, marketer, advertiser - all on hand to celebrate the movie going experience and the cinema industry. Commenced on 15-18 April 2013 at Caesars Palace, Las Vegas the
TheatreWorld magazine displayed in publications
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Raghav from TheatreWorld at CinemaCon 2013
response to the show was just as amazing as it could be. From exclusive Hollywood product presentations highlighting a slate of upcoming films, to must-see premiere feature screenings, to the biggest stars, producers and directors, CinemaCon helped jumpstart the excitement and buzz that surrounds the summer season at the box office. In returning to Caesars Palace, CinemaCon was able to offer its delegates a modern and upscale conference facility and a one-of-a kind movie going experience in the Colosseum, the 4,200 seat of Caesars Palace.
According to Mitch Neuhauser, Managing Director, CinemaCon "When you think about celebrating the moviegoing
Frankly Speaking: The Ever-Changing World of Filmmaking Today, Tomorrow and Beyond An in-depth roundtable discussion with today’s leading and groundbreaking filmmakers
experience you can't help but think about the great product offered up by our friends in distribution. When it comes to product, this week may set another record with the amount of material to be showcased (along with plenty of stars, producers and directors) not to mention screening four feature length films. The mix of studio presentations and screening has never been better and for those delegates who have been asking for more screenings, well, your wish is our command!"
The show began with the 'International Day' on 15 April 2013. The International Day had many industry seminar with a award function. The awardees during International Day were:
Elvis Mitchell - Film Curator, Guillermo del Toro, Sam Raimi and Oliver Stone - Filmmakers
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Global Achievement Award in Exhibition - Alejandro Ramírez Magaña, CEO, Cinépolis
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CinemaCon Passepartout Award - David Kornblum, Walt Disney Studios Motion Pictures International
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International Boxoffice Achievement Award Twentieth Century Fox International
Maximizing Your Theatre's Efficiency in Today's Digital World: Frequently Asked Questions
(L-R) • Scott Sherr, Executive Vice President, Worldwide Marketing & Distribution, Sony Pictures Releasing • Joe Hart, Senior Vice President, Global Operations, Deluxe Digital Cinema • Howard Kiedaisch, CEO, Arts Alliance Media • Greg Mandel, Vice President, Head of Worldwide Digital Cinema, Technicolor • Drew Kaza, Executive Vice President, Digital Development, Odeon UCI • Tom Molter, Senior Vice President, Warner Bros. Pictures International
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Designing the Future of Exhibition: Architecturally Speaking Presentations from leading international theatre architects and circuits detailing the new looks, trends and futuristic feel of tomorrow’s motion picture theatres.
Mike Cummings, Principal, TK Architects
Harold Smith, Managing Partner, Mesbur + Smith Architects
Alejandro Ramírez Magaña, CEO, Cinépolis
Theodore T.Y. Kim, Cinema Innovation Advisor, CGV
Jack Muffoletto, Principal, TK Architects
Eranna Yekbote, Chief Architect, ERA Architects
"The promise of digital cinema has arrived, with the conversion of more than 85% of domestic screens, and steadily growing penetration overseas as well. Digital cinema has enabled a better, more consistent image on our screens; a true 3D experience; and much greater diversity in alternative programming. But even as we wrap up the digital conversion, other innovations loom on the horizon, from high frame rates to immersive audio to laser light sources." said John Fithian, Preseident & CEO, NATO.
Ask the Experts: An ICTA Presentation With the industry witnessing the greatest transformation in its history, the International Cinema Technology Association (ICTA) has pulled together an international panel of experts to address questions about all aspects of the motion picture theatre industry including Digital, 3D, new technologies such as High Frame Rates, Lasers, Alternative Content, The Cinema of the Future and Immersive Sound.
(L-R) • Ioan Allen, Senior Vice President, Dolby Labs • Paul Holliman, Vice President, Strategic Planning, Walt Disney Studios Motion Pictures • John Hurst, Co-Founder & CTO, CineCert, LLC • Millard Ochs, President, Warner Bros. International Cinemas • Tim Reed, Senior Vice President, Alamo Drafthouse
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May-June 2013
Stalls @ CinemaCon 2013
The three days 15-18 April 2013 had the tradeshow with seminars, presentations, studio screening, studio presentation, live demos, food functions, awards, etc. The major studio screening was Pain & Gain by Paramount Pictures, The Heat by 20th Century Fox, Monsters University by The Walt Disney Studios and The To Do List by CBS Films.
Barco
Christie
Cinemecanica
CocaCola
Datasat
DepthQ
Dolby
Doremi
Figueras
GDC
Big Screen Achievenement Awards •
Lifetime Achievement Award Harrison Ford
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Breakthrough Filmmaker of the Year - Joseph GordonLevitt
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Breakthrough Performer of the Year - Aubrey Plaza
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Cinema Icon Award - Morgan Freeman
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Male Star of Tomorrow - Armie Hammer
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Female Star of Tomorrow Hailee Steinfeld
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Director of the Year - Justin Lin
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Rising Star of 2013 - Asa Butterfield
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Award of Excellence in Acting - Elizabeth Banks
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Comedy Duo of the Year Vince Vaughn and Owen Wilson
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Male Star of the Year - Chris Pine
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Female Star of the Year Melissa McCarthy
Harkness Screen
May-June 2013
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Harman
Kinoton
Master Image
Moving Image Technologies
NEC
Philips
QSC
Qube
Ricos
Severtson
Sony
Strong
Ticketnew
Ushio
USL Inc
Vista
Volfoni
Xpand 3D
May-June 2013
PREVIEW
24-27 June 2013 Barcelona, Spain
CineEurope is the official annual convention of UNIC and the premier get-together of the cinema exhibition community in Europe. It is organised in collaboration with Prometheus Global Media (PGM). The convention offers a unique opportunity to interact with stakeholders from the sector and includes a trade-show of latest products, services and industry trends, an innovative conference programme of highest relevance to European exhibitors and numerous screenings of the most exciting upcoming films. CineEurope will be held from 24-27th June 2013 at El Centro De Convenciones Internacional De Barcelona, Spain.
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Network with industry peers at fun-filled events
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There is no better place than CineEurope to see first-hand what's happening in the European movie industry
Some of the exciting highlights and topics to be discussed at CineEurope are as follows 1. Reaching the Missing Millions: Innovative Marketing to grow your audience The cinema business is increasingly reliant on a small number of films and a relatively small number of
highly active customers. Sets against low/no attendance growth over the past 5+ years, shrinking revenues from home entertainment and increasing competition from TV and other platforms, this session will examine whether now is the time to review current working practices and employ new marketing approaches to increase film consumption and cinema going. It will explore whether part of the answer might be working across all film platforms and using social media to drive incremental admissions. Moderator: Mark de Quervain, Managing Director, Action
Top Reasons to Attend •
Preview important and upcoming cinema releases for the European market
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See exclusive product presentations of films in development and production to make informed programming decisions
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Find the products, services, technologies and concession items at the trade show to make your theatre a mustattend destination
May-June 2013
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EVENT CALENDER Marketing Works Ltd. Presenters: Youry Bredewold, Director of Marketing & Communications, Pathé David Hancock, Head of Film and Cinema, IHS Screen Digest Borys Musielak, CEO, Filmaster. 2. Exhibitor Roundtable With the industry witnessing the greatest transformation in its history, the International Cinema Technology Association (ICTA) has pulled together an international panel of exhibitors from around the globe to address questions about all aspects of the motion picture theatre industry including Digital, 3D, new technologies such as High Frame Rates, Lasers, Alternative Content, The Cinema of the Future and Immersive Sound. Moderator: Pamela McClintock, Senior Film Reporter, The Hollywood Reporter Panelists: Eddy Duquenne, CEO, Kinepolis Group (Europe) Miguel Mier, COO, Cinepolis (South America)
opportunities in this fast-moving terrain. Moderator: Wendy Mitchell, Editor, Screen International Panelists: Thierry Fontaine, CEO, Pathé Live Drew Kaza, Executive Vice President, Digital Development, Odeon/UCI/Cinesa Cinemas Larry McCourt, Senior Vice President, Marketing and Sales, Cinedigm Tim Plyming, Head of Digital and Online, British Museum Marius Spisz, Sales and Marketing Director, Multikino Graham Spurling, Managing Director, Director, Movies@Cinemas
Presenter: Corinne Thibaut, International Director Cinema & Leisure, Coca-Cola
May-June 2013
CINEEUROPE BARCELONA, SPAIN www.cinemaexpo.com
26-28 JULY CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
31 JULY - 1 AUGUST CINEMA INDIA, MUMBAI, INDIA www.cinemaindiaexpo.com
15-19 SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
14-17 OCTOBER AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
Awards •
3. Event Cinema: New Frontiers in Alternative Content
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24-27 JUNE
4. The Retail (R)evolution, An Industry Wake-up Call
Ben Murray Bruce, Chairman, Silverbird Group (Africa)
Alternative content is now an established revenue stream for many cinema operators and recognised as a key benefit of digital conversion. As understanding of this area continues to grow, there is increasing interest in 'event cinema', moving beyond traditional content such as theatre, ballet and opera into new areas, broadening potential audiences and income. This session will talk to some of the key practitioners in this area, looking at the lessons learnt from experience so far, but also exploring the new business
2013
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CineEurope will present its 2013 International Distributor of the Year award to Dave Hollis, Executive Vice President, Theatrical Exhibition Sales & Distribution, The Walt Disney Studios. Turkey's Mars Entertainment Group Founder and CEO Muzaffer Yildirim to be Accorded The CineEurope "International Exhibitor Of The Year" Award at the 2013 Convention. Independent cinema owner and UNIC President Ad Weststrate to be accorded UNIC Achievement Award at CineEurope 2013.
21-24 OCTOBER SHOWEAST, FLORIDA, USA www.showeast.com
10-12 DECEMBER CINEASIA, HONG KONG www.cineasia.com
2014 MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com
24-27 MARCH CAESARS PALACE, LAS VEGAS, USA www.cinemacon.com
entertainworld Bhopal's Century 21 Mall
A World Class Cinema Experience
The city of Bhopal is all set to experience the best movie viewing experience with the launch of INOX Leisure Ltd., India's favorite movie destination in the city today. Located at Century 21 Mall, Hoshangabad road, INOX is now open to guests with 4 screens and 1226 seats. This is INOX's 3rd multiplex in Madhya Pradesh. INOX already has 2 multiplexes in the city of Indore. May-June 2013
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entertainworld
Mr. Alok Tandon, CEO - INOX Leisure Ltd. said, "It's our privilege to open our first multiplex in this beautiful city of Bhopal. Our aim is to revolutionize the movie watching experience in the city with modern comforts, clear uncompressed sound and bright, crystal clear image. We are also pleased that this new multiplex is now part of a historic move by INOX where all screens across the country are equipped with top-of-the-line 2K, DCI compliant digital projectors," he added. Luxury is the corner stone of all INOX multiplexes. Plush seats with ample leg space, lush carpeting in the auditoriums, a spacious lobby and state-of-the-art technolgy; all backed by world-class hospitality, makes it a never seen before movie experience. Once at the cinema, the customer experience is further enhanced at 'Refuel' the in-house brand of theatre food, which serves an extended menu of flavored popcorn, hot and cold snacks, beverages and a variety of combo meals. With the launch of this multiplex, INOX now has a total of 46 multiplexes and 182 screens in 30 cities across India.
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May-June 2013
entertainworld
May-June 2013
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F U T U R E
R E L E A S E S
A glimpse of movies coming soon‌ The Internship
This is the End Production 20th Century Fox
Production Columbia Pictures
Director Shawn Levy
Director Evan Goldberg
Starring Vince Vaughn, Owen Wilson
Starring Seth Rogen, Jay Baruchel
Genre Comedy
Genre Comedy
After Earth
Man of Steel Production Columbia Pictures
Production Warner Bros.
Director M. Night Shyamalan
Director Zack Snyder
Starring Will Smith, Jaden Smith
Starring Henry Cavill, Amy Adams
Genre Sci-Fi
Genre Action, Adventure
The Purge
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May-June 2013
Storm Surfers 3D Production Universal Pictures
Production XLrator Media
Director James DeMonaco
Director Christopher Nelius
Starring Ethan Hawke, Lena Headey
Starring Tom Carroll, Ross Clarke-Jones
Genre Thriller
Genre Documentary
F U T U R E
Monsters University
R E L E A S E S
White House Down
Production Disney Pixar
Production Columbia Pictures
Director Dan Scanlon
Director Roland Emmerich
Starring Billy Crystal, John Goodman
Starring Channing Tatum, Jamie Foxx
Genre Animation, Comedy
Genre Action, Thriller
A Hijacking
Despicable Me 2 Production Magnolia Pictures
Production Universal Pictures
Director Tobias Lindholm
Director Chris Renaud
Starring Pilou Asbæk, Søren Malling
Starring Steve Carell, Kristen Wiig
Genre Drama
Genre Adventure
World War Z
The Lone Ranger Production Paramount Pictures
Production Walt Disney
Director Marc Forster
Director Gore Verbinski
Starring Brad Pitt, Mireille Enos
Starring Johnny Depp, Armie Hammer
Genre Action, Drama
Genre Action, Adventure
The Heat
Hammer of the Gods Production 20th Century Fox
Production Magnet Releasing
Director Paul Feig
Director Farren Blackburn
Starring Sandra Bullock, Melissa McCarthy
Starring Charlie Bewley, Elliot Cowan
Genre Action, Comedy
Genre Action, Adventure
May-June 2013
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F U T U R E
Grown Ups 2
R.I.P.D. Production Columbia Pictures
Production Universal Pictures
Director Dennis Dugan
Director Robert Schwentke
Starring Adam Sandler, Kevin James
Starring Jeff Bridges, Ryan Reynolds
Genre Comedy
Genre Action, Adventure
RED 2
Pacific Rim Production Warner Bros.
Production Summit Entert.
Director Guillermo del Toro
Director Dean Parisot
Starring Charlie Hunnam, Idris Elba
Starring Bruce Willis, John Malkovich
Genre Action, Sci-Fi
Genre Action, Comedy
Turbo
The Wolverine Production 20th Century Fox
Production 20th Century Fox
Director David Soren
Director James Mangold
Starring Ryan Reynolds, Paul Giamatti
Starring Hugh Jackman, Will Yun Lee
Genre Animation, Family
Genre Action, Adventure
The Smurfs 2
The Conjuring
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May-June 2013
R E L E A S E S
Production Warner Bros.
Production Columbia Pictures
Director James Wan
Director Raja Gosnell
Starring Vera Farmiga, Patrick Wilson
Starring Neil Patrick Harris, Brendan Gleeson
Genre Supernatural Thriller
Genre Adventure, Comedy
F U T U R E
R E L E A S E S
Bhaag Milkha Bhaag
Raanjhanaa Production Eros International
Production Viacom 18 Motion
Director Aanand. L. Rai
Director Rakeysh Omprakash Mehra
Starring Dhanush, Sonam Kapoor
Starring Farhan Akhtar, Sonam Kapoor
Genre Romance
Genre Drama
Ramaiya Vastavaiya
Shortcut Romeo Production Susi Ganesh Prod.
Production Tips Music Films
Director Susi Ganesh
Director Prabhu Dheva
Starring Neil Nitin Mukesh, Ameesha Patel
Starring Girish Taurani, Shruti Haasan
Genre Romance, Thriller
Genre Romance, Musical
ADVERTISERS’ INDEX Company
Page #
Product
Website
AIMC
TW-21
Tradeshow
www.movieconvention.com.au
Amar AV
TM-15
Screens
www.amarscreens.com
Anutone
TM-8
Acoustics
www.anutone.com
Barco
TM-2
Projectors
www.barco.com
Christie
TW-7
Projectors
www.christiedigital.com
CineEurpoe
TW-2
Tradeshow
www.cinemaexpo.com
CinemaToday
TM-16
Tradeshow
www.cinematoday.in
DLP Cinema
TW-3
Digital Cinema
www.dlp.com
Doremi
TW-11
Digital Cinema
www.doremilabs.com
Galalite
TM-3
Screens
www.galalitescreens.com
Harkness
TW-25,33
Screens
www.harkness-screens.com
Harman
TW-55
Sound
www.harman.in
Kino Expo
TW-8
Tradeshow
www.kinoexpo.ru
MasterImage
TW-56
3D Cinema
www.masterimage3d.com
USL
TW-9
Sound
www.uslinc.com
Volfoni
TW-5
3D Cinema
www.volfoni.com
May-June 2013
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Subs Advt