MINDSHARETW EDITORIAL

April-June 2012TW-4

Sandeep MittalEditor / Publisher

TechnologyFinally to end on a positive note,the promise of technologicaladvancements in the near-term arevery exciting. See another leadarticle, ‘Technological innovationsin cinema exhibition’, on pageTW-50. Both picture and sound arein for dramatic transformation inthe next few years so that by 2015you can expect digital cinemasequipped to screen 4K 3D HFRstreamed via IMB with laserprojection and 3D sound.Audiences will be fully envelopedand engaged in the story and feelvery much in the centre of themovie. The excitement will be sameas when silent moving pictures firstcame to the drama theatres,followed by talkies, later colourimages, then stereo and surroundsound and now this. The magic ofthe movies continues.

Theatre World editionsWe missed the January-March2012 edition due to a variety ofbusiness reasons but we are backwith this April-June 2012 editionand will continue the rest of theyear with the next two editions,July-September 2012 and our14th Anniversary Special, theOctober-December 2012 edition,number 56! 14 years and counting,Theatre World lives!

ParadoxToday’s youth is time-challenged …ever busy juggling three kinds ofscreens – mobile, computer andtelevision. Attention spans are attheir lowest. So do they have time forthe fourth … cinema screen? Thegood news for exhibitors is…yes they do! It may be a surprisingnugget of information but is so true!If the movie is good it will run …that is the message. (Producers totake note and not blame exhibitorsand other factors!)

In fact it has been surmised that theother three screens – mobile,computer and television – actuallyfuel the need to go to the movies.The other three screens are small,interactive, stressful whereas amovie’s big screen allows you to sitback and relax. Also there are noannoying advertisements that breakthe viewing momentum and thusallow a two-hour undividedattention span!

In Asia, the movie-going culture hashistorically been pretty deep-rooted.It is now a social tradition. Hence,despite the many distractions of atech-savvy world, movie-viewingremain the prime means ofentertainment. The only lull comesin during major sporting events.

GrowthThe other good news is that newmalls and multiplexes aredeveloping at a healthy clipacross the major markets of Asia,especially China and India.Both countries are not onlyadding new screens that are alldigital but also digitising theirolder screens. The two factors -affordable equipment andVirtual Print Fee (VPF) model -is fuelling digital cinema in thesecountries. Digital screens providemore flexibility in programmingincluding alternate content.So sporting events and rockconcerts get beamed intoauditoriums and exhibitors do notlose out in such times. Occupancyrates are up as are overall box-office collections. Depending on theregion, 10~20 per cent growth iseasily anticipated.

ChallengesHowever, everything is nothunky dory. There are challengesto cinema exhibition from thegovernment, the producers andthemselves. See lead article,‘Global trends that threatencinema exhibition’, on pageTW-45. Shorter release windows,a lopsided calendar of releases tocoincide with holidays,digital and 3D cinema,ticket pricing, indifferentmaintenance … all remainchallenges for the exhibitioncommunity that need to beovercome … sooner the better!

Value - 150 (US$ 15)

Issue # 53April-June 2012

TWTheatreWorld

Theatre World is a quarterly publication, on themotion picture exhibition industry, for privatecirculation. It reaches out to subscribers, mainly theatreowners and trade professionals in India, also subscribersin select Asian cities. Additional copies are beingpromoted at major international industry events.Theatre World seeks the healthy promotion of thetheatre industry through dissemination of usefulinformation. Some of the information is compiled fromindustry sources, trade journals, company brochuresfor the benefit of readers, especially, theatre owners.Theatre World acknowledges with thanks the authorsand publishers of these printed materials. Viewsexpressed in the articles are those of the authors andnot necessarily of Theatre World. Theatre World is atrademark under registration. The contents of TheatreWorld are under copyright registration. All rightsreserved. Reproduction by any means in whole or partwithout written permission is prohibited. Unsolicitedprinted material is welcome but no responsibility isundertaken for the same and will not be returned.Theatre World does not take responsibility for theabsolute accuracy of information published.

Clancy D'souza - Marketing+91 98925 04871 clancy@sandy.in

Raghavendra T - Marketing+91 99801 36233 raghav@sandy.in

Jackeline - Sales

Sandeep Mittal - Editorial

Yashodhara S - Design & Layout

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contentsThis issue of TW has two sets of page numbers - International pages TW-1 to TW-68 for TW, andIndia pages TM-1 to TM-20 for TM. TM is inserted between pages TW-62 and TW-63 of TW.

TMTheatreMagic

TWTheatreWorld

TW-8

TW-43

SPECIAL FEATURETW-45 Global Trends that Threaten

Cinema Exhibition

INSTALLSTW-47 The Floating Theatre -

Coolest Place on Earth

CINEMA SYSTEMSTW-48 Projection Series-XXXV

Secondary Lighting Maintenance

TECHNOLOGYTW-50 Technological Innovations

for Cinema Exhibition

TRADESHOWSTW-52 Review -

TW-54 Review -

TW-56 Review -

TW-58 Preview -

TW-61 Preview -

ENTERTAIN WORLDTW-63 F U T U R E R E L E S E SA

April-June 2012TW-6

TM-4

TM-8

TM-11

INSTALLSTM-12 PVR Expands its Footprint

TM-16 Two Projectors - Single Server

First Commercial 4K 3Dat Jagadamba, Vishakapatnam

FIRST PERSONTM-17 Rockline Multiplex

A Blessing to Kannada Film Producers

Christie, a global leader in digital

cinema projection, announced that it

will soon deploy its CP series digital

cinema projectors in the Great Hall of

the People in Beijing, China.

According to Frank Xiao, general

manager, Christie China, the Great

Hall of the people has inked an

agreement with Christie to install two

Christie CP series digital cinema

projectors in one of its auditoriums.

Installation of the projectors is slated

to begin as early as 2012.

“The Great Hall of the People is one

of the most important and

prestigious government buildings in

China. Christie is extremely honored

to be associated with such an exalted

organization and even more

honored that our latest CP series

digital cinema projectors have been

selected for this momentous

deployment. We are immensely

pleased that the Great Hall of the

People has supported Christie all

these years,” said Lin Yu, vice

president, Christie Asia Pacific.

The Great Hall of the People, located

on the western side of Tiananmen

Square, in Beijing, is the political hub

of China and home to the National

People’s Congress and the Chinese

People’s Political Consultative

Conference, held annually in March.

It is also used for ceremonial events

and in recent years, this historic

venue has hosted several non-

political conventions and concerts.

The Great Hall ofthe PeopleChooses Christie

Christie, a global leader in visual

display solutions, announced

strategic partnership with SF

Marketing Inc. (SFM) that will see

SFM distribute Christie’s highly-

regarded projectors to entertainment

and rental staging customers across

Canada.

Current Christie entertainment and

rental staging customers can

continue to buy direct from Christie

or utilize the low-quantity purchase,

added value services of SFM. By

partnering with SFM, Christie extends

the benefits and reach of its product

line to the many smaller firms in

Canada who typically purchase

smaller volumes of projectors.

“Small companies in scores of

communities across Canada have

been reluctant to approach Christie

in the past, given our firm’s global

presence and industry dominance,”

said Dave Muscat, senior director of

sales, Christie Digital Systems Canada

Inc., “and so it was logical to call

upon an existing, tried-and-true

supplier in the form of SFM which

also may help finance purchases to

interact with these smaller firms and

reassure them that they will be

looked after in a professional and

caring manner,” he added.

“We are thrilled to be enabling

Christie to reach more customers in

this market,” said Randal Tucker, chief

operating officer, SFM. “SFM has built

a reputation over the last three

decades for providing some of the

best professional audiovisual products

in the business to the entertainment

market, and Christie’s reputation for

sitting at the bleeding-edge of visual

technology represents a perfect fit for

us and our customer base.”

SFM will resell Christie leading-edge

3 LCD, 1-chip and Christie M Series 3-

chip DLP projectors, which provide

the broadest range of brightness

levels and resolutions for customers.

Christie Partners with SFM

InfoComm India at New Delhi on

February 13, 2012 Christie, a leader in

visual solutions, showcased the

ultimate Pro-AV products and display

solutions this year’s InfoComm in New

Delhi on February13, 2012 with

stopovers in Mumbai and Bangalore

on February15 and February17

respectively.

“Christie’s objective at InfoComm India

2012 was to introduce select display

solutions that are more relevant to the

needs of the India market. For

example, Christie MicroTiles have

proven to be an extremely popular

display solution since we launched

them in Asia almost two years ago;

they are highly modular, easy to

deploy, and have very low operating

and maintenance costs. These are

considerations that most Indian

customers look for when they are in

the market scouting for digital signage

solutions or compact video walls,” said

Rajesh Patkar, deputy general

manager of Christie India.

Among the exhibits at the 15 square-

meter Christie booth was the projector delivering up to 6,300 ANSI

lumens and the Christie Roadster

HD10K-M 3-chip DLP projector that

offers 10,000 ANSI lumens. Also on

the booth were the multiple award-

winning Christie MicroTiles, Christie’s

state-of-the-art video wall and digital

signage solution. To demonstrate

Christie’s state-of-the-art projection

solutions, 3D content was shown at

the booth using the Christie Mirage

WU7K-M projector.

According to Lin Yu, vice president,

Christie Asia Pacific, “India has shown

Christie 3DProjection atInfoComm IndiaMany small firms who traditionally

bought audio and lighting gear are

now looking to extend their solutions

to include projectors, so the Christie –

SFM alliance will be welcome news to

them. Christie products are now

available from SFM.

April-June 2012TW-8

Christie announced its collaboration

with Shanghai Film Group to

showcase the latest entertainment

solutions at the new Shanghai Film

Museum, slated to open by the end

of 2012.

"Shanghai is the cradle of Chinese

film art," said Xiaojun Wang, vice

president, Shanghai Film Group.

"With the establishment of the

Shanghai Film Museum, we envision

bridging the past, present and future

of the Shanghai film industry

through the seamless integration of

technology and film arts. As the

museum chronicles our past, we also

hope to feature the most advanced

cinema technology available."

The technological showcase at the

Shanghai Film Museum includes:

Christie Solaria series of digital

cinema projectors, Christie's fully

integrated media block (IMB)

solution with 4K and HFR

capabilities, Christie SKA-3D, a

processor that connects digital

cinema projectors to the widest

possible range of 3D alternative-

content feeds and Christie Avias-TMS,

a Theatre Management System (TMS)

software application designed

specifically for cinema operators.

ChristieCollaborates withShanghai FilmGroup at theShanghai FilmMuseum

"As the Shanghai Film Museum

opens a new chapter in the history of

Chinese film industry, Christie will

work hand-in-hand with the

Shanghai Film Group to provide our

advanced digital cinema

technologies," said Lin Yu, vice

president, Christie Asia Pacific.

Shanghai Film Group Co. Ltd.

Comprises Shanghai Film Studio,

Shanghai Animation Film Studio,

Shanghai Dubbing Studio, Shanghai

Documentary Film Studio, Shanghai

Film Technology Plant, Shanghai

United Cinemas, East Film

Distribution Company, Shanghai East

Movie Channel, Shanghai Film Park,

Shanghai Art Designing Corp., and

Crowne Plaza Hotel Shanghai.

More2Screen has been appointed by

Leopard Films to distribute a

stunning new 3D film of Matthew

Bourne’s iconic Swan Lake to digital

cinemas worldwide from March 2012.

Perhaps best–known for replacing

the traditional female corps de ballet

with a menacing male ensemble, it

was filmed in 3D at Sadler’s Wells,

London in 2011 with a stellar cast

including the magnificent Richard

Winsor as the lead Swan/Stranger,

Dominic North as The Prince and

Nina Goldman as The Queen.

This is the first time Matthew

Bourne’s Swan Lake has been filmed

in 3D – in fact it is the world’s first 3D

Swan Lake – and the multi-camera

3D shoot has created an illusion of

space around the dancers, drawing

the spectator onto the stage and

bringing a dramatic realism to the

story. Dance critic Ismene Brown

noted: “It brings immediacy in

experiencing dance in theatre that

will reach countless numbers who

can never see it on stage.”

When it premiered at Sadler’s Wells

in 1995, Matthew Bourne’s

More2Screen toRelease SwanLake 3D

triumphant re–interpretation of one

of ballet’s classic stories turned

tradition upside down, taking the

dance world by storm. With more

than 30 international theatre awards

including three Tonys and an Olivier,

Swan Lake has been acclaimed as a

landmark achievement on the stage,

becoming the longest running ballet

in the West End and on Broadway.

Christine Costello, Managing

Director, More2Screen comments:

“Following on from our success with

the worldwide distribution of the

Mariinsky Theatre’s Giselle 3D in 2011,

we are delighted to be working with

Leopard Films to take Matthew

Bourne’s Swan Lake 3D to digital

cinemas across the globe. Audiences

everywhere will relish the

opportunity to see this modern

classic in 3D, shown in its full glory

on the big screen for the first time.”

Fiona Morris, Head of Arts & amp;

Performance at Leopard Films says of

the association with More2Screen:

“With their impressive track record in

the alternative content market and

previous experience of a global 3D

ballet theatrical release, More2Screen

is the ideal distribution partner for us

to ensure dance fans will be able to

watch Matthew Bourne’s Swan Lake

3D in state-of-the-art digital cinemas

worldwide.”

More2Screen is the leading London

based alternative content distributor

with more than 5 years of experience

acquiring and distributing world-

class opera, ballet, music concerts,

theatre and special event films to

cinemas across the globe including

22 live broadcasts, over 100 different

recorded productions and 3D live/

recorded content.

very encouraging growth trends for

Christie, especially in the last three

years. India is one of our most

important markets in Asia and we

expect this market to register strong

demand for Christie’s range of Pro-AV

and display solutions in the coming

years.”

April-June 2012TW-10

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Are the dialogues muddled instead of crisp? Doesthe surround sound seem to come from the frontinstead of rear? Wait! Don’t blame your equipment!

Epic Theatres Selects Barco for 69 ScreensBarco, world record holder for the

brightest DC projector, has been

selected by Epic Theatres of DeLand,

Fla. to convert 69 screens to digital

projection with its industry-leading

DLP Cinema projectors. Included in

this deployment is the installation of

two DP4K-32Bmodels for two “Epic

XL” large-format premium cinema

screens in its new Deltona, Florida

location.

The latest deployment follows on

the heels of successful installations

of Barco’s DP2K and DP4K digital

cinema projectors in Florida and

North Carolina. The company’s

brand new theatre, which opened

December 20, 2011 in Deltona,

Florida, now boasts the area’s only

cinema with two 69-ft, large-format

“Epic XL” auditoriums featuring

RealD XLW 3D. Barco installed 12

screens at this location, including six

3D auditoriums, bringing the total

to 69 Barco projectors deployed

throughout the circuit.

“It was an easy decision to continue

using Barco, as their team has always

been responsive to our needs and

has been an excellent partner to us

throughout our digital

deployment,” commented Clint

DeMarsh, VP for Epic Theatres.

“Additionally, Barco is the only

supplier that could provide the light

levels and image quality we needed

on our Epic XL screens and the

resulting cinema experience is truly

world class.”

“Epic continues to elevate the

cinema experience for their patrons

with the latest innovations and

careful attention to detail,”

commented Terri Westhafer, Director

of Business Development for Barco

Digital Cinema North America. “It’s

exciting to experience full digital

projection conversion with this

important and long-standing

customer. They have been on board

with Barco since the beginning of

changing from film to digital, and

Digital cinema pioneer and holder of

the world record for the brightest DCprojector, Barco announced that it

has completed Cinemark’s digital

cinema projector deployment,

shipping and installing the final

projector in Cinemark’s national

digital cinema roll-outcomprising

over 3,400 screens.

Cinemark, a long-term exhibitor

partner to Barco, completed its

digital cinema conversion in

December to become the largest

theatre chain in North America with

100 percent digital projection in its

domestic, first-run theatres in only 18

months. The company holds the

distinction of being the first to

deploy Barco’s Series 2 projectors, the

first to purchaseBarco’s DP2K-B series,

and the first to install its DLP Cinema

Enhanced 4K projector.

In addition to supplying projectors to

Cinemark, Barco also performed all

of the installation services for the full

circuit deployment, delivering and

converting every single screen on

time and in full. “We requested a

very aggressive deployment schedule

right from the start, and Barco hit

each and every deadline,”

commented Damian Wardle, VP of

Worldwide Theatre Technology &Presentation at Cinemark. “They’ve

installed thousands of projectors in

rapid succession, even as they were

literally being introduced.”

“Barco has been terrific partner every

step of the way,” commented Alan

Stock, Chief Executive Officer of

Cinemark. “We’ve enjoyed great

success with our digital cinema

conversion, which attests to the

excellent product quality, reliability

and ease of use of Barco’s projectors.”

The final projector was installed in

Greensboro, North Carolina, marking

the conclusion of a deployment

which began in May 2010. “We are

thrilled to join with Cinemark in

celebrating their outstanding

accomplishment of becoming 100

percent digital,” commented Patrick

Lee, VP Digital Cinema for Barco

North America. “As they continue

their worldwide expansion and

conversion to digital cinema, we will

continue to provide Barco’s hallmark

customer service, technical support

and certification training to assure

their enjoyment of the best and

brightest projectors in the world.”

we appreciate their loyalty and

vision as they have equipped

their state-of-the-art Deltona

theatre with 4K equipment. It has

always been my pleasure to work

with the DeMarsh family and we

look forward to continuing our

partnership in the coming

years.”

Barco Celebrates Cinemark’s100 percent Digital Cinema ProjectorDeployment

April-June 2012TW-12

Barco, announced that Golden

Village Multiplex Pte Ltd.,

Singapore’s leading cinema exhibitor,

will equip its new multiplex, Golden

Village Katong, with Barco’s projector

technology. Golden Village Katong is

fully digital cinemas multiplex

comprising eight auditoriums. The

installation includes Barco’s ultra-

bright DP2K-12C, DP2K-20C and

DP2K-23B projector models.

“Having researched on the various

digital cinema projectors in the

market, we have selected Barco

projectors as they offer the best value

in terms of cost of ownership and

performance. As a result, we can

offer our valuable patrons an

ultimate quality movie experience in

any GV Cinema in Singapore,” says

Lee Kin Guan, Technical

Services Manager at Golden Village

Multiplex Pte Ltd. “I have seen and

interacted with the Barco South East

Asia team and they are always willing

to assist in the deployment as well as

imparting valuable technical

knowledge to my team. Their true

spirit of sharing technical knowledge

and field experience during the

training not only gears up the GV

technicians but also increases their

confidence to take on any technical

intervention.”

Kurt Rieder, CEO of the Golden

Village Katong, adds: “We are very

excited about partnering with Barco

at GV Katong, our first all-digital

Barco Digital Cinema ProjectorsSelected for Brand New Cineplex inSingapore

cinema. We will rely on Barco to

assist us in this milestone and bring

world-class know-how and

technology to our team.”

Golden Village’s choice for Barco

technology affirms Barco’s trusted

line of digital cinema products.

“With our strong local presence in

Southeast Asia, we are committed to

offering the highest level of service

and support to all our customers.

Local certification training, in-

country parts depot support and

managed services are in place and

running – so we’re ready today to

deliver the highest level of support

that Golden Village requires,”

comments Eddie Tan, General

Manager, SEA, Entertainment &

Simulation at Barco.

Golden Village Katong is the 10th

cineplex to be opened by

Singapore’s leading cinema exhibitor.

It will be the world’s first Peranakan-

inspired boutique cinema. The new

Golden Village Katong cineplex

consists of eight auditoriums,

including two premium Gold ClassTM

auditoriums

Barco’s DP2K/4K family is known for

being the most complete range of

DCI-compliant digital cinema

projectors in the industry, including 8

different models – all of which are

praised for their excellent image

quality and ease of maintenance.

Barco, a leader in projection

technology for the rental and

staging industry, is proud to add a

new unit to its HDX range of three-

chip DLP projectors. The HDX-W18 is

the latest addition to the successful

HDX family, sharing the on-board

image processing, compact design,

easy servicing, and preview mode

features with its W12 and W14

cousins, but clocking in at 17,500

lumens. Barco unveiled the HDX-W18

at ISE from 31 January to 2 February

2012.

“After our very successful

introduction of the HDX-W14 last

year, we are excited to expand our

HDX range with a 17,500 lumens

unit. This new model supports the

customer requirements of getting

more brightness out of compact

projector systems,” says Chris

Colpaert, Director of Strategic

Marketing ProAV at Barco. “The HDX

is equipped with Xenon lamps and

contains a high contrast optical

engine. This results in stunning color

reproductions, presenting audiences

with crisp and vivid images on every

occasion.”

“The on-board image processing

technology is based on Barco’s

renowned ImagePRO signal

processor, which offers high quality

and flexible scaling capabilities and

has been a reference in the events

market for many years,” Mr. Colpaert

continues. “This additional feature

set boosts creativity and decreases

the time it takes to get sources on

screen the way users want.”

Barco’s HDX projectors consist of only

five building blocks, which make

them exceedingly easy to maintain.

They come with a WUXGA

(1920x1200) resolution, which even

exceeds industry-standard full HD.

Barco Adds NewMember to itsHDX Family

April-June 2012 TW-13

Barco, Guinness World Record holder

for the brightest digital cinema

projector, announced that it is

partnering with THX and Datasat

Digital Entertainment to bring Auro-

3D sound technology to commercial

theatres. Datasat is Barco’s partner for

the manufacturing of the audio

processor and THX collaborates with

Barco on enhancements to optimize

performance of the Auro-3D system

for commercial cinemas. Together,

they apply vast experience and

proficiency in digital cinema sound

to the Auro-3D roll-out.

“By partnering with THX and Datasat,

we bring unique cinema audio

expertise to the table that

complements our suite of

revolutionary solutions from Auro

Technologies allowing 3D sound to

be experienced for the first time in

cinemas worldwide,” says Brian

Claypool, Senior Director Strategic

Business Development at Barco. “The

result is the most sophisticated and

natural audio experience available.”

Auro-3D, powered by Barco and

Auro Technologies, elevates the

cinema sound experience to an

amazing level of auditory acuity,

enabling movie-goers to hear sounds

Barco Teams Up with Datasat and THX

from their relative origination point

in the theatre, and it does so in a

simple and cost-effective way. To

achieve this truly enveloping

experience, the system incorporates

additional speakers deployed in the

upper portions of the auditorium

that add an extra dimension to the

sound experience. The solution is 100

percent backwards and forwards

compatible with existing sound

systems, requiring minimal hardware

investment and installation time.

“We are proud to be selected by

Barco as OEM partner and supplier

for the new Auro-3D audio

processing package,” comments

Robert McKinley, COO of Datasat

Digital Entertainment. “We have an

extensive history in audio processing

for feature films. The revolutionary

3D sound technology is a new

chapter for us, and we’re very happy

to be part of this development.”

By qualifying Auro-3D technology

from a design and technology

perspective, THX recognizes Barco as

developing a premium quality audio

offering to already being a superior

brand in digital cinema projection.

“For nearly 30 years, THX has been

passionate about improving the

cinematic experience with its

innovative THX Cinema certification

program, which has been

instrumental in providing audiences

Barco, the global digital cinema

technology leader, supplied four

additional projectors for this year’s

Sundance Film Festival.

“We are thrilled to showcase our

Official Festival films with such high-

quality presentation,” commented

Sarah Pearce, Director of Operations

for the Festival. “We have used the

Barco projectors in our largest venues

to screen films including our Day

One Screening.”

The Festival acquired four DP2K-23B

models, ultra-bright DLP Cinema

projectors offering a premium movie

experience in both 2D and 3D.

Excellent image quality combines with

true modularity and easy serviceability

to provide the lowest total cost of

ownership in the industry. In addition

to meaningful ongoing operational

savings, Barco’s true modularity also

allows its customers to take full

advantage of new advances in

projection technology, future-

proofing their investment.

Sundance FilmFestival ExpandsDigital CinemaFootprint withBarco Projectors

worldwide optimized picture and

sound in designated THX Certified

Cinemas,” says Rick Dean, Senior Vice

President, THX Ltd. “This is a

groundbreaking, yet logical next

step for THX and we are excited to be

a part of this next-generation theatre

audio technology.”

Auro-3D is quickly gaining traction

with leading exhibitors on three

continents. The system has already

been installed at Jam Hall Cinemas

(St. Petersburg, Russia); Regal

Cinemas (Los Angeles, US); and

Wangfujing Cinema (Changsha,

China) with additional installations in

progress around the globe.

April-June 2012TW-14

“We are proud to once again

support the Sundance Film Festival as

they discover and share new cinema

talent with the industry,”

commented Joe DeMeo, Director of

Sales, Digital Cinema for Barco North

America. “We look forward to

working with them for years to come

as they continue their digital cinema

expansion.”

Christie has successfully completed its

first dual-stacked 4K digital cinema

projection solution in a theatre in

Shanghai.

Attended by some 70 cinema owners

and exhibitors in China, this was the

first demonstration of true DLP 4K

resolution in 3D with incomparable

brightness level of 68,000 ANSI

lumens, using two Christie

CP4230 digital cinema projectors on a

giant screen in China. With

unmatched brightness, highly-

defined color contrast and superior

3D images, attendees were among

the first to get a sneak preview of

what the next generation, large-

screen movie experience promises to

deliver.

The two sets of Christie CP4230

digital cinema projectors were

housed on top of each other in a rig

and projected onto 19 meters by 10

meters screen. Attendees were shown

2K and 3K content as well as 4K clips

to experience the visual difference of

high brightness and clarity for large

screens.

Terry Schmidt of Christie gave a

presentation on how the dual-

First Dual-Stacked4K Demo in China

Christie announced that it is working

with ESPN to project the ESPN 3D

telecast of the BCS National

Championship game during a

viewing party at the Consumer

Electronics Show (CES) in the Las

Vegas Hilton Theatre. Featuring an

elite audience of media and industry

leaders from around the world, the

event represents the future of live-

screen sports television. It takes the

audience beyond the flat screen into

the third dimension of space, with

two powerful Christie Solaria Series

CP2230 3D projectors with RealD XL

Cinema Systems lighting up the

screen.

ESPN 3D is the first network in the

United States to offer exciting and

groundbreaking 3D sports coverage

24/7. Fans have caught all the action

Christie 3DCinemaProjectorsDisplay withESPN

when the Louisiana State University

(LSU) Tigers take on the Alabama

Crimson Tide for the national

championship. The network is

hosting the event at CES in

conjunction with Christie, as well

as RealD and Marchon 3D’s EX3D

Eyewear.

“Watching sports in 3D adds an

exciting new dimension to ‘the thrill

of victory’ that a 2D image cannot

provide,” noted Craig Sholder, vice

president, Entertainment Solutions,

Christie. “Christie 3D digital cinema

projectors are found in theatres

around the world, entertaining a

new generation of moviegoers with

exciting 3D feature movies, as well as

alternative content that includes

musical performances, theatre and

other entertainment and cultural

events. Digital 3D is especially ideal

for coverage of the world of sports,

where fans want action that is

literally ‘in your face’.”

The BCS National Championship is

the final bowl game of the U.S.

college football season that

determines the national champion of

the NCAA Division I Football Bowl

division. It pits the two highest

ranking college teams as determined

by various national and industry

polls. This year the LSU Tigers battle

the Alabama Crimson Tide in their

first meeting since LSU defeated

Alabama during regular season play.

“The Christie CP2230 was the ideal

choice for the venue. It is arguably

the brightest digital cinema projector

available, offering crisp, clean images

from the farthest distance to meet

the needs of the most demanding 3D

installations,” added Sholder.

stacked 4K digital cinema solution

works on large cinema screens and

how they achieve high brightness for

superior 3D applications. Schmidt

also conducted a technology preview

of Christie’s auto-aligning software

that helps to adjust images to gain

perfect pixel precision.

“With the rapid and significant

increase in the screening of 3D

movies, theatre owners and

exhibitors are increasingly

demanding dual-stack projector

solutions that allows for very clear

and bright 3D displays. We

organized this demonstration to

send the message that Christie is

committed to push conversion to

digital 4K as a digital projection

option for facilitating 3D movies to

continue to gather momentum in

the cinema industry around the

world,” said Frank Xiao, General

Manager, Christie China.

April-June 2012 TW-15

Harkness Screens announced the

launch of Foldable Perlux Digital

220 screens manufactured from its

U.S. plant in Virginia. Foldable

Perlux Digital retains all the

features of the Perlux Digital line,

with the added capability of being

folded rather than rolled.

“With the costs of packaging and

transportation continuing to rise,

we recognized a need to assist our

customers in managing budgets

and launched our Foldable Perlux

Digital 140 and 180 screens last

year to provide cinema operators

and indeed installers with a more

cost-effective digital projection

screen solution,” said Andrew

Robinson, managing director of

Harkness Screens. “Adding Perlux

Digital 220 to our foldable range

means that we have our highest-

gain white screen available in a

format that will help dramatically

lower packing and transportation

costs compared to traditional

screen distribution. Aligned to the

cost savings, these screens, which

ship inside a box, are much more

easily maneuverable into the

auditorium, making the

installation process potentially less

awkward and expensive.”

Harkness says its Foldable Perlux

Digital screens typically realize

packaging cost savings of 66% and

transportation savings of 20%

against standard delivery methods.

When installed using Harkness’

prescribed installation techniques,

Foldable Perlux screens are

guaranteed to provide a crease-

free, seamless projection surface.

They are currently the only

foldable gain screens available in

the world.

HarknessLaunchesFoldable Digital220 Screens

USL, Inc. announced its latest

innovation LSS-100 Projection and

Audio Analyzer at CineEurope

2012. The LSS-100 allows theatre

owners to continuously monitor

on-screen technical performance to

ensure the highest presentation

quality.

This small compact unit can be

easily installed and is designed to

continuously measure screen

luminance, color accuracy and

sound levels to maintain the best

possible experience for the

audience. The wall-mounted

LSS-100 features a microphone that

measures the sound pressure level

(SPL) from loudspeakers as it

simultaneously monitors the quality

of light reflected from the theatre

screen. In addition, the LSS-100 is a

fully networked unit, making it

possible for theatre owners to

monitor auditoriums continuously

from a Network Operation Center

(NOC) located anywhere in the

world.

“We decided to build on the success

of our PSA light and PCA color

meters to create an automated way

to ensure excellent picture quality,”

explained Jack Cashin, USL, Inc.’s

founder, president and chief

technical designer. “Taking it one

step beyond our competitors, we

added the ability to measure SPL at

the same time.” Cashin further

stated, “The LSS-100 is fully

networked, providing instantaneous

monitoring of luminance,

chromaticity, and SPL data.”

“We are excited to demonstrate our

latest innovation that allows

exhibitors to understand how each

auditorium is performing on a

global level with projection and

sound,” Cashin added.

USL Announcesthe LSS-100Projection andAudio Analyzer

DCinema Alliance, Corp., has signed

a purchase agreement for 400

Christie Digital Cinema Solaria Series

projectors to be deployed

throughout the Philippines started in

January 2012. The contract was for

the Christie CP2220 and Christie

CP2230 projectors with installations

beginning in Metro Manila before

fanning out nationwide. The project

is scheduled for completion within

two years.

“Digital cinema is revolutionizing the

cinema-going experience everywhere

and converting cinemas from analog

35-millimeter film to digital theatres

has been going on globally for many

years. We hope this deployment,

which will see a minimum of 400

screens digitalised, will support the

goals of our exhibitors to provide a

more engaging cinematic experience

for their patrons,” commented Rey

Del Poso, president, DCinema

Alliance, Corp, a wholly-owned

subsidiary of Array’s Technology, Inc.

“Christie has had a very good

working relationship with Array for

the last fifteen years and we are

pleased to be working with them on

this crucial exercise. I believe

exhibitors who have made the move

to convert to digital cinema are

already witnessing the positive

impact it has in their theatres,”

observed Lin Yu, vice president,

Christie Asia Pacific.

DCinema AlliancePurchases 400Christie SolariaSeries Projectors

April-June 2012TW-16

Christie has announced that Dadi

Cinema Group, in its plans to expand

the first of its modern multiplex

cinemas, has purchased 150 Christie

digital cinema projectors.

The order includes the award-

winning Christie CP2210, Christie

CP2220 and Christie CP2230 Digital

Cinema projectors from the Christie

Solaria series. Dadi Cinema Group, one

of China’s first cinema chains, is

investing aggressively in digital cinema

conversion and building modern

multiplex cinemas to take advantage of

the increasingly affluent and

demanding Chinese cinema enthusiasts.

Dadi Cinema Group operates over 80

cinemas and has contracts with 100

cinema owners. By 2014, Dadi

Cinema Group expects to have 250

cinemas with 1,000 screens.

“Christie’s digital cinema solutions

continue to be in high demand as

Chinese exhibitors move assertively

to both convert existing theatres to

digital and to expand cinema

penetration across the country,

especially in fast-developing cities

that have become more well-to-do in

recent years. We are pleased to forge

a new business relationship with Dadi

Cinema, a respected cinema chain

that contributed largely to China D-

cinema development,” said Lin Yu,

vice president, Christie Asia Pacific.

Dadi Cinema Selects Christie DigitalCinema Projectors for Expansion

The Christie CP2210 is the most

compact digital cinema projector

available and the projector of choice

for the majority of screens in

commercial exhibition, while, in its

category, the Christie CP2220 is the

brightest, highest performance

projector with the lowest ownership

cost. The Christie CP2220, built on

proven and reliable 1.2" 2K DMD DLP

Cinema technology, features greater

than 2100:1 contrast ratio while

displaying up to 35.2 trillion colors.

Christie’s CP Series sets a new level of

performance for digital cinema

technology. Designed for exhibitors,

the Christie CP Series delivers high

performance images for a variety of

screen sizes, and come with a flexible

design to accommodate future

upgrades.

New Orleans-based Southern

Theatres, operator of the AmStar

Cinemas and The Grand Theatres, has

agreed to complete the digitization

of all of its screens with Christie

Southern Theatresto CompleteCircuit-wideDigital Conversion

Solaria Series DLP Cinema projectors.

The agreement, which will provide

patrons with the highest quality

movie-viewing experience available,

covers the purchase of 147 Christie

DLP Cinema systems. This includes

the Christie CP2210 and Christie

CP2220, as well as the Christie

CP4230, which features the Christie

4K+4 advantage for the sharpest 4K-

resolution images in the industry.

“We decided to complete our

conversion to 100 percent digital

cinema with Christie because we are

very comfortable with the company

and their quality technology,” said

George Solomon, CEO of Southern

Theatres. “They offer a first-rate

product, backed by a top-notch

support team.”

Among notable conversions is the

historic Dallas AmStar 14, the nation’s

first megaplex, which opened in 1995

and features 14 auditoriums with

screens lit exclusively by Christie.

AmStar’s auditoriums also boast all-

digital sound, 3D capabilities, wall-

to-wall screens, stadium seating and

high-back rocking chairs, in addition

to a birthday party and game room.

The megaplex will now include four

new Christie CP 4230 4K-resolution

projectors, which provide the highest

resolution available in the industry.

“Through the years, Christie has

demonstrated the highest

capabilities, service levels and

reporting,” Solomon added. “We

look forward to working with them

for many years to come.”

“Southern Theatres is one of the top

20 independent exhibitors in the

country, and they continue to

expand successfully because they

have earned a reputation for

providing a superior movie-viewing

experience to their loyal patrons,”

said Craig Sholder, vice president,

Christie Entertainment Solutions.

“Christie values the trust they have

placed in us to provide them with

the best products, services and

technical support in the industry.”

April-June 2012 TW-17

Cineworld Chainto go 4D

UK chain Cineworld will be adding a

fourth dimension to selected cinemas

with motion seating starting with

John Carter. The first site offering this

shaky experience will be Cineworld

Cinedigm Digital Cinema Corp.

(CIDM), the global leader in digital

cinema, announced a long-term VPF

deployment agreement with Zyacorp

Entertainment’s Cinemagic Stadium

Theatres. The agreement will enable

the conversion of Cinemagic’s

theatres to digital cinema under the

terms of Cinedigm’s long-term

agreements with all the major

studios. This Cinedigm-financed

conversion will deploy 79 Cinedigm-

Certified screens across seven sites.

Zyacorp is a member of the Cinema

Buying Group, a buying program

formed by the independent theatre

operators of the National Association

of Theatre Owners (NATO) to find

cost-effective solutions for

converting theatres from film to

digital projection. Cinedigm is the

digital cinema integrator partner for

the CBG.

The transition from 35mm film

projection, which has been used for

110 years, to digital projection

systems is a worldwide motion

picture industry effort and the costs

to deploy this new technology are

covered primarily through the

payment of Virtual Print Fees (VPF)

from studios to implementation

companies. Cinedigm’s Digital

Cinema division facilitates the

funding, installation and operations

support, along with ongoing VPF

administration, for the company’s

digital cinema rollout plans.

Cinedigm has signed long-term VPF

agreements with all the major studios

and interim agreements with over a

hundred of independent distributors.

“We strive to provide our customers

a state-of-the-art family

entertainment venue, and our

commitment to digital cinema

further demonstrates this promise,”

said Mark Adam, president, Zyacorp.

“We are confident in the

outstanding service that Cinedigm

Cinedigm Announces DigitalDeployment for Zyacorp

provides, and we look forward to a

mutually beneficial relationship.”

“Cinemagic has been very diligent in

evaluating their digital cinema

options, and we are thrilled we were

able to create a solution that works

for them,” said Gary Loffredo,

Cinedigm’s President of Digital

Cinema Services. “We look forward

to sharing the benefits of digital

cinema with Mark and his team.”

Cinedigm offers a new business

model to exhibitors by enabling

theatres to present engaging

alternative programming including

live 2D and 3D sporting events and

concerts, shorts, cartoons, live Q&A’s,

as well as branded entertainment.

Recent releases by Cinedigm include

the first ever live 3D broadcast of a

UFC bout on February 4, 2012, the

ground-breaking, worldwide Live 3D

broadcast of the FIFA World Cup

Championship, the BCS

Championship in Live 3D, the Dave

Matthews Band 3D concerts, and the

sold out 3D Phish concerts. Cinedigm

has also released the Kidtoons series

for the past six years, a weekly family

friendly matinee series that runs in

over 150 theatres across the country.

IMAX and Cinema 21, Indonesia’s

largest exhibitor, announced an

agreement to install two digital IMAX

theatres in Jakarta. Under the terms

of the agreement, the first system

was installed at Gandaria City, South

Jakarta in May 2012, with the second

IMAX system to be installed in Jakarta

by 2013.

“The addition of IMAX theatres to

our circuit reinforces our

commitment to delivering the best

cinematic experience possible to our

patrons,” said Mr. Suryo Suherman,

Cinema 21 toOpen Two IMAXTheatres

Glasgow Renfrew Street after signing

a deal with D-Box Technologies who

offer motion seating with D-BOX

Motion Code. Movies embedded

with the D-BOX Motion code

programming send frame by frame

encoded instructions to the seats to

move in a synchronised motion to

the action on screen.

To date, D-BOX Motion Code is

available on more than 900 titles and

many prominent Hollywood studios

have started embedding D-BOX

Motion Code on Blue-ray format and

theatrical releases.

35 D-BOX MFX seats will be installed

in the Glasgow site which is billed as

the tallest cinema in the world.

Guests will experience forwards,

backwards, side to side and up and

down movements whilst chomping

on their popcorn. The seats will also

include “intelligent vibrations which

all comes together to create the most

amazing, all-encompassing

entertainment experience ever.”

Cineworld will roll out D-Box seats to

other locations including Cineworld

Milton Keynes, Crawley, The O2

Greenwich, Castleford West

Yorkshire, and Didsbury in

Manchester.

April-June 2012TW-18

President of Cinema 21. “The IMAX

brand is widely recognized among

Indonesian movie-goers and we are

confident that today’s agreement

will be a tremendous success both

for our business and the satisfaction

of our guests.”

“The agreement marks an important

step in our international network

expansion and we are pleased to

partner with one of South East Asia’s

largest exhibitors to penetrate a

region that is poised for tremendous

growth,” said Richard L. Gelfond,

CEO, IMAX. “Recent reports indicate

Indonesia has a population of

approximately 240 million and it

continues to grow. With 36 percent

of that population being between

the ages of 15 and 40, we believe

there is a strong demand for

Hollywood’s largest blockbusters to

be presented in our immersive

format.”

Commenting on the agreement, Don

Savant, IMAX’s Senior Vice President

and Managing Director, Asia Pacific

said, “Cinema 21 has set the standard

for quality in the South East Asian

exhibition industry and we are proud

to partner with them to bring the

first commercial IMAX theatres to

Indonesia to head their flagship

locations.”

IMAX’s digital projection system

delivers The IMAX Experience and

helps drive profitability for studios,

exhibitors and IMAX theatres by

eliminating the need for film prints,

increasing program flexibility and

ultimately increasing the number of

movies shown on IMAX screens.

Cinemark Holdings, Inc. CNK +0.59%,

one of the world’s largest motion

picture exhibitors, has announced

plans to construct a 16-screen, all-

digital movie theatre that will feature

the company’s new Cinemark

NextGen design concept. The new

complex will be included in Phase 1

of the redevelopment and expansion

plans for the existing Pharr Town

Center located at North Jackson & US

83 Expressway in Pharr, Texas.

Long recognized as a pioneer in the

theatrical exhibition industry,

Cinemark is taking the cinema

entertainment experience to the

next level with the opening of its

10th theatre in the Rio Grande

Valley. Slated to open in 2013, the

new Cinemark NextGen theatre will

offer the latest technology, cutting

edge amenities and customer-

preferred options all under one

roof. All of the stadium-seated

auditoriums will offer a state-of-the-

art viewing environment with wall-

to-wall screens, 100% digital

projection and enhanced sound

systems equipped with higher

quality speakers and 7.1 capable

digital surround sound.

Additionally, this theatre complex

will contain a Cinemark XD Extreme

Digital Cinema auditorium. The

lobby will be designed around one

of Cinemark’s innovative self-serve

concession stands allowing

customers to quickly pick up freshly-

popped popcorn, Coca-Cola

fountain beverages and their

favorite candy brands.

The Cinemark XD Extreme Digital

Cinema auditorium will be the

largest in the theatre complex and

one of the largest in the valley. This

unique auditorium offers a complete

entertainment environment

featuring a wall-to-wall and ceiling-

to-floor screen, plush seating and a

custom JBL sound system with higher

Cinemark Announces New 16-ScreenNextGen Movie Theatre in Pharr

end components and 7.1 capable

digital surround sound. The digital

images will be delivered by a Doremi

server and a Barco DLP digital

projector, which offers the brightest

light standards in the industry. The

XD auditorium will exhibit the

newest movies every week, including

2D and RealD 3D pictures.

“Cinemark has been a member of

the Pharr community for over 22

years,” states Tim Warner, Cinemark’s

Chief Executive Officer. “We are

thrilled to construct a new Cinemark

NextGen movie theatre for our

customers. Its central location will

continue to make it easily accessible

to the entire market. We plan to

move very quickly to achieve an

opening in 2013.”

When completed, Pharr Town Center

will include more than 400,000

square feet of retail, restaurants,

office, residential and a first class

hotel. Along with Cinemark, Pharr

Town Center will have a 52,000

square-foot national entertainment

venue, a new state-of-the art free

standing Luby’s, and several exciting

restaurants. In addition, Levcor Inc. is

in the final stage of negotiations

with several anchor tenants new to

the valley.

Levcor Inc., the developer of Pharr

Town Center, has been in business

since 1980 and has been involved in

the development of more than

18,000,000 square feet of retail

shopping centers in Texas, Arizona,

Tennessee and Florida. Levcor Inc. is

excited about being a part of the

City of Pharr and looks forward to a

great prosperous relationship with

the business community for many

years in the future. Larry Levine,

President of Levcor Inc. has had a

relationship with Cinemark for over

25 years. Prior to committing to Pharr

Town Center, Cinemark did a

thorough study of the whole market

April-June 2012 TW-19

Deluxe Entertainment Services Group

is expanding its UK Digital Cinema

operation with a new purpose built

facility in Soho.

It is hoped that the £4m investment

will increase capacity by up to 80%

to meet the demand of its theatrical

distribution client base. The new

facility on Meard Street in Soho

should be completed within six

months and includes the creation of

six new preview theatres

accommodating film and digital

formats. The facility will include CXFS

SAN infrastructure and dedicated

storage for Babel, used for 3D

subtitling.

Over the past five years, Deluxe has

invested over £15m into their Digital

Cinema offering globally. This latest

investment is part of the company’s

plans to expand in Europe.

“We have been at the forefront of

digital cinema for several years,” says

Peter Wright Managing Director of

Deluxe’s digital operations in Europe.

“Our Digital Cinema volume has

increased ten-fold since we began

offering the services in Europe, and

this additional investment will see a

substantial increase in capacity once

again. This enhanced capacity also

allows us to continue to deliver

within the ever decreasing timeframe

between delivery and release.”

Deluxe ExpandsUK Digital CinemaOperation

and determined that Pharr Town

Center was the premier location to

open their premier movie house.

Larry Levine stated, “We are

extremely excited to be building one

of the finest movie theatres in the

Valley for Cinemark. With digital

projection, 3D capable auditoriums

and an XD auditorium, this Cinemark

NextGen theatre will be a great

entertainment destination.”

Cinesystem, Brazil’s fifth-largest

movie chain has announced the

grand opening of the first 100

percent Dolby Digital Cinema

Multiplex in the state of Rio de

Janeiro. The grand opening was at

the Via Brasil Shopping, in the Irajá

neighborhood.

“Cinesystem is the only movie chain

in Brazil now with two fully digital

DCI compliant complexes and we are

excited to be a leading this industry

trend for South America, says Marcos

Barros, CEO, Cinesystem.”Dolby

Digital Cinema brings Cinesystem

more flexibility when it comes to

programming and scheduling and

the Dolby 3D and Dolby Surround

Sound will truly amaze our

customers.”

With capacity for 1160 stadium style

seats, the multiplex will feature six

Dolby Digital Cinema screens

equipped with Dolby Screen Servers

(DSS200s) and a Dolby Show Library

(DSL100), a high-capacity central

server designed to facilitate the

networking of the multiplex to meet

its content storage needs. The

DSL100 will act as the heart of the

network and simplify operations. In

addition, two of the six screens will

have Dolby 3D systems that will bring

movies to life with natural colors and

sharp, clear images. All six screens will

also be equipped with CP750 Digital

Cinema Processors that will enable

Dolby Digital 5.1surround sound.

“Cinesystem looks to set the bar for

delivering the premium cinema-

going experience in Brazil and Dolby

is honored to be selected to provide

our Digital Cinema solutions for their

multiplex in Rio de Janeiro, says John

Carey, vice president, worldwide

sales, products, and services, Dolby

Laboratories. “By combining Dolby

Digital Cinema, Dolby 3D and Dolby

Surround Sound, patrons attending

the Cinesystem multiplex will

Cinesystem Brazil’s FirstAll-Dolby Cinema

FOX InternationalChannels andDolbyLaboratoriesBring CinematicSurround Soundto More LivingRooms in Asia

Dolby Laboratories and FOX

International Channels (FIC) have

announced that the two companies

are collaborating to deliver

programs in cinematic surround

sound through FOX Movies

Premium HD, FIC’s recently

launched premium pay-TV channel.

experience a truly immersing

entertainment experience.”

Cinesystem, with a total of 4

multiplexes in the state of Rio de

Janeiro including Via Brasil

Shopping, has generated more than

160 direct and 250 indirect jobs.

Cinesystem is proud to bring the

movie- going experience to

communities where there are no

state-of-the-art movie theatres.

April-June 2012TW-20

FOX Movies Premium HD replaced

STAR Movies HD in major markets

across Southeast Asia in a seamless

on-air transition. The premium

listening experience has been

available since the transition.

“As Asia’s leading satellite TV

broadcaster, FOX International

Channels aims to provide the very

best home entertainment

experience for our audience,” said

Joon Lee, Senior Vice President,

Programming, Creative and

Channel Operations, FIC. “Through

our collaboration with Dolby, FOX

Movies Premium takes television

viewing to the next level. Dolby’s

high-quality surround sound is a

perfect match for our premium

channel offering. Together, we

provide a true home cinema

experience.”

“We are excited to strengthen our

collaboration with FOX

International Channels and to allow

more viewers in Asia to enjoy Dolby

5.1 surround sound content from

the comfort of their own homes,”

said Mahesh Sundaram, Vice

President, Asia Pacific, Dolby

Laboratories. “Surround sound has

become the internationally

recognized audio standard for

HDTV. Dolby is committed to

providing the flexibility and

features needed for this new era of

broadcasting through extensive

collaboration with the entire

ecosystem, which includes

broadcasters, operators, and device

manufacturers.”

IMAX Theatres tobe EntirelyPowered byBarco

Barco, a worldwide leader in the

Digital Cinema industry, has

announced that it has been selected

by IMAX Corporation as the exclusive,

worldwide projection technology

partner for its IMAX theatres for the

next seven years. Through its selection

of Barco’s Guinness World Record

winning Xenon lamp-based digital

projectors, IMAX will immediately

enhance The IMAX Experience in its

global cinema network. In addition,

IMAX theatres will benefit from a new

generation of high-performance,

laser-based projectors, which are

expected to be deployed in 2013.

Over the years, IMAX has established

its reputation as the leading provider

of awe-inspiring, immersive cinema

experiences. In the first phase of the

partnership, the parties will integrate

an enhancement of Barco’s existing

Xenon-based projectors for use in

IMAX’s current backlog and new

system signings. This solution will be

available in the second half of 2012.

Simultaneously, the companies will

work together exclusively to manage

the transition from Xenon-based to

high-performance, laser-based

projectors, which are expected to bedeployed in 2013.

“Being selected by IMAX as the

exclusive supplier for the world’s most

immersive cinema experience is a

strong endorsement of our leadership

in the Digital Cinema projection

business,” explains Wim Buyens,

Senior Vice President of Barco’s

Entertainment Division. “This

partnership will strengthen our

position as the premium provider of

state-of-the-art cinema technologies

that provide the perfect match for

every screen, whether small or large.

What’s more, it will enable us to

further ramp up our manufacturing

scalability and to continue setting the

standard for future technologies.”

“As we continue to expand globally,

it is critical that our technology

partner keeps pace with our

ambitions around innovation and

growth,” said IMAX Chief Business

Development Officer Robert D. Lister.

“Barco is that partner. A leader in

advanced digital and laser

technology, Barco is well-known for

its quality and integrity. We believe

the result of this collaboration will

further differentiate the IMAX

Experience for consumers,

strengthening our value proposition

for studios and exhibitors.”

Todd Hoddick, Vice President for the

Barco Entertainment Division in

North America, adds: “We are

honored to have been selected by

IMAX as their worldwide and

exclusive digital projection

technology partner. We are both

excited and committed to bring the

full weight of Barco’s operational

excellence, integrity and ability to

deliver on the ideals of the IMAX

brand. Together we are determined

to redefine the immersive cinema

experience.”

The agreement with IMAX

underscores Barco’s commitment to

offer exhibitors the most

comprehensive suite of products and

solutions to create a premium movie

experience in their auditoriums at the

lowest cost of ownership. This is

exactly what has made Barco a valued

technology leader, – as illustrated by

its long list of industry firsts and its

Guinness World Record for the

brightest projector – as well as a

global market leader – reflected in the

company’s 40% worldwide market

share, market leadership in China and

strong global customer base.

In markets, Barco continues to innovate

with a full portfolio of pioneering

imaging and sound products that

optimize productivity and range from

compact, reliable projectors for mid-

sized businesses to the most powerful

projectors, LED displays and image

processors for operation in a broad

spectrum of entertainment venues and

outdoor events.

April-June 2012 TW-21

IMAX Continues Expansion In RussiaWith Three New Theatres

IMAX announced that it has signed

agreements to open a total of three

IMAX theatre systems into new

construction projects across Russia .

The Company will install one system

each with existing partner Kinomax

as well as new partners Monitor and

People's Cinema, bringing to 49 the

total number of IMAX theatres

open or contracted to open in

Russia and the CIS.

Monitor, one of Russia's top

exhibitors, will install an IMAX

theatre in Anapa that is slated to

open in July 2012 . The local

independent operator People's

Cinema will install an IMAX theatre

in its multiplex in Ulan Ude, which

is scheduled to open in September

2013 . Kinomax will expand its

IMAX footprint and install an IMAX

theatre in Samara , which is

scheduled to open in September

2013 , bringing the exhibitor's total

IMAX commitment to five theatre

systems.

Since IMAX entered the region in

2003 with its first theatre in Moscow

, Russia has become the Company's

third-largest market and one of its

fastest-growing markets globally. At

the end of 2009, IMAX had four

theatres in operation and one

theatre in backlog in Russia and the

CIS. Today, there are 24 theatres

open (20 in Russia and 4 in the CIS)

with 25 theatres in backlog. The

region is also home to some of

IMAX's highest-grossing theatres in

the world, with a 2011 per-screen

average of approximately $1.7

million .

"Today's agreements show the

significant traction we continue to

make in Russia and we're delighted

to forge new partnerships with

these leading exhibitors while also

expanding on an existing

relationship," said IMAX CEO

Richard L. Gelfond. "Audiences

across Russia have developed a

deep appreciation for IMAX and

we're pleased to bring more

audiences across the region the

most immersive movie-going

experience available."

IMAX SignsRevenue-SharingDeal with FrankTheatres

Imax Corp. has signed a revenue-

sharing deal with Frank Theatres to

install 10 IMAX theatres in new and

existing buildings.

The companies said their agreement

calls for the unit of Frank

Entertainment Co. to open four

IMAX theatres in November in York,

Pa., Southern Pines, N.C., Delray

Beach, Fla., and Northfield, N.J. Two

more will open in May in Ranson, W.

Va., and Kingsport, Tenn.

The companies said they haven't

chosen the remaining four locations.

They didn't disclose the terms of

their agreement, but IMAX typically

gets a share of ticket revenue at

theatres outfitted with its

technology.

CEO Richard Gelfond said in a joint

statement that the deal will help

IMAX reach new markets.

Bruce Frank, president and CEO of

Frank Theatres, said his company is

confident the IMAX experience will

be popular and boost theatre

attendance.

Including the 10 new theatres, there

are 421 IMAX-equipped theatres

operating or contracted to open in

North America.

Frank Theatres owns and runs 25

theatres with a total of 256 screens

in New Jersey, Pennsylvania, West

Virginia, North Carolina, South

Carolina, Georgia and Florida.

First EuropeanScreen for DolbyAtmos

Dolby Laboratories announced the

first commercial cinema in Europe to

be equipped with Dolby Atmos - the

new audio platform that will change

the experience of sound in

entertainment.

The Cinesa Diagonal Mar Screen 9 is

the first commercial cinema screen in

Europe to be equipped to show

content in Dolby Atmos and it is

expected to be joined in the coming

months by a number of premium

locations around Europe, including

the Empire Leicester Square in

London. They are part of a select list

of theatres globally, including the

iconic Hollywood landmark venue the

Dolby Theatre, which will lead the

way in screening content mixed in

Dolby Atmos, such as the new Disney

Pixar animated adventure, Brave.

Dolby Atmos introduces a hybrid

approach to mixing and directs sound

as dynamic objects that envelop the

listener, in combination with channels

for playback. It enables adaptive

rendering to ensure that the playback

experience is as close as possible to the

creator’s original vision in any given

environment, irrespective of speaker

configuration in the playback

environment. It is an end-to-end

solution that takes into account the

entire content pipeline and brings

together mixers, studios, and

distributors to create dramatic

improvements in the audio

experience.

“The Dolby Atmos platform provides

content creators with a new creative

freedom to tell their stories,” says

Andreas Spechtler, EMEA Regional Vice

President, Dolby Laboratories., “and

demonstrates Dolby’s unwavering

commitment to advancing the cinema

and entertainment industries with new

technologies that help artists realize

their creative vision and create the best

entertainment experiences for

consumers.”

April-June 2012TW-22

Harkness DigitalScreen Selectorreaches 1,000Users

The Digital Screen Selector, a free-

to-use application available on the

Harkness Screens website

(www.harkness-screens.com),

recently passed the 1,000 mark for

registered users.

"We are really excited that the

Digital Screen Selector continues to

prove such a popular tool for the

industry since its launch a little over

two years ago," said Richard

Mitchell, Harkness' worldwide

marketing manager. "We created

the Selector to identify cost-effective

solutions for digital-cinema

conversion and encourage theatre

operators throughout the world to

utilize the insights the application

provides. We believe the Digital

Screen Selector is still very much

achieving this aim and the rate of

growth of the user base strongly

suggests so. It's clear that these types

of applications are of significant

value and we'll continue to look at

ways to further enhance the Digital

Screen Selector and develop other

tools to assist cinema operators

across the globe over the coming

years."

Intended as an aid to theatre

operators, the Digital Screen

Selector is designed to maximize the

return on investment in digital

cinema by optimizing screen

selection based on custom

exhibition needs.

The Digital Screen Selector has a

user-friendly interface with no

software download required and

uses industry-accepted standards

and vendor data to compare

different operating scenarios. The

Selector is intended to be a guide

for theatre operators when

consulting with projector, lamp and

3D technology providers.

UFO MoviezAnnouncesLoyalty Programfor AudioUpgrade

UFO Moviez India Ltd, the world's

largest satellite-based digital-cinema

network, is offering to install Dolby

CP 750 sound processors in select

UFO digital theatres at preferential

rates.

A part of UFO's new loyalty program

for its exhibitors, the offer follows

UFO's recently announced

collaboration with Dolby

Laboratories to upgrade the audio

experience across UFO's d-cinema

screens in India.

Dolby will assist UFO with setup for

the digital encoding and mastering

workflow for UFO Moviez and

provide UFO-Dolby co-branded

CP750 cinema processors, delivering a

complete end-to-end digital sound

process. Currently, sound in many

digital cinemas in India goes through

multiple conversions from digital to

analog and back, resulting in loss of

sound quality at each conversion.

Additionally, audio alignment and

calibration of theatres will be

conducted.

New DolbyTheatre SoundSystem Debutedwith 'Brave'Premiere

Disney/Pixar's Brave premiered on

June 18 in Dolby's immersive new

sound format, Atmos, as well as as in

Dolby 3D, at Hollywood's newly-

named Dolby Theatre, which was

introduced with its new branding.

There was some question about

whether the installation and test

Atmos mix would be ready in time

for the Brave premiere, the first since

the former Kodak Theatre was re-

branded. The mix is being led by

seven-time Oscar winning sound

designer and re-recording mixer Gary

Rydstrom, and with additional

mixing by sound re-recording mixer

Will Files.

Additionally 14 theatres in the North

America were slated to show Brave in

the new Dolby Atmos format. Here's

the full list: AMC BarryWoods 24,

Kansas City; AMC Burbank 16; AMC

Century City 15; AMC Downtown

Disney 24, Lake Buena Vista, Fla.;

AMC Garden State 16, Paramus, N.J.;

AMC Van Ness 14, San Francisco;

ArcLight Sherman Oaks; Brenden

Theatres at the Palms, Las Vegas;

Centry at Pacific Commons and XD;

West Plano, Texas; SilverCity-Yonge

Eglington Cinemas, Toronto;

Cinetopia Vancouver Hall 23,

Vancouver; the El Capitan Theatre;

and Kerasotes ShowPlace ICON at

Roosevelt Collection, Chicago.

Atmos was installed at the Dolby

Theatre a little more than one week

ago, on a razor-tight schedule as

Cirque du Soleil's IRIS is performed

there six day a week. The sound

system can be used for theatres of

any size, but the Dolby Theatre is

perhaps the most challenging setup,

as the auditorium covers 180,000 sq.

feet of space and boasts as 86 ft. high

ceiling.

Atmos creates a lifelike sound

experience by lining speakers along

the theatre's front, rear and side

walls, as well as overhead. It can play

up to 128 channels of sound at once.

In contrast, today's widely-used 5.1

and 7.1 surround sound system use

five channels and seven channels

(plus a subwoofer) respectively.

April-June 2012 TW-23

Ghost Protocol Makes Singapore Debutin Dolby Surround 7.1

Dolby Laboratories, Inc. (DLB),

Paramount Pictures, a unit of

Viacom, Inc. (VIA and VIA.B)

announced that Mission: Impossible -

Ghost Protocol premiered on

December 14th in Singapore with

Dolby Surround 7.1 at Shaw Theatres

Lido Cineplex.

Directed by academy award-winner

Brad Bird and featuring an all-star

cast the fourth installment of the

mega-successful Mission: Impossible

franchise has been described as the

most inventive, action-filled and

visually arresting yet. Through Dolby

Surround 7.1 movie goers watching

Mission: Impossible - Ghost Protocol

experience more immersive depth

and realism through the cinema

audio experience. Dolby Surround

7.1 improves the spatial dimension of

soundtracks and enhances audio

definition, resulting in full-featured

audio that better matches the visual

impact of the movie.

“Mission: Impossible - Ghost Protocol

delivers incredible stunt sequences

with rich visual effects ideally

complemented by Dolby Surround

7.1 to draw audiences into the

action,” said Nicholas Yong,

Managing Director of the film’s local

distributing arm, United

International Pictures (Singapore and

Malaysia).

A new report from the European

Audiovisual Observatory and media

Salles shows that around 18,500

digital screens had been installed in

Europe by the end of 2011. This

means that over 52% of European

screens are now capable of digital

projection, up from just 4% three

years ago.

While the initial phase of large-scale

digital conversion during 2009 and

2010 had been more or less entirely

driven by 3D installations, the rollout

in 2011 was for the first time driven

by 2D screens. This suggests that the

rollout has entered its second major

phase and is now driven primarily by

full conversions of larger circuits

under virtual-print-fee (VPF) schemes

and by public initiatives ranging

from legislation (France), publicly

funded industry-wide conversion

schemes (Norway and the

Netherlands) to direct public funding

schemes, 60 of which have been

identified at national, sub-national

and pan-European level, including

the new media 2007 scheme.

Analysis based on a comprehensive

site-by-site listing of analog and

digital cinemas as of 2010 clearly

shows that small cinemas and

exhibitors have significant problems

converting to digital. By the end of

2010, only 11% of single-screen

cinemas had installed a digital screen,

compared to 89% of multiplexes.

These small cinemas, however, form a

characteristic part of the European

cinema landscape, with single-screen

cinemas alone accounting for almost

60% of all European cinemas.

Though presumably not vital for

overall box-office results, these

smaller cinemas play an important

social and cultural role in many

communities. The fact that these

Single ScreensStruggle asEurope Convertsto Digital

“Movie-going is a multi-sensory

experience and it is important for us

to present great sound with quality

projection in a comfortable

environment for our customers. That

is why Shaw Theatres is proud to

feature Dolby Surround 7.1 in our

theatres across Singapore. With an

action-packed blockbuster like

Mission: Impossible - Ghost Protocol,

Dolby Surround 7.1 will definitely

enhance and complete the overall

movie experience,” commented Mark

Shaw, Executive Vice President of

Shaw Theatres.

“We are very excited about

Paramount Pictures Mission:

Impossible - Ghost Protocol and the

Dolby Surround 7.1 experiences it

delivers,” said Mahesh Sundaram,

Vice President, Asia Pacific, and Dolby

Laboratories. “When you combine

great content like Mission: Impossible

- Ghost Protocol, great presentations

by Shaw Theatres, and great

technologies from Dolby you are sure

to get an amazing audio

experience.”

Blamed for the terrorist bombing of

the Kremlin, IMF operative Ethan

Hunt is disavowed along with the rest

of the agency when the President

initiates “Ghost Protocol”.

April-June 2012TW-24

screens have not yet converted

highlights the fact that commercial

financing models cannot cover all

European cinemas, causing a funding

gap for between 15% and 20% of

European screens.

At the same time, given the high

penetration rates in various

European markets, the end of 35mm

distribution seems to be approaching

rapidly. Distributors in Belgium,

Luxembourg and Norway, which was

the first country worldwide to

become fully digital in mid-2011,

were expected to end 35mm

distribution as early as 2011/2012 and

a total of 11 territories had converted

at least 50% of their screens by mid-

2011, including the two leading

markets France and the U.K.

Once large distributors switch to

digital distribution in such major

markets, demand for film stock will

drop significantly, putting pressure

on 35mm economics on a pan-

European level. This could cause

financial strain for those distributors

and exhibitors still depending on it,

the report states. Many of these are

presumably small companies now

faced with a growing competitive

disadvantage: Digital cinema

increases the economies of scale

related to both film exhibition as

well as distribution, so bigger

companies stand to benefit more

than smaller players from the

transition to digital, in terms of both

cost savings and increased revenue

potential. This economic reality will

ultimately lead to fundamental

change in the fragmented European

theatrical landscape and poses a

challenge to the European

independent sector, characterized as

it is by a large number of small

exhibitors and distributors.

The 130-page European Digital

Cinema Report provides the latest

figures on digital screens and

penetration rates across 35 European

markets.

The Hollywood production

community is continuing to adopt

Sony’s SRMASTER format, an open

platform technology for high-quality

motion picture content. Announced

in September 2011, SRMASTER is the

recording format of Sony’s CineAlta

digital motion picture camera F65

system, the industry’s highest quality

8K CMOS sensor camera and

SRMemory recorder unit.

New members of the SRMASTER

alliance include a range of post

production companies and

manufacturers of content production

solutions including on-set dailies,

non-linear editing and color grading

technology.

Sony offers the SRMASTER licensing

program to provide technical

specifications and software

development kits to manufacturers

of movie content production

solutions. By providing the

SRMASTER format as an open

platform technology, Sony’s goal is

to help SRMASTER format

supporting companies achieve

improved production efficiency,

seamless file-based 4K movie content

production workflows and the

highest level of image quality.

In January 2012, Sony began

worldwide deliveries of the F65

CineAlta digital motion picture

camera to meet the incredibly high

demand from production

professionals. Approximately 400

units were pre-ordered, and several

high-profile productions are now

shooting features with the F65.

Sony Expands its SRMASTER AllianceThe following six companies have

released product versions capable of

SRMASTER format processing,

supporting 4K content workflows for

on-set dailies (real-time playback and

file transcode on the set), and color

grading, composite and conform:

ASSIMILATE, Blackmagic Design,

Color, front, FilmLight, MTI, and

YoYotta.

Additionally, the following 10 major

Hollywood post-production

companies also now support the

SRMASTER format. Each company is

reinforcing its post-production

pipeline to support F65 production.

Colorworks, Company 3, Digital Film

Tree, EFILM, Encore/Level3, FotoKem,

Hollywood DI, Light Iron, and

Modern Video Film. Several other

companies are also working to

support Sony’s 4K format, with new

productions and solutions currently

in development.

“Sony’s open IT platform can provide

seamless file-based workflow

solutions for 4K motion picture

production - from shooting to

editing to finishing,” said Alec

Shapiro, SVP at Sony Electronics.

“Sony is committed to supporting

creative professionals and their

pursuit of new ways to express their

vision. Sony will continue its efforts

to revitalize the entertainment

market and ultimately enhance

consumer’s experience to enjoy

movie entertainment through a

broad range of professional

solutions.”

April-June 2012 TW-25

Dolby Laboratories, Inc. announced

that ‘The Chemical Brothers-Don’t

Think’, a film by acclaimed director

Adam Smith, is the world’s first

concert film cinema release mixed in

Dolby Surround 7.1.

Filmed using 20 cameras at the

band’s 2011 headline show at Japan’s

Fuji Rock Festival, Don’t Think was

envisage to capture the Chemical

Brothers’ renowned fusion of visual

and audio elements to give a fan’s

perspective of the show. The

soundtrack, which was mixed by the

Chemical Brothers, makes use of the

improved panning, sound

localization, and enhanced

definition provided by Dolby

Surround 7.1’s eight channels and

four surround zones to realise the

creative team’s vision for the film. It

has already been well received by the

specialist music press.

“After 18 years of working on the

Chemical Brothers’ live show, we

have finally captured it on film. You

could almost say its 18 years in the

making,” said Adam Smith. “I

wanted to capture what it is like to

experience the show from right in

the middle of the crowd, as well as

showing and combining the visuals

featured in the show with the

footage we captured on one night,

to see how the music and visuals

emotionally affect and connect with

the audience,” he added.

“Mixing Don’t Think in Dolby

Surround 7.1 certainly helped us to

achieve this like never before.”

With more than 45 feature films

released or set to be released in the

format to date and 3,400 cinema

screens worldwide supporting the

technology, cinemagoers are already

experiencing the realism and

immersive experience offered by

Dolby Surround 7.1. Along with

Dolby Digital Plus and Dolby TrueHD,

Dolby technologies deliver 7.1

surround sound experiences to

consumers across broadcast,

streaming, Blu-ray, and home cinema

systems, helping maintain the fidelity

of the artist’s creative vision, no

matter how consumers choose to

experience their works.

“Since its launch in 2010, Dolby

Surround 7.1 has gained an

impressive pedigree in helping

content creators connect with their

audiences through uncompromising

entertainment experiences. As the

world’s first concert-film cinema

release presented using Dolby

Surround 7.1, Don’t Think

demonstrates another creative

application for the technology as

artists look for new ways to engage

audiences,” said Daniela Bischof,

Product and Partner Marketing

Manager, EMEA, Dolby Laboratories.

World’s First Concert Film Release inDolby Surround 7.1

Vista Entertainment Solutions

announced that Rave Cinemas has

chosen Vista as its cinema

management software provider.

Rave will deploy a number of Vista’s

software modules across their circuit

throughout 2012, which will enable

them to improve operational

efficiency and further enhance the

customer experience.

CEO Rolando B. Rodriguez says:

“Vista’s innovative approach to our

industry will empower us to achieve

efficiencies, and deliver a better

offering to our customers. We have

been impressed by the fantastic

reviews given to Vista by our peers

in the industry and I look forward

to working with them.”

In addition to Vista’s world leading

cinema POS and Cinema

Management Software modules,

Rave will also install Vista’s Internet

Ticketing, Loyalty, Facebook,

Smartphone applications, Gift Card

management and Home Office

modules. This will enable Rave to

maximize the customer experience

and offer new channels for

marketing and ticket sales.

By moving to the Vista platform,

Rave will gain the ability to offer

online ticketing for all cinema sites

on its own web site, using the Vista

Web Ticketing module. This will

give Rave full control over the

branding and experience for

internet ticket sales. Rave will also

deploy its own branded

Smartphone and Facebook

applications, leveraging Vista’s

technology. With over 60 sites with

630 screens, Rave Cinemas ranks as

the 7th largest cinema company

within the USA. For Vista, this

announcement from such a well-

known and admired exhibitor,

further cements Vista’s place as the

leading cinema software provider in

the United States and across the

world.

Since opening its Los Angeles office

in 2009, Visa has gained the

business of 5 of the Top 10

exhibitors in the United States.

Vista also has offices in London,

Auckland and Shanghai. The Vista

software is installed in over 20,000

screens across 200 customers in

more than 50 countries around the

world.

For more on Vista Entertainment

Solutions, or to enquire about the

Vista product suite, email the team

here.

Rave Cinemashas Chosen Vista

April-June 2012TW-26

The first of a new type of movie

theatre, dubbed “4-D cinema” has

opened in the UK. The cinema, part

of the Cineworld chain, is in Glasgow.

If successful further cinemas will be

opened.

One of the main cinema chains in the

UK has opened what it is calling the

UK’s first “4-D” cinema. The concept

of “4-D” follows on from 3-D. With

its “4-D” concept Cineworld is

trialling out 35 D-Box seats, which

shake, rattle and roll in time with the

action on screen. To be “4-D” the

movie needs to be a current 3-D film,

with the vibrating seats added as

extras.

The Guardian reports that Cineworld

cinema that has fitted the D-Box

seats is at Renfrew Street, Glasgow.

The D-Box seats were used for the

movie “John Carter”. The Renfrew

Street cinema is the biggest in the

UK. It has 18 screens over 9 levels,

and can accommodate more than

4,300 people.

At present it is only a selected

number of seats within the theatre

that are equipped for “4-D”.

Cineworld plans to roll out D-Box

seats to other theatres located at

Cineworld O2 Greenwich, Cineworld

Crawley and Cineworld Milton

Keynes. Cineworld have a 24.6%

market share of UK cinemas.

For the “4D” experience £5.50

(around $8.50) has been added to

the price of a normal 3-D movie

ticket of £8.90 (approximately$14).

The initial experiment seems to have

been a success. Business website The

Motley Fool notes that Cineworld’s

profits for the opening few days of

“4-D” increased by 9.9%. There has

also been an increase in the chain’s

share price. Putting aside the obvious

inaccuracy in the title, for as most

know time is the fourth dimension, it

is an interesting concept designed to

increase movie theatre attendances

UK’s first ‘4-D’ Cinema Opens inGlasgow

even further. The D-Box technology

has already been used at a number

of movie theatres in the USA and

Canada. The concept is orientated

towards action movies, and even

then it will not be to everyone’s taste.

QSC recently held the first in a

planned series of global Cinema

Training Seminars at their office in

Hong Kong. The event provided

QSC dealers and technical

directors from a number of

cinemas with the skill set and

broader knowledge base from

which to more successfully deploy

QSC Cinema Audio Solutions.

The training seminar held on

February 26th and 27th, covered

topics such as General Cinema

Design and Product Applications,

Guidelines for Cinema Installation,

System Equalization and the

specifics of QSC Digital Cinema

Processors.

“This first Cinema Training

Seminar at the QSC Hong Kong

QSC CompletesFirst in Series ofGlobal CinemaTraining Seminars

Office was very well attended by

our dealers as well as technical

heads of many cinema chains, with

especially good participation from

India,” says Sushil John, Country

Head – SAARC for QSC. “This

training was of great benefit to the

attendees and will help ensure that

QSC advanced Cinema Solutions

and performance standards will

continue to deliver a gratifying

audio experience for cinema goers

in the future”.

Moving Image Technologies (MIT)

has completed Cinemark’s DCIP

digital-cinema deployment,

integrating their entire United States

rollout comprising over 3,400

screens.

In addition to supplying custom

bases to Cinemark, MIT also

performed integration services pre-

configuring the servers, automations,

switches and interface cabling for the

full circuit deployment, delivering

and converting every single screen

on time and in full. “We requested a

very aggressive deployment schedule

right from the start, and MIT hit each

and every deadline,” said Damian

Wardle, Cinemark’s VP of worldwide

theatre technology and presentation.

“We are thrilled to join with

Cinemark in celebrating their

outstanding accomplishment of

becoming 100 percent digital,”

commented Tom Lipiec, VP, sales and

customer service at MIT. “As they

continue their worldwide expansion

and conversion to digital cinema, we

will continue to provide our high

level of integration services, technical

support and custom products to

Cinemark.”

CinemarkCompletes DigitalRollout withMoving ImageTechnologies

April-June 2012 TW-27

Electronics & Engineering Pte Ltd

(E&E) has marked a world first by

installing Singapore’s eight-screen

Golden Village, Katong cinema

complex with EAW’s new generation

of cinema loudspeaker systems.

‘I had already been working with

Golden Village on this project whilst

these products were in

development,’ explained E&E’s MD

Ronald Goh. ‘Both EAW and Golden

Village represent the very finest

quality, so they seemed like a perfect

match.’

Mr Goh and Golden Village originally

specified the EAW products for four

of the eight screens, but after

evaluating them in the actual

installation, Golden Village decided

that it wanted EAW audio products

for all eight screens. ‘We are veryproud that we could move quickly to

make Golden Village the world’s first

installation of this cutting edge audio

technology,’ furthered Mr Goh.

Lee Kin Guan, technical services

manager for Golden Village, was

delighted with the cinemas’ new

sound systems, which include the

latest CB259 two-way systems and

SB184C and 284C subwoofers.

‘Golden Village is proud to be the

first cinema in the world to install the

latest generation of EAW

loudspeakers,’ he remarked. ‘This

marks yet another milestone for us

by providing our patrons with a

phenomenal audio experience at the

new Golden Village Katong.’

Renowned for loudspeaker systems

associated with concert tours,

performing arts venues and stadiums,

EAW has more recently moved towards

the cinema market. ‘Until the 1970s,

cinema loudspeakers were the best

professional loudspeakers available,’

explained EAW founder Kenton

Forsythe. ‘It’s where the industry

started. However, EAW brings a higher

level of performance to cinema. From

Golden Village First to AdoptNew EAW Line

transducer specifications and horn

designs to system integration, these are

fully professional products. Even the

enclosures and the mounting systems

have been thoroughly vetted to our

highest professional standards.’

Mr Forsythe praised Mr Goh and the

E&E team for helping inspire this

latest line of cinema products.

‘Basically, Ronald Goh mentioned his

relationship with a great cinema

chain and that he needed some great

cinema loudspeakers to put in this

great cinema chain.

Apollo Cinemas,Screens a NewEPoS Solution

Locally-focused, independently-

owned multiplex cinema chain,

Apollo Cinemas, has turned to two

companies that specialise in the

cinema sector for a new EPoS

solution on which to run its business.

Apollo has now equipped each of its

fourteen cinemas with a point-of-sale

solution comprising PC-based

touchscreen terminals from J2 Retail

Systems running software from Vista

Entertainment Solutions.

Between them the cinemas have

forty points-of-sale, each a J2 615

terminal running Vista POS and

enterprise management software,

running ticketing and sales of food,

drinks and confectionery.

Both J2 Retail Systems and Vista are

known for their expertise and

extensive installed base in the sector.

The companies share many UK

cinema clients, including Vue,

Empire, Cineworld and Everyman, to

whom they supply and support an

integrated solution that they tailor to

the needs of the cinema operator.

Explains Imtiaz Ullah, Head of IT at

Apollo Cinemas: "We pride ourselves

on being innovative when it comes to

technology. We were the first fully

digital circuit in the UK and use

equipment such as Sony 4K Digital

Cinema projection, Real D screens and

Dolby Surround sound that produces

a picture detail at the highest level

the human eye can see."

Continues Ullah: "We are equally

demanding when it comes to the

systems that run our commercial and

customer-facing operations.

Efficiency at point-of-sale is critical to

keep queues down and customer

service standards high. We were

influenced by the credentials and

experience that both J2 and Vista

could offer in our industry. The

performance and reliability that the

J2 terminals give us is critical, as is the

range of functionality at front-of-

house and in the back-office that

Vista provides to run our business."

With 83 screens over 14 sites, Apollo

Cinemas is the UK's 6th largest

operator in screen terms. The

company's vision is to be a local

entertainment hub and to achieve

this it is extending the range of its

non-film screen performances to

include concerts, sporting events,

opera and ballet. It is also

developing existing and new

cinemas to include café-bars, lounge

areas, gaming and Wi Fi.

Apollo Cinemas can be found

nationwide, from Torbay in Devon to

Barrow-in-Furness in Cumbria.

London's Piccadilly Circus is its

flagship venue, and additional

openings are planned this year in

Brentwood and Bicester.

Major milestone represents tipping

point for Global Digital Cinema

Transition; China Leading Asia Pacific

Region with nearly 8,000 DLP Cinema

Screens to date following

exceptional growth in installations

DLP: More Than50,000 TheatreScreens

April-June 2012TW-28

over the past two years, Texas Instruments DLP Cinema, the

worldwide leader in digital cinema imaging technology,

proudly announced that more than 50,000 movie theatre

screens across the globe are illuminated by projectors from

its OEM licensees, Barco, Christie and NEC, utilizing DLP

Cinema technology.

With this staggering update, the transition to digital

cinema has crossed a threshold with over 50 percent of the

estimated worldwide commercial cinema screens having

been converted to digital cinema, and the industry now

estimates to reach near completion by the end of 2015.

Whether looking to have the brightest, high frame rate 3D

viewing available or the brightest color accuracy, exhibitors

in every region rely on DLP Cinema’s broad product

offerings to help deliver the best movie going experiences

possible on screens from small to 105 feet wide.

To celebrate this momentous achievement, DLP Cinema

provided each of its licensees, Barco, Christie and NEC, with

a commemorative DLP Cinema chip representing the

50,000th 3-chipset manufactured, which will be installed at

three cinemas. Barco has selected the Cinemark El Tesoro in

Medellin, Colombia; Christie has chosen the Shanghai Film

Group Corporation (SFG) in China and NEC has picked the

Majestic Cinema in Milwaukee, WI USA as the worldwide

representatives of this 50,000th milestone.

DLP Cinema 3D screens have risen 65 percent to 30,290 in

total (from 18,367) during the same 12 month timeframe.

The total DLP Cinema worldwide screens do not include

IMAX digital powered by DLP Cinema, which separately

grew to 410 sites globally (256 in North America, and 154

internationally).

The switch to digital projection has reached an especially

fevered pitch in China, with 7,745 DLP Cinema screens an

amount that is nearly 60 percent of all digital screens in the

Asia Pacific region, which includes India, Australia and New

Zealand and 4,409 of the screens are 3D-enabled. This latest

research estimates that China will have a nationwide

footprint of all-digital commercial cinemas by the end of

2013.* In the Asia Pacific region as a whole, between

December 1, 2010 and November 30, 2011, there was 92

percent growth in DLP Cinema screens to 13,365 (up from

6,972), and a 82 percent jump for 3D screens (from 4,583).

Europe, the Middle East and Africa (EMEA) experienced

similar growth to Asia Pacific during this same 12 month

period, with a 91 percent increase for DLP Cinema screens

(17,670 total), and 56 percent increase with 3D (10,848

total). In Latin America, DLP Cinema screens grew to 2,424

(an 83 percent increase), and 2,343 (83 percent change)

with 3D capabilities. This continued global success further

affirms DLP Cinema’s longstanding leadership position in

the digital cinema space and represents a positive outlook

for the months and years ahead.

James Cameron’s Titanic 3D World Premiere Projected ByChristie Duo Solution at Royal Albert Hall

In co-operation with James

Cameron’s Lightstorm Entertainment,

Inc., Christie supplied its Christie Duo

dual-projector solution to bring the

bright, vivid scenes of Titanic in 3D to

life at its world premiere last week at

The Royal Albert Hall.

“I am pleased to have Christie

continuing to accompany me on my

‘journey of discovery,’ which will see

studios and theatre owners providing

stirring 3D and, in due course, high

frame rate movies, to fully immerse

their audiences in experiences that

best represent the creative excellence

of today’s producers and directors,”

said James Cameron.

“It truly is an honor for Christie to be

working alongside James Cameron

on such a prestigious world premiere.

This is not only a great testimonial tothe trust put in our digital cinema

solutions, but also confirms Christie’s

role as the world leader and a

pioneer in this field. With more than

80 years of history in cinema, Christie

continues to push the boundaries

with major digital innovations,

including 3D deployment and high

frame rates,” said Dale Miller, vice-

president, Christie EMEA.

The multi-party effort includes Fox

Filmed Entertainment, Bell Theatres

Services, Britannia Row Audio and a

full orchestra, with Jon Landau

appearing onstage with James

Cameron at the premiere. The

Christie Duo solution was announced

in February 2012 to enable exhibitors

to deliver the brightest 2K or 4K

movie experiences in 2D or 3D on the

largest screens. Coupled with

automated features that easily

calibrate, align and optimize the

images from both Christie Solaria

Series 2K or 4K digital cinema

projectors, Christie Duo delivers a

completely seamless, premium movie

experience to moviegoers

worldwide.

When combined with world-leading

3D systems, exhibitors can achieve 3D

image brightness levels up to twice as

high as what can be achieved using

the current large-format market leader

at a significant overall cost saving.

The announcement has represents

the continuing co-operation

between the two firms, epitomized

by the two firms signing a milestone,

five-year agreement to exchange

research, testing, development and

technical support on high frame rate

(HFR) projection the industry’s most

exciting new technology. The

cooperation between these two

Hollywood digital cinema

powerhouses officially announced

on September 12, 2011 heralded a

significant shift in how movies will be

made and shown in theatres.

Christie was also selected by Oscar-

winning filmmaker James Cameron

to assist him in showcasing the first

“mass audience” demonstration of

high frame rate (HFR) cinema

projection at CinemaCon 2011 in The

Colosseum of Caesars Palace on April

4, 2011. Using two Christie projectors,

Cameron demonstrated the higher

frame-rate delivery necessary for the

next generation of 3D films.

Cameron used Christie Solaria Series

DLP Cinema projectors at the Las

Vegas demonstration to project 3D

content at up to 60 frames per

second (FPS). The current industry

standard is 24 FPS, which can result in

blurred images (“judder”). The

Christie CP2230 and others in its

family deliver breathtaking 3D

images on the largest screens, which,

combined with higher frame rates,

will speed the evolution of this next

generation cinema experience. They

can also be upgraded to HFR

capabilities with Christie Previsto

High Frame Rate (HFR) technology.

Christie, the leader in digital cinema

projection, announced that it has

signed a contract with Harkins

Theatres, the largest privately held

cinema chain in North America. The

contract provides for more than 400

of its Christie Solaria Series 2 digital

cinema projectors to be deployed by

the end of November 2011. The chain

has also subscribed to Christie’s Virtual

Print Fee (VPF) program.

“Harkins Theatres is both an

entertainment and a cultural

destination for the many diverse

communities it serves throughout the

Southwest,” said George Scheckel,

director, Business Development,

Entertainment Solutions at Christie.

“As a major supporter of many

charitable organizations and

community-based educational

programs, Harkins is committed to

providing the highest quality movie-

viewing experience to its patrons.

Christie is pleased that its new

generation of DLP Cinema projectors,

offering the brightest, sharpest 2D

and 3D images, will now help

contribute to their inspiring legacy

that includes groundbreaking

innovations in cinema.”

Christie WinsContract withHarkins Theatres

April-June 2012TW-30

Vista Launches Major New Product for Independent Cinemas

Vista has announced the arrival of

Veezi by Vista. Veezi is a cinema

management application that has

been built specifically for the

independent cinema market.

Veezi is the result of Vista's largest

single development project and has

had a dedicated team of industry and

technology experts working on it for

over 2 years. Partly funded by New

Zealand's Ministry of Science and

Innovation, Veezi represents a multi-

million dollar investment in the

independent cinema sector.

Veezi is being launched in Australia

and New Zealand at the Independent

Cinema Association of Australia

conference in Sydney and also the

New Zealand Movie Convention in

Hamilton

Veezi is designed and built using the

very latest in cloud technologies using

software as a service model. This

means that all of the management

functions are accessible by the cinema

owner and/or manager from any PC

connected to the Internet. At the

Point of Sale, Veezi uses the industry

leading Vista POS - also connected via

the Internet. These latest technologies

mean that Veezi has been designed to

be very easy to access and use.

Veezi offers a subscription model and

can be trialled and purchased by

visiting the Veezi.com web-site.

Cinema owners can be up and running

using Veezi within less than one hour

of simple set-up.

Veezi takes the complexity out of

cinema operations and allows cinema

owners to focus on the running of the

business. Already installed in a small

group of early adopters, this has

helped ensure that it delivers in the

real world. One of these early

adopters is Ruby's Cinema Wanaka.

Patrick McAteer (owner) states: "From

a food and beverage and a ticketing

perspective, Veezi was the only one we

thought could deliver to match the

boutique experience we have." He

goes on, "With the one monthly fee

there really are no surprises with Veezi

and it is a product that I believe more

cinemas should definitely pick up."

Matthew Preen continues "working

with the likes of Patrick from Ruby's

has given us an invaluable insight into

how best to develop the product. In

my view the independent cinema

market is a unique and important part

of the movie industry. We see Veezi as

being a great way for these cinemas to

continue to develop their business. As

far as our timing goes, I believe it

couldn't be better. Many of the

independent cinemas still face the

challenges of converting to digital. I

believe when they take this leap, it will

be the ideal time for them to try

Veezi."

Real Digital Media, provider of the

NEOCAST digital signage platform,

and Rave Cinemas announced a

strategic digital signage initiative

throughout the Rave theatre chain.

The network has been operating

since early 2011, and was first

deployed at Dallas-based Rave’s

North East Mall 18 location in Hurst,

Texas, an 18-screen movie theatre.

Rave has since expanded the rollout

of its digital signage network across

the 66-location Rave circuit, with the

latest deployment at the Las Vegas

Town Square 18 location. This

installation includes over 65 displays

serving several different use cases,

and was featured during the Digital

Signage Guided Installation Tour at

the Digital Signage Expo on March

6, 2012.

The Rave Cinemas network replaces

traditional signage in the box office

and on concession-stand menu

boards with networked digital

displays. The digital signage network

will also be employed for theatre

wayfinding, auditorium marquees

and for coming-attraction

promotions. All theatre locations will

be programmed and monitored

from Rave’s Dallas headquarters

using the NEOCAST Media Server

management software. This web-

based application monitors network

health and performance and

communicates content and playlist

instructions to the networked players

powering the displays. Rave selected

the NEOCAST Media Player Z to

power the high-definition and rich

media content showcased across the

network. The content includes

Silverlight applications designed to

provide theatre visitors with real-time

information regarding showtimes,

ticket availability, concession items

and pricing, as well as way finding.

Bryan Rakowski, Rave’s senior VP of

technology, commented, “It makes

perfect sense for us to extend our

digital footprint from the box office

through the lobby and into the

auditoriums using digital signage.

Real Digital Media separated

themselves from the crowd by

showing us a platform that easily

adapts to our various content needs

and use cases, while scaling easily to

meet our expansion demands to

serve communities enjoying movies

and film on nearly 1,000 screens

across 20 states.”

Rave Launches Digital SignageNetwork with Real Digital Media

Qube Cinema XP-IStreams 4K 3Dfrom a SingleServer

Real Image Media Technologies Pvt

Ltd, the pioneer of several

technology revolutions in India, has

announced that its digital cinema

technology division, Qube Cinema,

has made history at the Moody

Gardens Digital Cinema Symposium

in Texas, USA, delivering a high bit-

rate 4K stereoscopic DCP through

two Barco projectors. Several firsts

were achieved – successful streaming

of 4K 3D content, flawless delivery of

high frame rate (HFR) 3D content, all

from a single server at three times the

data rate of DCI (800Mbps).

Presented to a live audience at the

Moody Gardens 80' by 60' Giant

Screen, the demonstration used a

standard Qube XP-I server paired

with Qube Xi 4K Integrated Media

Blocks (IMBs) installed in two Barco

DP4K-32B projectors. With this

advance in digital cinema

technology, high bit-rate,

stereoscopic 4K projection from a

single DCP through a single server is

now a reality for exhibitors. The

Qube Cinema system played back an

800 Mbps DCP, more than three times

the maximum DCI bit rate

specification of 250. The data speeds

of the Qube XP-I server make it

possible, for the first time, for a

single server with one DCP to drive

two projectors, each with their own

IMB.

“Seeing the film in 4K 3D was a

startling experience,” said director

Melissa Butts, speaking about her

latest movie, Space Junk 3D, narrated

by Academy Award Nominee, Tom

Wilkinson, which was shown at the

Symposium on the Moody Garden’s

Giant Screen. “All the hard work we

put into shading, lighting and

textures was that much more brilliant

and remarkable. What Qube is

offering is very exciting for

April-June 2012TW-32

filmmakers and audiences. With all

the detail, everything just looks and

feels more real.”

“With 4K 3D, and the high frame

rate capabilities of the Qube XP-I

server, the promise of digital cinema

is now being realized,” said Rajesh

Ramachandran, president and CTO

of Qube Cinema. “Exhibitors can

now offer a truly stunning theatre

experience for their patrons.”

Delivering High Frame RateContent

At Moody Gardens, Qube Cinema

also demonstrated the high frame

rate (HFR) capabilities of the Qube

XP-I server with 2K stereoscopic

content on the Giant Screen. This

demonstration compared 3D

material at 24, 48 and 60 fps. At 60

fps, motion blur disappears and rich

detail is clearly visible in the moving

images. Accustomed to 24 fps

playback, many people are notaware of the image compromises

associated with this Standard,

especially for stereo 3D. The

difference was immediately

apparent during the Qube

presentation, including side-by-side

split-screen comparisons at the

Digital Cinema Symposium. Qube

Cinema XP-I Streams 4K 3D from a

Single Server First Indian company

to create history in Digital Cinema

worldwide “I was most impressed

with the Qube XP-I’s ability to play

back all our high bit rate 4K and

high frame rate 2K content from a

single server,” said Andy Wood,

senior vice president, Business

Development at D3D Cinema and

Giant Screen Films. “Before Qube’s

innovation, at standard DCI specs,

we could only achieve dual

projector 4K 3D playback with a

complicated double server

configuration which included

ancillary sync generators and a very

restrictive setup. Qube Cinema has

made 4K 3D and high frame rate 2K

a reality.” “The ability to power

multiple projectors through a single

interface is both elegant and easy to

operate for projectionists,” added

Ramachandran. As currently

configured, the Qube XP-I server

with the Qube Xi 4K IMB is capable

of data rates of up to 1,000 Mbps –

or 500 Mbps per projector, allowing

for pristine 4K stereo 3D. The system

can support frame rates of 30 fps for

4K projection, and frame rates of up

to 120 fps for 2K content. The Qube

XP-I digital cinema server and the

Qube Xi 4K IMB are available from

Qube Cinema and its worldwide

reseller network.

Kinoton had been chosen to equip

the cinemas of the 62nd Berlin

International Film Festival, also called

the Berlinale, with digital projection

technology. Along with other

partners, Kinoton supplied premium

D-Cinema projection solutions and

comprehensive service and support.

Kinoton ensured a brilliant cinema

experience at the World Culture

House of the Berlin Congress Hall,

the CineStar Cubix theatre, and the

Martin Gropius Building.

Four Kinoton Digital Cinema

Solutions were specially tailored to

meet the festival’s requirements.

Professional installation and setup

are being done by Kinoton’s expert

service engineers. Kinoton equipping

the prestigious Friedrichstadt Palace

and the Haus der

Berliner Festspiele,

a first-time

Berlinale venue,

with analog film

projectors.

Kinoton’s CEO,

Christoph Dobler, is

very pleased that

the Berlin

International Film

Festival is also

banking on

Kinoton projection technology. “The

Berlinale’s standards of quality are

very high, and its technical

requirements are exceedingly

demanding. The people in charge of

the festival insisted on perfect pictures

and sound at the showings, failsafe

projection equipment, and reliable

technical support. The fact that they

have opted for our Digital Cinema

Solutions and our comprehensive

service and support is a genuine vote

of confidence.”

The Berlin International Film Festival

is one of the most prestigious events

in the international film industry.

More than 19,000 industry

representatives from 115 countries

attended the Berlinale this year, it is

also the world’s largest public film

festival. The 2012 Berlinale will

screened some 400 movies, most of

which were international or European

premieres. They ranged from large

international cinema productions

across art house and independent

movies to short films.

The other activities associated with

the Berlin International Film Festival

were also very exciting. The European

Film Market (EFM) for example,

attracted about 400 companies and

7,000 trade visitors from 90 countries

interested in making new contacts

and cultivating existing ones. The

EFM also screened quite a number of

film productions at various venues

around Berlin, including the Martin

Gropius Building, which also features

a Kinoton Digital Cinema Solution.

Kinoton OfficialSupplier for 2012Berlinale

April-June 2012 TW-33

Azerbaijan’s most famous movie

theatre, the Nizami Cinema in Baku,

the country’s capital city, has been

restored to its original splendor and

more. Dating from 1934, it was

thoroughly renovated and

modernized over a period of more

than three years. Late last year, the

largest film theatre of this aspiring

nation in the Caucasus reopened

for moviegoers as a state-of-the-art

cinema center equipped with

premium D-Cinema and film

technology supplied by Kinoton.

The inauguration ceremony was

attended by Azerbaijan’s President

Ilham Aliyev and his wife, Mehriban

Aliyeva.

The Nizami Cinema complex now

boasts four well-equipped movie

halls, two cafes, a restaurant, and a

variety of shops. The main

auditorium seats 500 in front of a

large 18-meter screen. There are

two more auditoriums with 50 and

80 seats on the floor below. In

addition, a classy VIP screening

room with 24 comfortable leather

armchairs delivers an exquisite

movie experience.

Three of the auditoriums all of

them except the 50-seat hall are

equipped with Kinoton DCS Digital

Cinema Solutions with integrated

Dolby 3D systems for brilliant

stereoscopic cinema. All four

feature Kinoton FP 50 A film

projectors, non-rewinding systems,

make-up tables, and cinema

automation systems. Two FP 50 A

35mm projectors in the main

auditorium allow changeover

operation. The Nizami Cinema

project was supervised and

implemented by Sanus Profesyonel

Ses Ve Iþik Sistemleri Ltd. located

Ýn Azerbeijan. The experienced

and trained Kinoton sales and

service partner did an excellent job

during the entire installation

process.

Kinoton at the Caucasus: Azerbaijan’sMost Prominent Cinema Reopened

The Nizami Cinema owes its recent

conversion into a modern cinema

center to a government initiative to

promote the national film industry.

Works by Azerbaijani filmmakers

therefore feature prominently in its

program, along with movies from

other countries, film weeks,

retrospectives, and festivals.

IMAX Corporation and Cine Star

Cinema Pakistan has announced a

sale agreement to install three

digital IMAX theatre systems into

new construction projects in Lahore,

Islamabad and Karachi, Pakistan,

beginning in 2013. The deal marks

IMAX’s first commercial theatres to

open in Pakistan and brings the

total number of IMAX theatres open

or contracted to open in the Asia

Pacific region to 303.

“One of the key reasons for our

strategic investment in IMAX is the

IMAX SignsAgreement withCINE Star Cinema

company’s success in developing

markets globally, such as Russia,

India and China. We believe IMAX

represents an exciting and

profitable business opportunity

that will set our multiplexes apart

from our competition,” said Faraz

Chaudhry, CEO Cine Star Pakistan.

“With the most immersive cinematic

platform available, coupled with

the best in Hollywood and local-

language content, we look forward

to offering our patrons a movie-

going experience unlike anything

they’ve had before.”

“Cine Star, one of the top cinema

chains in Pakistan with numerous

real estate and film industry assets,

is a strategic partner that shares our

vision of delivering the ultimate

cinematic experience to movie-

goers,” said Richard L. Gelfond,

CEO of IMAX. “We look forward to

expanding into Pakistan; a market

we believe provides exciting

opportunities for growth.”

“Helping Cine Star to bring IMAX to

the Pakistan market has been a

rewarding experience for Harrods

Group because this premier

entertainment experience will soon

be enjoyed by the masses,” said Ali

Sheikh, CEO Harrods Group.

IMAX’s digital projection system

delivers The IMAX Experience and

helps drive profitability for studios,

exhibitors and IMAX theatres by

eliminating the need for film prints,

increasing program flexibility and

ultimately increasing the number of

movies shown on IMAX screens. The

system can run both IMAX and

IMAX 3D presentations.

April-June 2012TW-34

Paul Walker Narrated IMAX FilmAir Racers 3D

3D Entertainment Distribution has

announced that actor Paul Walker

(The Fast and the Furious franchise,

Takers) narrated Air Racers 3D, the

first ever IMAX 3D theatre film

devoted to the fastest race in the

world: the legendary Reno National

Championship Air Races. With

stunning aerial photography filmed

entirely in 3D and unprecedented

access granted to the course, Air

Racers 3D takes audiences into

Nevada’s Valley of Speed to

experience the intensity and high

speed thrills of a sports event like no

other combined with spectacular air

show entertainment.

“We were truly honored and

delighted to have Paul Walker lend

his storytelling talents to this action

packed 3D film, which hit IMAX

theatres in the US beginning this

April,” said Francois Mantello,

Chairman and CEO of 3D

Entertainment Distribution. “His

passion for racing and high

adrenaline sports makes him a perfect

fit for this celebration of aviation.”

“I have always been fascinated by

the sheer power, precision and skills

of these tremendously talented pilots

who race just 50 feet off the ground

at twice the speed of a Nascar race,”

said Paul Walker. “I was further

drawn to the film by its unique

historical view of this legendary sport

and for the educational insight into

the science of flying that it provides.”

“We were delighted to have Paul

Walker be such an integral part of

this film,” said Air Racers 3D co-

directors Christian Fry and Jean

Jacques Mantello. “His ability to

connect with moviegoers of all ages,

and teenagers in particular, as well as

his genuine love of motor sports

unquestionably enhances this

ultimate air show experience.”

Paul Walker’s breakout role was as

undercover cop Brian O’Conner in

the 2001 hit film The Fast and The

Furious. Since then, he has managed

a balance of box office films and

dramatic roles to cement his leap to

leading man status. Walker, who also

made a return in the fifth installment

of The Fast and The Furious

franchise, recently starred in and

executive produced Vehicle 19.

From the pits to the roaring sky, Air

Racers 3D explores the highly

competitive world of air racing

through the eyes of rookie pilot

Steve Hinton as he attempts to fly his

P51 Mustang fighter plane to victory

in the most highly anticipated and

unpredictable race class. Audiences

will discover today’s elite pilots in

their World War II era aircraft as they

fight for position, wingtip to

wingtip, and skim 50 feet (15 m)

above the ground around an oval

course at 500 mph (805 km/h). The

film also features rare archival

footage and performances by many

of the world’s top aerobatic pilots,

including the Royal Canadian Air

Forces Snowbirds.

Produced by 3D Entertainment USA

and Pretend Entertainment in

association with Stereoscope, Air

Racers 3D is directed by Christian Fry

and Jean Jacques Mantello (Sharks

3D, Ocean Wonderland 3D and

Dolphins and Whales 3D) and

features a screenplay by Christian Fry

and Rick Dowlearn. The musical score

IMAX Corporation and Warner Bros.

Pictures have announced that the 3D

family adventure Journey 2: The

Mysterious Island, starring Dwayne

Johnson, Michael Caine, Josh

Hutcherson, Vanessa Hudgens, Luis

Guzman and Kristin Davis, has

released in the immersive IMAX 3D

format on February 10. The New Line

Cinema film was opening in 282

IMAX theatres domestically,

simultaneous with the film’s North

American wide release. It will also

open on 166 IMAX theatres

internationally, 143 of which was

open as of February 10th, with the

additional runs debuting over the

following weeks. Additional

playdates will be added as pending

bookings are confirmed.

Journey 2: The Mysterious Island an

IMAX 3D Experience has been

digitally re-mastered into the

unparalleled image and sound

quality of The IMAX Experience

through proprietary IMAX DMR

technology. With crystal clear images,

laser-aligned digital sound and

theatre geometry that maximizes

field of view, IMAX provides the

world’s most immersive movie

experience.

3D FamilyAdventureJourney 2Relesed in IMAX

is by Christophe Jacquelin. The film is

produced by Christian Fry and Raul

Leckie, and executive produced by

Francois Mantello, John Constantine

and Jeffery Pierce.

April-June 2012 TW-35

IMAX Corporation and Russian

producer Alexander Rodnyansky

announced that the World War II 3D

epic Stalingrad will be digitally re-

mastered into the immersive IMAX

3D format and released in IMAX

theatres in Russia and the CIS in

October 2013. This marks the first

Russian-language film to be released

in the IMAX format.

Directed by Fyodor Bondarchuk and

starring Pyotr Fedorov and Thomas

Kretschmann, the movie recounts the

Battle of Stalingrad, a turning point

in the Second World War in which

Soviet troops fought and eventually

won control over the South Russian

city of Stalingrad (now Volgograd),

occupied by Nazi troops in February

1943. Stalingrad is produced by Non-

Stop Production (subsidiary of AR

Films) and Art Pictures Studio.

As one of IMAX’s fastest-growing

international markets, with 22

theatres currently open and 23 more

in backlog, Russia and the CIS is

home to some of IMAX’s highest-

grossing theatres in the world. In

2011, four of the top 20 highest-

grossing international IMAX sites

were located in Russia and the CIS,

with these sites producing a

combined weighted per screen

average of $2.7 million.

“We are proud that IMAX has

chosen our film to be the first Russian

production presented in the IMAX 3D

format,” said Alexander Rodnyansky,

Producer and Chairman of the Board

of Directors of A.R. Films. “We

believe that by combining the

incredible directional style of Fyodor

Bondarchuk with IMAX’s amazing

technology, we will be able to make

the powerful story of Stalingrad the

ultimate movie-going experience for

Russian audiences.”

“We are pleased to join forces with

AR Films, one of the country’s most

prominent and successful filmed

World War II 3D Epic Stalingrad inIMAX 3D Format

entertainment companies, to bring

this historic film to movie-goers

across Russia,” said IMAX CEO

Richard L. Gelfond. “Russia is one of

our key markets with a tremendousIMAX fan base and we hope that

Stalingrad will be the first of many

Russian local-language films

presented in the IMAX format.”

“Producer Alexander Rodnyansky

and director Fyodor Bondarchuk are

responsible for some of Russia’s most

successful films and we are honored

to be partnering with them on this

epic motion picture,” said Greg

Foster, Chairman and President, IMAX

Filmed Entertainment. “Stalingrad

brings together these talented

filmmakers with a powerful story

that—when presented in IMAX—will

offer Russian audiences the ‘you-

were-there’ experience that IMAX is

known for.”

IMAX Comes toMalaysia

TGV Cinemas (TGV Cinemas Sdn

Bhd) and IMAX Corporation

recently announced the installation

of Malaysia’s first Digital IMAX

theatre at TGV Cinemas’ most

popular multiplex, TGV Sunway

Pyramid. Present to officiate the

launch were IMAX Asia Pacific

Senior Vice President and Managing

Director Don Savant and TGV

Cinemas Sdn Bhd CEO Kenny

Wong.

Opened on 14 December 2011, the

IMAX theatre was also the first to

screen the much anticipated

blockbuster Mission: Impossible -

Ghost Protocol the IMAX

Experience, which opened globally

on 21 December 2011. With a

seating capacity of 292, the IMAX

theatre is a result of the merger of

two cinema halls, sacrificing 252

seats to offer movie goers much

wider legroom and comfortable

seats.

The IMAX Theatre System is touted

to provide cinema goers the world’s

most immersive movie experience

with IMAX revolutionary projection

technology. The IMAXE xperience

combines crystal-clear images,

powerful digital sound and

customised theatre geometry to

create a uniquely immersive movie

experience. The TGV Sunway IMAX

theatre is capable of showing both

IMAX and IMAX 3D presentations

including inspiring documentaries

and Hollywood’s blockbuster

movies. The TGV Sunway Pyramid

multiplex is home to Malaysia’s first

and only IMAX Theatre.

“We believe that TGV cinemas will

take the brand to new heights in

Malaysia with the installation of the

IMAX theatre at its flagship TGV

Sunway Pyramid complex,” said

Savant.”By introducing the first

digital IMAX theatre in the country,

TGV Cinemas has positioned itself as

leaders within Malaysia’s film and

exhibition industry,” said Wong.

“IMAX delivers an unparalleled

immersive experience that no other

digital systems offer and we are

proud to partner with them.” TGV

Sunway Pyramid is also the perfect

location for the IMAX launch with

its timely renovation. The newly

April-June 2012TW-36

Meyer Sound and NTi Audio AG

announced a new cinema meter

option for NTi's XL2 handheld

audio and acoustics analyzer.

Developed through a collaborative

effort by the two companies, the

Meyer Sound cinema meter option

and test script allows cinema sound

technicians to calibrate loudspeaker

systems efficiently and to an

extremely high degree of precision

beyond what is recommended by

basic SMPTE standards using a

small, easy-to-use handheld device.

The cinema meter was initially

created to extend the capabilities of

the XL2 analyzer to facilitate

efficient and accurate alignment of

Meyer Sound EXP cinema systems.

The cinema meter option comprises

a software package which includes

a Meyer Sound test script that can

Meyer Sound andNTi IntroduceCinema MeterOption for AudioAnalyzer

refurbished TGV Sunway Pyramid

multiplex offers a brand new

movie-going experience with the

introduction of the Tiered Seating

options and Beanieplex concepts.

TGV Cinemas will also introduce its

first ever Premier Class Halls, aptly

known as the TGV CLUB which is

has launched in January 2012. With

the introduction of TGV CLUB,

moviegoers can enjoy delicious

food, snacks and beverage in an

exclusive, premium lounge

environment before enjoying their

favorite movie in intimately sized

halls with special, extra plush seats.

Designed with the airlines seating

classes in mind, Tiered Seating

allows patrons to select between

“first class” couple seats, “business

class” individual larger and more

comfortable seats; or regular seats

to suit their preference.

IMAX Corporation has announced

it selected Barco to co-develop

groundbreaking new laser

projection technology for IMAX

theatres. The new IMAX digital

laser projector will present greater

brightness and clarity, a wider

color gamut and deeper blacks,

and consume less power and last

longer than existing digital

technology. This state-of-the-art

solution, which will implement the

patents IMAX exclusively licensed

from Eastman Kodak Co. last year,

will allow IMAX’s entire global

theatre network to show the

highest-quality digital content

available.

Under the 7-year agreement,

Barco will be IMAX’s exclusive

worldwide partner in the

development of digital projection

technology for use in IMAX

theatres. As part of the partnership,

the companies will collaborate to

co-develop cutting-edge, next-

generation laser projection

technology based on IMAX

intellectual property in image

quality, Barco’s unique laser

innovations and the Kodak digital

laser patents, which IMAX will sub-

license to Barco.

The companies expect to deliver a

joint solution to the market in the

second half of 2012 for use in

IMAX’s current backlog and new

system signings. Simultaneously,

the companies will work together

exclusively to manage the

transition from Xenon-based to

high-performance, laser-based

projectors, which are expected to

be deployed in 2013.

“As we continue to expand

globally, it is critical that our

technology partner keep pace with

our ambitions around innovation

and growth,” said IMAX Chief

Business Development Officer

Robert D. Lister.

“We are honored to have been

selected by IMAX as their

worldwide and exclusive digital

cinema technology partner,” said

Wim Buyens, Senior Vice President

of Barco’s Entertainment Division.

“Together, we are committed to

bringing the full weight of our

operational excellence, integrity,

and ability to deliver cutting-edge

technology to bear in order to

redefine the movie-going

experience.”

IMAX Partnerswith Barco toCo-Develop Next-Generation LaserProjectionTechnology

be used for tuning any cinema

system. Test signals can be sourced

through storage in the cinema

system or from the NTi MR-PRO

generator.

"A fundamental goal of EXP cinema

audio is to achieve near-perfect

linearity," stated John Meyer, CEO

of Meyer Sound. "Final calibration

is critical in realizing that goal, and

with the Meyer Sound XL2 cinema

option, technicians now have a

compact and cost-effective tool for

making the extremely precise

adjustments required."

The cinema meter project marks

Meyer Sound's first outside

collaboration on a test and

measurement product; the

company's SIM audio analyzer was

developed entirely in-house.

The Meyer Sound cinema meter

development was facilitated by NTI

Americas president Tom Mintner

along with Thomas Hupp and

Philipp Schwizer on behalf of NTi

Audio, with performance

specifications and test routines

developed by the Meyer Sound

engineering department.

April-June 2012 TW-37

The DAAD Short Film Prize and the

Berlin Short Film Nominee for the

European Film Awards.

This year’s distinguished members of

the International Short Film Jury -

Emily Jacir, one of the Middle East’s

most important contemporary artists;

Sandra Hüller, renowned and prize-

winning actress of the stage and the

screen, and winner of the Silver Bear

in 2006 for her performance in

Requiem (directed by Hans-Christian

Schmid) and Irish-born California-

based film maker David OReilly, who

is known for his innovative

animations and won the Golden Bear

in 2009 for his short film Please Say

Something - award the DAAD Short

Film Prize and Berlin Short Film

Nominee for the European Film

Awards to the following productions.

The DAAD Short Film Prize of the

Artists-in-Berlin Programme of the

German Academic Exchange Service

Translating Musicinto Images andMovements

For the second year running and

underpinning the technology’s

appeal, the ISE trade show’s Rooms

E105 and 106, adjacent to Hall 10

features a 3D Theatre, allowed

visitors to experience the very best

that the technology has to offer.

Having supplied a highly praised

system in 2011, Alcons Audio was

invited once again to provide the 3D

Theatre’s sound system at the

Amsterdam RAI. The event was from

31st January – 2nd February.

The ISE 3D Theatre featured a daily

presentation by Alcons co-founder

Tom Back on the company’s latest 3D

audio technology. Took place each

day, the presentation has

demonstrate how Alcons’ proprietary

pro-ribbon transducer products

enhance the 3D experience.

“There is a real upward trend for

Digital Cinema and Alcons systems

are proving to be very popular,” says

Tom. “With 24-bit resolution and up

to 16 channels of non-compressed

audio, the demands are much

greater in terms of dynamic

capabilities, frequency response and

transient response.”

Alcons pro-ribbon transducer

technology, in combination with

developments like array technology

and coverage control, have brought

remarkable width and depth to the

imaging of stereo and multi-channel

content, making it possible to deliver

the best and most lifelike experience

to the audiences of 3D shows.

“Alcons R&D department took up

the challenge of producing a cinema

sound solution that allows a non-

compressed 1:1 reproduction of a

movie’s soundtrack, from the most

delicate vocals to the biggest

explosion,” adds Tom.

The ISE 3D theatre is collaboration

between Alcons Audio, DVS (server

and content), Image Screens

(projection screen), Infitec (3D

glasses) and Lang AG (projection. It

Alcons Returns to ISE 3D Theatrefeatures a 5.1 surround system, based

on an Alcons CRMS (15" LF, 8" MF, 4"

pro-ribbon HF) front system and 12

CRMS surround speakers (which

feature 8" MF and 4" pro-ribbon HF).

Powered and controlled by ALC2 and

ALC4 amplified loudspeaker

controllers and DDP digital drive

processors, all channels feature

‘studio-grade’ AES/EBU digital-to-

analogue conversion. Alcons has

shown the latest in its industry-

leading systems on the show floor in

Hall 6 on Stand N132. Products on

display will include the QR36 full

range line-source column, the LR7

micro line-array; BC322 all-carbon

cone, cardioid, compact, self-

contained subwoofer; CR2 cinema

system; as well as some exciting new

developments in its cinema range.

(DAAD) goes to director Trevor

Anderson from Canada for his film The

Man that Got Away. This musical tells

the life story of the filmmaker’s great-

uncle, who was from the Canadian

provinces. Uncle Jimmy knew already

as a kid that he was gay, and didn’t

like how this felt in a world where his

brothers were mechanics and

outfielders on the local baseball team.

And so he left home for the big city

where life whisked him away. The Jury

explains its choice as follows: “This

eccentric film employs outstanding

music and choreography to create a

hilarious, personal narrative full of

emotion.” In 2009, Trevor Anderson

also participated in the Berlinale Shorts

with his film The Island. The DAAD

Short Film Prize includes a grant for a

three-month stay in Berlin. Other

scholarship holders participating in the

DAAD Artists Programme in the

category film are or were Avi

Moghrabhi from Israel, Xiaolu Guo

from China, Asghar Farhadi from Iran

and winner of the Golden Bear for his

feature Jodaeiye Nader az Simin (A

Separation) in 2011. The nomination

for the best Berlin Short Film Nominee

for the European Film Awards, goes to

the film Vilaine fille mauvais garçon

(Two Ships) by Justine Triet from

France. The production is the first

fictional film by this visual artist and a

reflection on the big city lives of two

people in their thirties: Thomas is a

young artist who is broke and single.

Laetitia is an attractive, intelligent

young woman in high heels. A dance.

An invitation. The pair spends the

night together, running back and

forth between hospital and bed,

between a lightness and high drama.

They are the bright stars that give

paintings their depth. The Jury

explains its choice as follows: “An

attempt to tell the story of two solitary

figures trying to find a moment of

lightness amidst the constantly

interrupting weight of reality around

them. Using documentary-like

techniques the director brings us so

close to the characters that we believe

they are real.”

April-June 2012TW-38

Dolby Laboratories, has announced

that it has supported the 62nd

Berlin International Film Festival as

the official supplier of digital

cinema equipment and services,

including Dolby 3D.

Berlinale 2012 is recognized as the

world’s largest publicly attended

film festival, attracting more than

19,000 accredited film professionals

and hosting screenings for an

anticipated 300,000 members of the

public. The 11-day event has seen

the world premiere of 18 films in

competition at the festival, so

pristine presentation is vital, as Dr

Reiner Chemnitius, Supervising

Engineer of the Berlinale,

emphasizes: “Every director in

competition wants to ensure that

their work is seen exactly as they

intended and so we were pleased

working with the Dolby Content

Services Group to ensure this. They

offer a broad range of expertise

and technical solutions, and are

dedicated to achieving the highest

quality of presentation, so they are

an essential part of the team

supporting the festival.”

About 1,600 of the 2,000 screenings

scheduled for this year’s Berlinale

digital cinema presentations, shown

on up to 50 different screens. To

ensure trouble-free operation, the

festival has worked closely with

Dolby to establish a network of 37

digital cinema servers at the festival

venues, as well as five Dolby high-

speed storage systems to enable a

24-hour transfer connection into

the screening booths. The Dolby

team has also been on hand to

provide technical support for the

largest digital cinema presentations

during the festival, including those

in competition for the prestigious

Golden Bear and Silver Bear awards.

Two 3D movies were screened

during the 2012 festival, following

62nd Berlinale Set for More DigitalScreenings than Ever Before

the successful 2011 screening of the

festival’s first presentation in Dolby

3D before an audience that

included German Chancellor

Angela Merkel.

“The Berlinale is our busiest film

festival of the year,” said Julian

Pinn, Director of Distribution

Services at Dolby, “not least

because so many of the screenings

are open to members of the public.

With such a busy schedule, it is vital

for the festival organizers to know

that they can rely on first-class

technical support, and we at Dolby

are glad to help.”

“The growth of digital cinema has

seen the technical needs of the

Berlinale change dramatically over

the past few years,” said Festival

Director Dieter Kosslick. “Therefore,we are delighted to continue our

relationship with Dolby. It is a

relationship built on mutual trust,

and we really appreciate the quality

and flexibility of the service they

provide to the festival year after

year.”

The inventor Ray Dolby

revolutionised sound in cinemas

and contributed greatly to making

films and even the TV viewing the

amazing acoustic experience we

know today. By installing multiple

loudspeakers and applying multi-

channel technology, Dolby

surround sound introduced viewers

around the globe to the feeling of

being fully immersed in the

moment.

At the 62nd Berlin International

Film Festival (Berlinale), Ray Dolby

Berlinale toHonour DolbySurround SoundInventor

was awarded the Berlinale Camera

in recognition of his work as one of

the most important engineers and

inventors in the film industry on

February 16, 2012. Berlinale camera

is a trophy modelled on a real

camera, with 128 components.

From swivel head to tripod it has

been crafted and assembled with

great artistry, and many of its silver

and titanium parts are movable.

Ray Dolby founded Dolby

Laboratories in 1965 based on a

simple idea that came to him as a

way of solving the issues around

the hissing sound on audio tape.

This was the birth of Dolby A-type

noise reduction for the professional

recording market, followed three

years later by Dolby B-type noise

reduction for consumer products. In

the 1970s, Ray Dolby turned the

company’s attention to cinema,

transforming the entertainment

experience forever. In 1989 his work

in the field was recognised with an

Oscar for his contributions to the

film industry; and in 2003, an Emmy

Lifetime Achievement Award. Ray

Dolby served as a member of

Dolby’s Board of Directors from

1965 until his retirement from the

Board in 2011, although he remains

Director Emeritus, while his son

David Dolby has been involved in

the management of Dolby

Laboratories for a number of years,

and since 2011 has been a member

of the Board of Directors.

Ray Dolby’s first surround sound

technology, Dolby Stereo

introduced in 1975, was quickly

adopted by movie theatres

worldwide, as films like STAR Wars

(1977; directed by George Lucas)

and Close Encounters of The Third

Kind (1977; directed by Steven

Spielberg) were released in the new

Dolby sound format. Dolby Digital

surround sound followed, which

also later became the standard for

home cinema audio with the

introduction of DVD.

April-June 2012 TW-39

UFO Moviez India Ltd and Dolby

Laboratories, Inc. (DLB) has

announced a collaboration to bring

a major transition in the audio

experience across UFO’s digital

cinema screens in India, bringing

high quality cinematic surround

sound to UFO cinemas across the

country.

Dolby will assist UFO with setup for

the digital encoding and mastering

workflow for UFO Moviez and

provide UFO-Dolby co-branded

CP750 cinema processors, delivering

a complete end-to-end digital

sound process and helping to

provide an authentic audio

experience in the theatres.

Currently, sound in many digital

cinemas in India goes through

multiple conversions from digital to

analog and back, resulting in loss in

sound quality at each conversion.

Additionally, audio alignment and

calibration of theatres is planned to

be conducted, ensuring a premium

entertainment experience for

movie-goers in UFO cinemas.

Sanjay Gaikwad, Founder and

Managing Director, UFO Moviez

India Ltd said, “We have invested in

bringing surround sound from

Dolby to our digital cinema chain

in India because we are committed

to delivering innovative technology

that adds value to the

entertainment experiences for our

viewers.” He added, “While we

have already enhanced the viewer’s

experience by providing digital

quality picture to cinemas across

India, the audio experience is still in

the analog format. This partnership

will complete the digital cinema

experience by providing digital

surround sound, on par with the

best facilities in the world. The

UFO-Dolby co-branded audio

processors will also be future-

proofed beyond standard 5.1

GDC Technology (“GDC Tech”), a

world leading digital cinema

solution provider, is pleased to

announce that it has secured a

contract for the sale of 200 digital

cinema servers from Orange Sky

Golden Harvest Cinemas (China)

Co., Ltd. (“OSGH Cinemas”). The

contract will witness GDC Tech’s

highest quality digital cinema

servers installed at OSGH’s

multiplexes throughout mainland

China.

UFO Moviez and Dolby to Bring DolbySurround Sound to UFO Cinemas

surround sound, as filmmakers

migrate to 7.1 surround sound,

which is simultaneously happening

around the world.”

“At Dolby it has been our constant

endeavor to make the

entertainment experience richer,

more realistic, and immersive.

Dolby has constantly helped

filmmakers and sound designers to

realize and preserve their creative

intent, so that cinema going

audiences can experience their

favorite movies as intended by the

content creator,” said Mahesh

Sundaram, Vice President, Asia

Pacific, Dolby Laboratories. “We are

excited to be working with UFO

Moviez to bring Dolby Surround

Sound to UFO’s Digital Cinema

network in India. The collaboration

intends to expand the footprint

and reach of premium cinema

entertainment in India by

delivering significant improvements

that enhance the experience in

theatres across the country.”

Orange SkyGolden HarvestPurchases 200GDC DigitalCinema Servers

OSGH Cinemas is a subsidiary of

Orange Sky Golden Harvest

Entertainment (Holdings) Limited

(“OSGH”, or the “Group”). In 1977,

the Group opened its first cinema in

Hong Kong. Since then, the Group

has committed to bringing the best

cinematic experience to its

audiences. Eager to expand into the

China market, the Group has built

premium flagship cinemas in

Shenzhen in 2005, touting a box

office that has ranked top three

among cinemas nationwide since

2006. Since 2010, the Group has

successively built and has been

operating numerous premium

cinemas in Beijing, Guangzhou,

Chengdu, Chongqing, Wuxi, Hefei,

Wuhu and other cities. Today the

Group operates 31 multiplexes with

225 screens, and is leading China’s

film market towards a world-class

standard.

“GDC Tech and OSGH synergistic

relationship commenced in 2007

when we started using GDC

servers.” Dr. Qiu-Sheng Xie, CTO of

OSGH remarked, “GDC’s powerful

and feature-rich servers are easy to

use, and are supported by excellent

after-sales service, so making GDC

our first choice was an easy

decision, and results have enabled

us to forge ahead in developing the

OSGH brand.”

“OSGH has a solid reputation in the

industry for its relentless pursuit for

excellence and commitment to

bringing the best theatrical

experience to moviegoers.” Dr.

Man-Nang Chong, founder and

CEO of GDC Tech said, “Chosen

again by such a renowned exhibitor

as OSGH Cinemas proves that GDC

Tech is a trustworthy partner. This is

a massive deal for us from a

strategic perspective in the China

market, and we appreciate OSGH’s

confidence and patronage.”

April-June 2012TW-40

World-famous guitarist Joe Satriani is

featured in Satchurated is the first

concert film ever to be released in 3D

and Dolby Surround 7.1. The 3D Blu

ray was release in April and encoded

in Dolby TrueHD, delivering a studio

master quality 7.1-channel surround

sound experience to Satriani fans’

home theatres.

“We carefully selected and placed

microphones within the Metropolis

in Montreal, and the use of the 7.1

surround palette enabled us to

capture the entire essence of the

concert event from the sound of the

onstage instruments to the presence

and dynamics of the concert hall,”

said director and producer Pierre

Lamoureux. “The result is a dramatic

7.1 experience that translates

beautifully for audiences looking to

experience the film in Dolby

Surround 7.1 at the movies or in

Dolby TrueHD lossless 7.1 surround

sound at home.”

Dolby plays a critical role in ensuring

that the artistic intent of the audio

mix is maintained through the

entertainment ecosystem, from the

concert stage to the movie theatre

and into the home theatre. The

soundtrack makes use of the

improved panning, sound

localization, and enhanced

definition provided by Dolby

Surround 7.1’s eight channels and

four surround zones to deliver an

unforgettable experience.

Moviegoers will also get to

experience Satchurated: Live in

Montreal in select Dolby 3D

technology-enabled theatres.

Satchurated was filmed live on the

Wormhole Tour in support of

Satriani’s new album, Black Swans

and Wormhole Wizards, at the

Metropolis in Montreal, Canada, on

December 12, 2010. Eight cameras

captured the sold-out concert in

both 2D and 3D.

Satriani is among the few artists in

history to release a 3D concert film.

He is a leading force in rock music,

having been voted the No. 6 All-

Time Best Guitarist by Guitarist

Magazine (UK) and Best Guitarist of

the Year three times by Guitar World

Magazine. In his career, Satriani has

sold more than 10 million copies of

his studio and live recordings

worldwide, has been nominated for

15 Grammy Awards, and has sold

more than 4 million concert tickets.

First in World to Be Recorded in3D and Dolby Surround 7.1.

D3D Cinema has announced that its

latest giant screen digital 3D theatre

conversion is underway at the

Putnam Museum in Davenport, Iowa.

Twin state-of-the-art Barco 4K

projectors and industry-leading

Dolby Digital 3D technology will

replace 15/70 film projectors as the

Putnam, which plays host to the

largest screen in the Quad Cities area,

becomes the newest member of an

ever-growing list of theatres to make

the switch to digital in partnership

with D3D Cinema.

“We’re very pleased that 4K digital

technology is now available making

it possible for the Putnam to be one

of the first giant screen theatres in

the country to take advantage of this

advanced technology,” said Kim

Findlay, Putnam President. “We have

always been devoted to providing

our visitors with the highest quality

movie experience anywhere. 4K

digital technology allows us to

maintain our quality standards for

the giant screen along with giving us

more flexible programming

opportunities. The movie and

documentary industry is changing

rapidly, and to continue to succeed

in giving our visitors the most

dynamic experience in the current

climate, we are excited to go digital.”

“We are thrilled to be partnering

with the Putnam Museum in

Davenport,” said Derek Threinen,

Vice President of D3D Cinema. “It’s

never been easier to convert to

digital 3D and it’s great to see more

museum theatres like the Putnam

take advantage of the superior

picture and sound quality digital

offers. Quite simply, we’re delighted

to be able to help the Putnam

Museum and its visitors experience

this new era of immersive cinema.”

D3D AnnouncesGiant ScreenDigital 3DConversion

April-June 2012 TW-41

Christie-partner CLACO Continues

Digital Conversion for Megaplex

Christie, a global leader in visual

display technology, is providing the

4K DLP Cinema projection solution

at a new screen at the Megaplex

Theatres at Jordan Commons, which

debuted on March 15 with VIP

seating, table service and full

reclining chairs as part of

Megaplex’s transition to complete

digital projection throughout its

chain. Megaplex, a leading

independent cinema chain in Utah,

is converting all of its screens to

digital projection, drawing from

the Christie Solaria Series. The new

projectors, including the Christie

CP4230 driving the VIP experience

at Megaplex Jordan Commons, are

being installed by CLACO

Equipment and Service.

Specific to Megaplex Theatres at

Jordan Commons, Christie’s CP4230

was chosen to deliver massive, crisp

resolution of 4096 x 2160 pixels,

with 34,000 lumens brightness, to

make 3D movies come alive. This is

in keeping with Megaplex’s

emphasis on providing an industry-

leading viewing experience for its

guests. It is this commitment that

led the chain to evaluate various

suppliers for digital projection in

2011, and then to choose Christie

equipment and CLACO to deliver it.

Noted Eric Butterworth, sales

manager at CLACO, “Christie was

easily our recommended choice for

Megaplex. The combination of

Christie Digital Cinema projectors,

Christie’s excellent customer service

and 24-hour tech support, and their

Christie Digital Xenolite Lamp

(CDXL) technology were just some

of the reasons why we went with

Christie.

Christie’s warranty and service plus

packages provide Megaplex with

peace of mind across its theatre

chain. These services range from

quick access to spare parts, on-site

preventative maintenance/

emergency service, 24/7/365 remote

monitoring and technical phone

support from Christie’s Network

Operations Center.

Christie solutions installed or to be

installed by CLACO at Megaplex

Theatres include the CP2220,

CP2230, Christie ACT (automation

controller) and CP4230, as well as

the Gefen Scaler scaling and

switching unit.

Megaplex Chain Stands Out Among

Independent Exhibitors.

The Megaplex Theatre chain is

known for innovative architecture

and commitment to the community.

The flagship Megaplex 17 at Jordan

Commons in Sandy, Utah, was builton the former site of Jordan High

School and the lobby was designed

to look like downtown Salt Lake

City in 1870. In 2002, it was North

America’s highest grossing theatre

for the opening weekend of “Harry

Potter and the Chamber of Secrets.”

Less than a year later, the theatre

sold over 120,000 tickets for “Pirates

of the Caribbean: The Curse of the

Black Pearl,” making this location

the top-grossing movie theatre in

the world for this film.

With six multi-screen complexes in

Utah, Megaplex Theatres was

founded in 1999 by the former

owner of the Utah Jazz, Larry H.

Miller, and is now operated by his

son Greg Miller, CEO of the Larry H.

Miller Group of Companies. Two of

the locations share screens with

nearby museums where museum

content is viewed during the day

and Megaplex offers first-run

movies in the evenings. Many

locations offer reserved seating, lots

of additional food options and D-

box (moveable) seating.

Megaplex Theatres Launches VIPExperience with Christie Projectors

Empire Theatres celebrates the

completion of its digital cinema

conversion, the first cinema chain to

achieve this milestone in Canada.

Barco was the exclusive provider of

DLP Cinema projectors to Empire,

providing a wide range of models to

ensure the perfect match for every

screen.

Empire Theatres operates 50 theatres

across Canada, in eight of ten

provinces, from Newfoundland to

British Columbia. To date, 359 screens

have been converted from 35mm to

digital projection, with 40 percent

configured for 3D and several

optimized for “Empire Extra”

auditoriums with wall-to-wall, wrap-

around screens. Dean Leland,

Vice President of Studio & Media

Relations for Empire Theatres

Limited, comments: “The digital

conversion means that our guests will

benefit from the best and brightest

picture presentation each and every

time they take in a movie with

Empire Theatres and enables us to

provide a premium guest experience

through our Empire Extra

auditoriums.

Empire TheatresFirst in Canada toComplete DigitalCinemaConversion

April-June 2012TW-42

Christie ProvidesDigital TheatreProjectors toSierra Cinemas

Christie is proud to announce that

they will be providing theatre

projectors to the 4-screen Sierra

Cinams in Grass Valley, California. The

theatre will be equipped with a

CP2000-ZX projector, which features

9000 ANSI lumens, a 2000:1 contrast

ratio, and a 2K HD (2048 x 1080)

resolution. “We chose Christie

because we believe in the quality of

their products. We appreciate the

flexibility built into their projectors –

the ease in using the menus, and

settings that can be adjusted quickly

and easily,” said Michael LaMarca,

general manager of Sierra Cinemas.

“As well, we opted for the Christie

VPF Program because it fits our

unique circumstances, allowing us to

fast track our digital cinema

conversions.”

The two main goals of Christie’s HFR

activities are to help the industry

develop the best HFR content and

the best delivery system for HFR

content. The first goal involves

assisting leading-edge filmmakers

and post-production companies in

perfecting HFR movie creation, so

the industry has the most engaging,

entertaining content possible. The

Christie’sCommitment toHFR

Joy TheatreReceives DigitalProjection

The Joy Theatre is one of the few

remaining example of a post-war

movie palace. The theatre

second goal is to assist exhibitors in

showing these 3D HFR movies in all

their glory. To these ends, Christie is

helping create the standards for 3D

HFR movies through formal and

informal technology-development

alliances with major producers and

directors, post production facilities,

studios and technology partners. On

the exhibitor’s front, Christie provides

one-stop shopping for all the

hardware, software and services that

enable exhibitors to deliver a

filmmaker’s vision in stunning 3D

HFR quality.

QSC AudioIntroduces NewDCS SurroundLoudspeakers

QSC Audio Products announces the

introduction of an all new DCS

(Digital Cinema Speakers) surround

loudspeaker range for cinema, which

offer improved audio performance

and styling to look and sound best

for any size cinema installation. All

four sleek new models feature higher

output capability and smaller overall

size than the former models in the

series.

The new SR-1030 is the most

powerful surround speaker in the

series, designed to deliver

outstanding performance for the

largest cinemas. It uses a high-output

10" woofer and the largest ever

compression driver in a surround

speaker to deliver output

comparable to a larger 12" system

without the size penalties.

The new SR-1020 is designed to offer

affordable high performance for

medium to large cinemas. The 10"

woofer and horn provide extended

bass and smooth coverage while

outperforming larger and more

expensive alternatives.

The new SR-8200 is proof that high

performance comes in smaller

packages. This compact system

outperforms much larger systems

while being cost-effective for

medium to small cinemas. The 8"

woofer is combined with the same

HF driver and horn from the SR-1020

to produce a compact 8" system that

delivers big sound.

Finally, the new SR-8101 is a direct

replacement for the SR-8100 and is

the most affordable surround

speaker for small rooms. The 8"

woofer and dome tweeter provide

wide coverage and smooth high

frequency response from the

premium soft-dome tweeter.

Surround channels draw a cinema

audience into the action by creating

an immersive multidimensional

soundscape, and takes power,

fidelity, and coverage to accurately

create that experience. That's why

DCS surround loudspeakers are

purpose-built for cinema

deployment. Quality MDF enclosures

deliver extended bass response over

wide coverage areas. And high-

output drivers project cleanly to

every seat. And the DCS line features

practical details, including pre-

installed speaker-side brackets to

allow for fast and easy mounting and

pair packing to reduce freight costs.

April-June 2012 TW-43

Christie announced ‘Christie Duo’,

a new dual–projection integration

kit as a solution intended to give

exhibitors the ability to create and

deliver their own, branded

premium theatre experience.

The PremiumTheatreExperiences to bePowered by NewChristie DuoSolution

“Exhibitors have invested heavily

in building their own brand in

their respective markets. With

Christie Duo, we are providing an

opportunity for our exhibitors and

our business partners to enhance

their offerings with a premium

experience,” said Don Shaw,

director, Product Management,

Christie Entertainment Solutions.

“Now any exhibitor can deliver the

brightest 2K or 4K movie

experience in 2D or 3D on the

largest screens. We’re excited to

give exhibitors a solution to help

them further leverage and market

their own premium brand to

today’s sophisticated movie-going

audiences,” he added.

The Christie Duo integration kit can

be purchased with either 2K or 4K

Christie Solaria Series digital

cinema projectors or as a

standalone integration kit for

Christie customers who already

have Christie projectors, the

world’s best-selling DCI-compliant

digital cinema projectors with

more than 28,000 shipped and

installed.

The integration kit features the

choice of two configurations: a

compact and convenient stacking

system for 3D installations, or a

new, innovative physical

configuration that perfectly aligns

every pixel on the screen for

optimal 2D and 3D presentations.

Coupled with automated features

that easily calibrate, align and

optimize the images from both

Christie Solaria Series 2K or 4K

digital cinema projectors, Christie

Duo delivers a completely seamless,

premium movie experience for the

world’s largest screens. When

combined with world-leading 3D

systems, exhibitors can achieve 3D

image brightness levels up to twice

as high as what can be achieved

using the current large-format

market leader at a significant

overall cost saving.

announced that it has received a

digital upgrade with the help of PSX

Audiovisual Technologies. The three

screen theatres had their old film

projectors switched out for three

new Digital Projection TITAN 1080p

Quad 3D projectors. This particular

model features 16000 ANSI lumens, a

2000:1 contrast ratio, and full HD

(1920 x 1080) resolution. The

projectors will shine onto three

Draper screens that measure 27 feet,

diagonally. “When the theatre was

built in 1947, movies were the big

game in entertainment,”

commented Sandie McNamara,

director of marketing for the Joy

Theatre. “As part of the planning

process, consumer wants and needs

were taken into account.”

McNamara continued,

“Entertainment today means so

many things live music, comedy,

movies, presentations, dinner there

is a tremendous amount of

competition.” Today, the Joy is

primarily using the projectors to

display IMAG events and Scala-

managed digital signage content.

But this is only the beginning of

their plans, as, per Ed Vigueira of

PSX, “DPI’s Quads allow the Joy

Theatre to wholeheartedly pursue

live video concerts, film festivals,

traveling exhibits and a world of

other future growth opportunities.”

In December 2011 Christie

successfully demonstrated a dual-

stacked 4K digital cinema projection

solution, displaying true DLP

Cinema 4K resolution in 3D with

incomparable brightness levels of

68,000 ANSI lumens, using

two Christie CP4230 digital cinema

projectors. Using Christie Duo

technology, the demonstration was

conducted in a theatre in Shanghai

to leading cinema owners and

exhibitors in China. Attendees

experienced a presentation

featuring unmatched brightness,

sharpness and superior 3D images —

generating an enthusiastic and

welcoming response from industry

attendees.

“We have put our trust in a Christie

Duo system to dazzle audiences in

our world-famous ArcLight

Hollywood Theatre,” commented

Joe Miraglia, director of design,

construction and facilities at

ArcLight.

Marcos Araújo, director, Grupo

Araújo de Cinemas, Brazil,

concurred, “Affordability, without

sacrificing quality, is paramount for

us and we are pleased to be

partnering with Christie to bring the

premium theatre experience to our

customers throughout Brazil.”

Christie dealer Kelonik Transisom

installed Christie Duo at Grupo

Araújo de Cinemas. Noted Isaac

Besso, director, Kelonik Transisom,

“We pride ourselves on introducing

the newest and most innovative

products to our clientele, reflecting

our desire to provide maximum

customer service to them, and

certainly the Christie Duo solution

fits perfectly with this strategy.”

EarlyDemonstrationsand InstallationsConfirm MarketAcceptance

April-June 2012TW-44

Global trends on cinema take their

cue from the world’s biggest market

by financials, USA. Just for the

record, North America (USA, Canada)

box office is US$ 10 billion out of an

estimated global total of US$ 32

billion. By contrast, though India

releases the largest number of movies

annually, close to 800, its box office

just crosses US$ 3 billion.

Since the CinemaCon show that was

held in Las Vegas this April, the

trends that were nervously voiced

and are gaining strength, across the

world, could end up destabilising the

exhibition side of the business. While

most are to do with the government

or the producers, there are some that

are from the exhibitors themselves

and akin to shooting oneself in the

foot!

Shorter time windows totelevision releases

Producers want to make the most of

their investment in the shortest time

possible. Every investor would want

Global Trends thatThreaten CinemaExhibition – Sandeep Mittal

to do this but in the world of movies it

could harm cinema owners - both

multiplexes and single-screens. After

initial collections of the first and

second weekends, producers begin

to eye television rights, whether

cable or satellite. Even the time

window to bluray/dvd is being

shortened.

On top of all this comes Premium

Video-On-Demand (P-VOD) which is

a subtle variation of television rights

wherein major satellite broadcasters

(like Airtel, Sun, TataSky, Videocon in

India) offer recent releases at a

premium. For as low as INR 49 (less

than US$ 1), viewers can watch a

blockbuster released a few weeks ago

from the comfort of their favourite

sofa!

In the interest of their business,

cinema exhibitors need to get

together and lobby both with the

producers and the government to

keep the time window as large as

possible.

Lopsided calendar of releases

Producers love to release their movies

around the holidays whether it is

summer vacation, extended

weekends, national holidays or

religious festivals. On the other hand

there are no major releases around

major sporting events like IPL, World

Cups etc. Thus exhibitors have to

grapple either with a flood of releases

or a famine of no releases that makes

it impossible to balance and optimise

the operations. Cash flows take a hit

and operating the theatres becomes a

challenge.

Spaced out movie releases can also be

a success to the business and that is

what producers need to explore. In

USA, the late March release of ‘The

Hunger Games’ this year was a

success though the release was not

around a major holiday.

Producers and exhibitors need to sit

down on this one and find the

middle path.

Digital Cinema

Unlike USA where 70% of the 40,000

screens (all figures approximate and

based on industry sources) are

digital, Asia boasts of cinemas right

from the arc-carbon age to xenon

consoles to digital. Only some are

digital and such digital screens are

mainly concentrated in the major

• S P E C I A L F E A T U R E •

April-June 2012 TW-45

cities of the developed regions of

Asia. Everyone knows that digital is

the future and accepts that the

change is inevitable … sooner than

later. However, business lethargy has

slowed the process of conversion.

In contrast, Hollywood’s Fox has

announced that from 2014 its

releases will be all digital with no

film prints to distribute. Other major

movie producing centres like Hong

Kong and Mumbai could follow suit

say by 2015. Audiences could then be

denied the best of fare if they are

regions that falls under the shadow of

theatre stagnation. What this means is

that digital is no longer a luxury but a

time-boxed necessity. It is about the

very survival of theatres and the

sooner the Asian exhibition industry

can get its act together the better for

everybody.

Here all stakeholders from corporates

to banks, from producers to

exhibitors, government and

consultants need to develop a local

model of business development that

helps ease and quicken the transition

from analog to digital.

3D Cinema

While Asia still grapples with 2D

digital cinema, 3D is disrupting the

business model in the rest of the

world. And the same problem could

wash up here too. Initially digital 3D

was welcomed by audience but with

historical frame rates of 24fps and

low-light conditions on screen there

have been frequent complaints of

fatigue and disinterest. So audiences

have begun to shun 3D in favour of

2D.

It will take a couple of years for the

next technological development,

High Frame Rates (HFR) of 48~60fps

per eye coupled with laser projection,

to become a reality. The demos of HFR

and laser projection at CinemaCon,

and other shows since,have been eye-

popping. At Ceasar’s state-of-the-art

Colosseum theatre where CinemaCon

held all movie screenings and demos,

the helicopter whirring over the

audience was very real and

mesmerising.

So how does exhibition currently

retain audience interest in 3D

movies whose releases are increasing

by the day? Exhibitors need to tell

producers to go slow on 3D till

technology improves and they can

upgrade their cinemas. And herein

lies another rub. Those who invested

in 2k digital cinema are now

expected to upgrade to 4k and

those who opted for 3D would now

have to upgrade to 3D HFR. That

apart, the xenon lamphouse may also

have to give way to laser to up the

light on screen from the current 4fl

for 3D to the usual 12fl at which 2D

projects... And mind you, the industry

standard is 16fl!

So who picks up the upgrade tab?

Time for another round of

brainstorming?

Ticket pricing

Though it is cheaper to see a movie

than experience a 2-hour rock

concert or a dance show, yet high

rates of tickets remains a perception

with movie-goers. What nobody is

realising is that government

taxation maybe equally responsible

for this perception, especially in

countries like India, since

entertainment tax (ET) is a major

component of the final ticket

pricing.

Given the high cost of initial

investment and the maintenance

expenses, ticket prices should

actually be higher than what they

currently are for theatre owners to

announce healthier annual

accounts.

Not also helping is the internal

competition between multiplex

owners wherein there is an

oversupply of cinema seats in a

given catchment area. Again its for

cinema owners to sort it out

amongst themselves and also lobby

with the government for lower

taxes.

Theatre maintenance

While emerging markets of Asia/

Europe, like Russia, India and China,

continue to build new cinemas, it is

important that cinema owners and

operators take care and ensure highest

standards of maintenance of their

existing properties. Throughout Asia,

one can notice stained carpets,

frayed seats, ineffective air-

conditioning, smelly toilets, broken

stair nosings etc.

Exhibitors must not take their business

for granted and must not depend only

on producers and distributors for their

business. They must also not blame all

the ills of the industry on government

or the producers. This is myopic and

self-defeating. Instead there must be

honest introspection and whatever

startling facts emerge must be

tackled by all.

It is a stringent regimen of

maintenance that will ensure theatres

remain the favourite destination of

gen-next... an attractive destination

of entertainment... that compels

them to return often.

• S P E C I A L F E A T U R E •

April-June 2012TW-46

Movie theatres are inherently awesome

places to be on their own, evoking

memories of past big-screen

adventures and nights spent eating

popcorn and candy for supper. For a

new film festival in Thailand called

Film on the Rocks Yao Noi, an

outdoor cinema was constructed in

the most unlikely of places: right on

top of the water. And it just might be

the most amazing place you could

ever want to watch a movie.

The amazing venue is called the

Archipelago Cinema and is tucked

away inside a bay surrounded by

towering island rocks and lush jungle

plants. It’s a natural paradise, and it

just happens to be the perfect spot

for a floating movie theatre. The

lagoon itself is shallow enough that

it turns into a watery beach during

low tide. Once the tide shifts, the

ocean once again fills the area.

Using recycled wood and other

materials, a giant modular raft was

constructed to hold the audience.

Viewers relax on large cushions and

enjoy the sounds of the ocean as well

as the film on the screen in front of

them. The rafts are loosely held

together and then anchored to the

bottom of the lagoon. This allows

the ocean to push and prod the

structure while keeping it within a

The Floating Theatre -Coolest Place on Earth

reasonable viewing angle of the

screen.

The massive display and projector are

secured more firmly to the bottom of

the bay, which is probably a good

idea considering that these structures

house all the important electrical

components and wouldn’t take

kindly to a dip in the ocean. The

viewing raft is designed to be

portable, and will likely be used for

other events in the future as well.

Showings only take place during the

evening, and special ambient lighting

is used to bring the surrounding

island scenery to life. With all the

amazing eye candy to be seen, it’s a

wonder anyone was actually able to

focus on the movie playing, but those

who attended have spoken very

highly of the experience, which only

serves to fuel our jealousy even

further. Of course, 2012 was just the

first year for this amazing film festival,

so we can only imagine what wild

things the foundation has planned

for the future.

• I N S T A L L S •

April-June 2012 TW-47

Another area of concern to more

experienced projectionists is the

secondary or emergency lighting.

These lights are on all the time the

public are in the building (even in

the auditorium when a film is being

shown,) and so are often referred to

as maintained lighting. This

distinguishes them from some forms

of emergency lighting that only

operate if there is a mains failure.

The secondary lighting is normally

run from the main electrical supply

during normal operation and

automatically changes over to

batteries when the main supply fails.

There are basically two types of

battery system in use today.

The Floating system: The charger,

batteries, and load are connected in

parallel. The charger supplies the

load current continuously whilst the

batteries remain in a charged

condition. The batteries are capable

of immediately supplying the load

current should the main fail.

Projection Series-XXXV

SecondaryLightingMaintenance

• C I N E M A S Y S T E M S •

The Trickle Charge System: The

batteries are maintained in a fully

charged condition by the use of a

charger which delivers a continuous

small current to the batteries, but

does not increase the voltage to such

a point that they become

overcharged and give off excessive

gases.

The floating system delivers D.C. to

the lamps all the time, and the trickle

charge system uses A.C. to supply the

lamps until an automatic switch or

“contactor” changes over to the D.C.

from batteries during a mains failure.

Depending on the type of

installation, the system can be at a

lower voltage (110 volts) than the

main supply (240 volts). In this case,

different voltage lamps must be

used, and the maintained AC voltage

is supplied by a transformer, often

mounted in the battery charger unit.

Secondary lighting often uses low

wattage lamps to conserve power

when being run from batteries. You

should not fit higher wattage lamps

as you may overload the circuit.

Never use low energy lamps, as these

require A.C. and would not be lit

when run off the D.C. battery supply.

In some situation you may find two

lamps together, for example in EXIT

boxes. In these cases the two lamps

must be clearly marked, indicating

which is ‘primary’ and which is

‘secondary’ and their respective

voltages.

Before a cinema is allowed to open

its doors the secondary system must

be fully operational. The task falls

normally on the projectionist to

ensure that the system is fully

functional before the public are

admitted. These checks fall into two

parts, firstly to ensure that no lamps

have failed, and secondary that the

batteries are capable of delivering

the required power.

The first task is easily done as often

one of the many duties of a

projectionist is to do a daily lamp

April-June 2012TW-48

check on all the lighting in the

building, and replaced any failed

lamps, particularly those in public

areas.

The second task is often overlooked

as the batteries are usually remote in

a room of their own; however, if

their service is covered on a general

maintenance chart their inspection

should become a matter of routine.

Lead-acid batteries are veryhazardous, so make sure that you

follow your company’s health and

safety policies when undertaking

essential maintenance.

In general, the hazards are:

• They contain sulphuric acid

which is corrosive and toxic

• They emit a harmful and

explosive gas

• You can get an electric shockfrom them

It is generally sensible to take the

following precautions:

• Use the correct equipments to

top up the cells

• Wear rubber gloves and

protective clothing

• Ensure good ventilation

• Make sure that there is no naked

light around to cause a possible

explosion

• Make sure that someone knows

where you are and that you can

contact then easily

If despite all precautions you do get

acid on your skin, wash it off

immediately with lots of running

cold water.

The specific gravity of the electrolyte

in each cell will vary according to the

state of the cell’s charge. All cells

should be checked regularly with a

hydrometer. The specific gravity of

the electrolyte also varies with

temperature. A fully charged healthy

cell should be approximately 1.21 at

15°C. For every 1 ½ ºC above 15ºC

add 0.001 to the specific gravity and

similarly for each 1 ½ ºC below 15ºC

subtract 0.001 from the specific

gravity.

During the course of year there may

be a fall in the specific gravity values

obtained from a fully charged cell,

but acid should never be added.

Seek the advice of the cell supplier as

their technicians are fully trained in

revitalizing the electrolyte in the

cells.

Top up all the cells regularly with

distilled or de- ionized water. If the

sides of the cell are see-through, do

not allow the electrolyte level to fall

below the tops of the separators. In

solid-sided cells keep the level

between ‘max’ and ‘min’. If the

electrolyte level has fallen more than

6mm below the correct level, after

topping up it is advisable to give the

cells an extra charges according to

the manufacture instructions.

Ensure all the bolts connection the

cells together are tight and that they

are covered with petroleum jelly for

protection against corrosion.

The voltage of each cell should be

checked regularly using a voltmeter

or multimeter. It should be 2.3 volts

for a fully charged healthy cell. It is

advisable occasionally to inspect each

cell in the battery to check their

appearance. Healthy cells, when fully

charged, show a marked contrast

between the dark brown positive

and light grey negative plates. Any

cells showing a bad colour of plates,

low voltage, or having a low specific

gravity should be regarded as

suspect, and expert advice should be

obtained.

Use the bulb-type hydrometer to suck upsome electrolyte. The specific gravity is

read by observing the position of the floatagainst the scale on the glass tube.

Banks of cells connected in series

• C I N E M A S Y S T E M S •

April-June 2012 TW-49

After digital sound in the 1990s, if it

was thought that digital picture in

the last decade completes the circle

and there is no more to it then you

could not be more wrong. Nothing is

permanent in the digital world...

though humans remain analog

forever! Both picture and sound are in

for some exciting innovations in the

near future that will enhance the

movie going experience for the

audience and make it all the more

immersive. Everybody in the

technology ecosystem is working on

overdrive (and overtime!) to get the

audience a more natural feel of the

movies, right in the middle of the

action, just as the director intended.

Picture

If 2k was close to resolution of film

then 4k definitely equals if not betters

film quality. 2k refers to 2048x856, for

2.39:1 aspect ratio, which is 1.75

million pixels of resolution whereas 4k

refers to 4096x1714,for 2.39:1 aspect

ratio, which is 7 million pixels of

resolution, 4 times more! Since the turn

of the millennia we had been hearing

of 2k digital cinema sweeping the

world but it began to pick up

momentum only by the end of the

decade. While 50% of the world’s

screens are supposed to have gone

digital it is an opportunity for rest of

the screens to leapfrog straight to 4k

as it is definitely the picture

technology of the near future.

The advent of digital 3D has brought

into sharp focus the inadequacy of

current frame rates and screen light.

24fps was the limitation with film but

now since film is history and digital

TechnologicalInnovationsfor Cinema Exhibition

technology can quite easily absorb

Higher Frame Rates (HFR) the debate

is on as to what should be the right

HFR. For 2D it’s a toss-up between

native 48fps and 60fps for the

moment but the ambition is to scale

it up electronically to 120fps for each

eye which in 3D terms means 240fps!

Similarly for screen light, the academy

standard is 16 foot lamberts but most

screens manage upto 12 foot lamberts

in 2D which is still okay. What is

worrying is the number for 3D. It’s

astonishingly low at 4 foot lamberts,

which is what makes 3D movies

annoyingly dark. Imagine Avatar 3D

with 12~16 foot lamberts of light on

screen. It would have been so much

better! However xenon lamps can be

only so much bright as they are

currently are and that too with a lot

of heat and power. Enter long-life, low-

energy, cool lasers. They can manage

much more without any attendant risks

or limitations.

Sound

Digital surround sound first

developed in the 1990s has been

stagnating since no major

development was reported all

through the last decade except for

5.1 becoming 7.1 but that too is not

widespread. While more number of

channels has been talked about it is

only when a major industry player

like Dolby introduces Atmos that

everybody sits up and takes notice.

Dolby is not talking about 5.1/7.1

encoded sound that is matrixed at

the booth into more channels and

loudspeakers in the auditorium.

Barco Auro-3D 11.1 at Wangfujing Cineplex, China

Iosono 3D at CGV Cheongdam CineCity, Korea

– Sandeep Mittal

• T E C H N O L O G Y •

TechnologicalInnovationsfor Cinema Exhibition

April-June 2012TW-50

Dolby is talking about mixing more

discrete channels at the post-

production stage and creating a

complex soundfield that is simply

decoded at the cinema with a

matching processor.

3D being a well-recognised term now,

the next sound formats are being

dubbed 3D Sound as it envelopes you

from all angles, all planes. 3D Sound is

an attractive term to gain rapid

acceptability in both the industry

community and the audience.

Dolby is not alone in this development

but being a major player in the

industry has the ear of the producers

and the exhibitors, an important pre-

requisite for the introduction of any

new technology in cinema exhibition.

Other players include Barco of Belgium

Dolby Atmos - Longitudinal Angle of Top Surround Speakers

with Auro in association with Galaxy

Studios, Iosono from Germany and

Imm from Spain. The last one

perhaps wanting to emulate their

football compatriots and come up

with a champion sound experience!

What all the new 3D sound formats

mean for the

exhibitor are more

number of

loudspeakers to

invest in and the

associated wiring

apart from an

upgrade of the

cinema processor. Its

more loudspeakers

behind the screen,

more loudspeakers

on the two side walls

and above all additional loudspeakers

in the ceiling aimed down at the

audience. And oh yes, a couple of

surround subwoofers located at the

two rear corners of the auditorium.

No wonder, loudspeaker companies

are delighted with the development

and are looking forward to

mainstream deployment in the next

couple of years with anticipated glee

whereas the exhibitor is quite rightly

indignant and dreading this

development!

Change is inevitable and if both the

industry and the patrons see value in

new sound technologies then the

exhibitor has no option but to invest

to keep their cinemas humming.

So 4k 3D HFR laser projected and 3D

Sound are the buzzwords to watch for

in the near-term future of cinema

technologies for exhibition.

Imm Sound from Spain

• T E C H N O L O G Y •

April-June 2012 TW-51

Iosono 3D at The Grand Cinema Digiplex, Romania

Cineasia, where Asian cinema

exhibition and distribution

professionals come to do business

ended with an awesome response

from the exhibitors and visitors.

CineAsia, the only international

convention dedicated to the Asian

cinema exhibition and distribution

community screened major

Hollywood films and presented an

educational program on issues

affecting the Asian cinema exhibition

industry. CineAsia also presented

Awards of Distinction to Asian film

stars and industry luminaries.

The 2011 annual CineAsia

convention was the more relevant

than ever, as the movie industry

executives from the east and west

were gathered to share their

knowledge, network, preview new

products and technologies, and get

an advance look at upcoming movie

fare. The event had staged at the

Hong Kong Convention and

Exhibition Centre, from December 6

to 8 in year 2011. CineAsia hosted the

regional premieres of four eagerly

anticipated Hollywood studio

releases. Walt Disney Studios Motion

Pictures International has present

Steven Spielberg's World War I epic

War Horse, based on the beloved

novel by Michael Morpurgo that also

inspired the current Tony Award

winning Broadway production.

Paramount Pictures International

showcased the return of Tom Cruise

in Mission: Impossible-Ghost

Protocol, the live-action debut of

Oscar-winning Pixar director

BradBird. Robert Downey, Jr. and

Jude Law reunited with director Guy

Ritchie for Warner Bros. Pictures

International's Sherlock Holmes: A

Game of Shadows, and Matt Damon

stars in the latest film from director

Cameron Crowe, 20th Century Fox

International's We Bought a Zoo.

Attendees also enjoyed an early peek

at the new movie year thanks to

product presentations from

Paramount Pictures International,

Sony Pictures Releasing International,

20th Century Fox International,

United International Pictures,

Universal Pictures International, Walt

Disney Studios Motion

PicturesInternational and Warner

Bros. Pictures International.

The major highlights at the Cineasia

2011 were by : - Sponsor: Doremi

Cinema (Theatre 2 Foyer, Level 1,

HKCEC) International Cinema

Technology Association (ICTA)

presented by Moderator: Dwight

Lindsey, CEO, Schneider Optics, Inc.

A Studio's Perspective on Light Levels

presented by Georgina Bates,

Director, Int'l Post Production Services

- Asia.

The Importance of Screen Selection

in Achieving Correct Light Levels in

Cinemas Presented by Andrew

REVIEW

April-June 2012TW-52

Robinson, CEO, Harkness Screens

International. High Frame Rates for

Digital Cinema presented by Reiner

Doetzkies, Director of Technology,

DLP Cinema.

Server Technology of Higher Frame

Rates presented by Mike Archer, Vice

President, Digital Services, Doremi

Cinema.

RealD & the Royal Opera House

Present Madam Butterfly 3D

presented by Joe Peixoto, President,

Worldwide Cinema, RealD. Making

Connections - New Directions in

Distribution for Feature and

Alternate Content presented by

Adrian McCarten, Digital Content

Distribution Executive, Deluxe.

Enticing Customers to the Cinema

presented by Don Savant, President

of Theatre Development & Film,

IMAX, China. A Seminar on Spotlight

on the Growth Markets of Southeast

Asia Co-Moderators: Rance Pow, CEO,

Artisan Gateway Mike Ellis, President

and Managing Director, MPA Asia

Pacific Presented by Brian Hall,

President & CEO, Megastar Cinemas,

Kenny Wong, CEO, TGV Cinemas,

Edgar Tejerero, Senior Vice President,

WATC/SM Cinemas.

Southeast Asian countries came into

their own as key engines of growth

for the region. This session explored

several exciting markets and discuss

important issues of today and the

future with a snapshot of country-

level industry highlights,

development and growth.

A seminar by Co-Productions in the

Asia-Pacific Region,Moderator: Harris

Tulchin. Panelists: Sanford Panitch,

President, Fox International

Productions Terence Chang, Producer

Nansun Shi, Producer, Film

Workshop.

Product Presentation by United

International Pictures, Paramount

Pictures International and Universal

Pictures International Presented by:

Han Seng Lim, Executive Director,

Sales & Marketing, United

International Pictures SE Asia.

Barco Christie

Dolby Harkness

JBL Sony

April-June 2012 TW-53

Delegates from India

CinemaCon, the Official Convention

of The National Association of

Theatre Owners was delighted to

return to Caesars Palace and to have

The Coca-Cola Company on board as

its Official Presenting Sponsor for the

second 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

exhibition and distribution, to the

equipment and concession areas - all

on hand to celebrate the movie

going experience and the cinema

industry.

Commenced on April 23-26, 2012 at

Caesars Palace, Las Vegas the

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-

akind movie going experience in the

Colosseum, the 4,200 seat theatre

and crown jewel of Caesars Palace.

CinemaCon was delighted to have

both the International Cinema

Technology Association (ICTA) and

National Association of

Concessionaires (NAC) as its trade

shows partners.

“Without a doubt, the success we

achieved in year one exceeded our

expectations and we have our friends

in distribution and exhibition to

thank. The support CinemaCon

received in our inaugural year was

simply amazing. But now it’s onto

year two and we need to raise the

bar even higher – which is a

challenge we embrace

wholeheartedly,” noted Mitch

Neuhauser, Managing Director of

CinemaCon before the show

commenced on April 23rd 2012. “To

have The Coca-Cola Company

returning as our Official Presenting

Sponsor is an incredible vote of

confidence and reinforces Coke’s

dedication to promoting the

theatrical experience worldwide.

They are a wonderful partner to

work with and we are excited they

will be joining us in our return to

Caesars Palace.”

REVIEW

April-June 2012TW-54

Barco Christie Dolby

Datasat Doremi Kinoton

NEC Philips Qube

Sony Strong Vista

Some of the Award winners at the

show were –

• Jeffrey Katzenberg was honored

as 2012 pioneer of the year at

CinemaCon in las vegas

• Timur Bekmambetov received the

CinemaCon international

filmmaker of the year award

• Delfin Fernandez received

CinemaCon “international

achievement award in exhibition”

• Chloë Grace Moretz received

“cinemacon 2012 female star of

tomorrow honors

• Sylvester Stallone received CinemaCon

career achievement award”

• “2012 CinemaCon Passepartout

Award” was presented to

Universal Pictures International’s

Jack Ledwith

• Jennifer Garner received

“CinemaCon female star of the

year award”

April-June 2012 TW-55

REVIEW

CineEurope 2012, which was held

from 19th June to 21st June at El

Centro de Convenciones Internacional

de Barcelona (CCiB) in Barcelona,

Spain, was an event where the needs

of the movie theatre industry were

showcased and fulfilled.

A large number of cinema exhibition

and distribution professionals from

Europe, the Middle East and Africa

(EMEA) visited CineEurope to view

the latest major cinema releases and

extensive product reels, gain

valuable industry information at

educational seminars, find new

products, services and technologies

and network with peers at fun-filled

special events.

CineEurope 2012 held at El Centro de

Convenciones Internacional de

Barcelona (CCiB) in Spain is located

in the Diagonal Mar area. The

conference centre is approximately

10-15 minutes from the city centre

via the Metro and is in close

proximity to one of the most

beautiful beaches of Barcelona.

For more than 20 years, CineEurope

has been the largest, most prestigious

and longest running pan-European

convention and trade show for the

cinema exhibition and distribution

communities. It's a one stop for the

companies where they reach as many

important movie theatre/cinema

decision makers, movie industry

professionals from all across Europe.

Some of the new products and

technologies that were unveiled at

the annual CineEurope convention

are as follows : -

Digital-cinema technology leaders

Barco and Doremi showcased

complete projection and play-out

packages to the market. These

packages have been installed and

certified in the factory, offering true

turnkey cinema. The DP2K-Cx models

include a Barco digital-cinema

projector, lamp, lens, Doremi IMB

and ShowVault. The DP2K-Cx systems

support 3D High Frame Rates at high

bit-rates for optimum viewing

quality, making them future-proof.

The Barco DP2K-12Cx is a compact

and budget-friendly digital-cinema

solution for small theatres and

independent cinemas.

Christie presented an access to a world

of audio and video content with the

Christie SKA-3D-the Swiss army knife

of cinema processors. This powerful

product innovation delivers flawless

audio performance and 2D/3D image

playback from virtually any content

source on any brand of projector with

separate L/R eye dual DVI inputs.

Datasat Digital Entertainment

introduced their new 8 Channel

Expansion Card. When used with an

AP20 audio processor, the card

increases the total number of output

channels from 16 to 24. The card will

be offered as an optional extra. An

AP20 with the standard 16-channel

output covers all scenarios for 5.1

and 7.1 sound formats. With the 8

Channel Expansion Card, the

additional outputs allow for bi-

amping or tri-amping.

Systems greater than 7.1.

Dolby presented the most significant

development in audio since the

arrival of surround sound is here.

Developed with input from

professionals throughout the movie

industry, Dolby Atmos represents a

dynamic shift in audio, reinventing

the traditional surround sound

methodology and offering a

complete platform for sound now

and well into the future.

Doremi unveiled CineAsset ,a

complete mastering software suite

that can create encrypted (pro

version only) and unencrypted DCI-

April-June 2012TW-56

compliant packages from virtually

any source. The use of the CineAsset

database simplifies asset

management and network ingesting.

GDC Technology unleashed the SX-

3000 Standalone Integrated Media

Block (IMB) significantly lowers

operation, maintenance and

installation costs, as it does not

require a costly server attached to

each IMB. In addition to its High

Frame Rate (HFR) capability in both

2D and 3D, the SX-3000 has the

added benefit of supporting digital

connectivity for alternative content

such as 3G-SDI and HDMI input with

image-scaling from HD to 4K.

Harkness Screens announced the

Digital Screen Checker, a cost-

effective tool for projection

managers/projectionists or service

engineers to monitor screen

brightness and check lamp life.

The battery-powered Digital Screen

Checker is a luminance meter that

provides instant readings for both 2D

and 3D screens and is calibrated to be

accurate to within 0.5fL, even in the

lower ranges used in 3D projection.

Kinoton has extended its popular

cinema automation range with the

advanced DCA Digital Cinema

Automation based on state-of-the-

art CAN-Bus technology. The

innovative DCA system integrates

any d-cinema server and audio

processor fast and seamlessly with

conventional auditorium functions

like curtain and masking controls,

auditorium lights or door openers,

guaranteeing fully automated shows.

MasterImage 3D introduced MI-

CLARITY3D, a 3D digital-cinema

system that brings immaculate 3D

images to theatre guests and

operational flexibility to theatre

owners. Providing unparalleled color

fidelity and enhanced light efficiency,

the MI-CLARITY3D creates optimum

picture quality in 3D presentation.

OSRAM offered the latest generation

of XBO lamps. The Oscar-winning

XBO lamp was advanced for the new

requirements of larger screens.

Current digital-cinema lamps provide

much higher luminance with a

longer lifetime. Lamp types are

available from 1200 W to 8000 W,

and compact design means easy

handling.

QSC Audio showcased the DXP

Digital Expansion Processor works

with QSC's DCP 200 and 300 cinema

processors to create a powerful

networked audio solution. Digital

audio and control information is

routed to the DXP over Ethernet and

then to QSC DCA Series amplifiers

connected to the DXP via the QSC

DataPort interface.

Qube unveiled the Qube Xi 4K

Integrated Media Block,which uses a

high-speed redundant Gigabit

Ethernet-based system, which will

allow exhibitors to place their

storage servers anywhere within, or

even outside, the theatre complex.

Vista Entertainment Solutions present

is a comprehensive group booking

system that allows users to book and

sell theatre space to large groups or

distributors for previews.

XPAND announced small-sized

cinema 3D glasses that bring

undisputed XPAND 3D quality to

even the youngest cinema audiences.

Much lighter in weight, these new

glasses make every moviegoer's

experience in 3D an entertaining

event.

The others present were Volfoni,

Ymagis , VCL Sound Experience,

USHIO, Unique Digital Cinema, Sony

Digital Cinema, Skeie, SIVE

CompraEntradas, Sitland, Seating

Concepts, Schneider Optics, Rollover,

Proyecson, NCR Corporation,

Mundocolor Illuminación/Grupo MCI,

Magna-Tech, Kelonik Cinema Sound,

INTEG, imm sound, GXM, All

Advanced Optics, Cine Project,

CineDigital Network, Cinemeccanica,

Digital Media Solutions, Eomac in-

VISIBLE, Euroseat, Ezcaray

Internacional and FOCUX Technology.

EVENT CALENDERSUMMER 2012

23-24 JULYCINEMA INDIA,MUMBAI, INDIA

www.cinemaindiaexpo.com

27-29 JULYCINEMA TODAY,

CHENNAI, INDIAwww.cinematoday.in

19-23 AUGUSTAUSTRALIAN INTERNATIONAL

MOVIE CONVENTIONGOLD COAST, AUSTRALIA

www.movieconvention.com.au

AUTUMN 2012

SEPTEMBERKINO EXPO,

ST. PETERSBURG, RUSSIAwww.kinoexpo.ru

5-8 NOVEMBERSHOWEAST,

FLORIDA, USAwww.showeast.com

WINTER 2012

11-13 DECEMBERCINEASIA,

HONG KONGwww.cineasia.com

SPRING 2013

12-14 MARCHFRAMES,

MUMBAI, INDIAwww.ficci-frames.com

15-18 APRILCINEMACON,

LAS VEGAS, USAwww.cinemacon.com

SUMMER 2013

24-27 JUNECINEEUROPE

BARCELONA, SPAINwww.cinemaexpo.com

April-June 2012 TW-57

PREVIEW

23 - 24 July 201223 - 24 July 201223 - 24 July 201223 - 24 July 201223 - 24 July 2012Renaissance Convention Centre Hotel,Renaissance Convention Centre Hotel,Renaissance Convention Centre Hotel,Renaissance Convention Centre Hotel,Renaissance Convention Centre Hotel,

Mumbai, IndiaMumbai, IndiaMumbai, IndiaMumbai, IndiaMumbai, India

Cinema India has announced the

12th Cinema India convention and

trade show on July 23 and 24 July,

2012, at a 5 star venue of Renaissance

hotel convention centre in Mumbai.

Cinema India Expo has gained the

position of India's leading trade

show and conference for the digital

cinema industry in India and

worldwide. It is a gathering of the

global digital cinema community for

face-to-face product exploration,

networking, and business

development focused on digital

cinema in India.

Nearly 9000 single theatre and 1500

multiplex screens are anticipated to

migrate to digital in a year from the

show date. Also, Hollywood in India

will soon be all-digital. The

tremendous business opportunity as

India transforms to 'All Digital',

translates at Cinema India as it builds

the momentum to enhance the cine

viewing experience to state-of-the-

art. Global suppliers of digital theatre

technology in 2K, 4K, 3D, and the

rest of the products and services

desire an opportunity in India to

debut their latest products. Cinema

India responds to this need.

Big Brands on the show floor

Leading companies live Scrabble

Entertainment, Barco, Christie,

Harkness Screens, Osram, Callystro

Infotech, Focux Technologies and

United Media Works.

Scrabble

Scrabble, India's first and only 2K DCI

Compliant Cinema deployment

entity is the presenting sponsor for

Cinema India Expo 2012. The

company that has already contracted

with the leading Exhibitors,

Producers & Distributors in India to

facilitate this conversion, aims to

convert every multiplex in the

country to the 2 K Digital Cinema

Platform.

Ranjit Thakur, CEO, Scrabble

Entertainment believes "Cinema

India 2011 has established a world

class platform as a standalone

industry convention at the

Renaissance, that delivered a

purposeful conference programme

and a high profile gathering of

industry players which drive the

growth and the digitisation of

screens and represents major

investment in cinema technology in

India and worldwide."

Barco

Barco that offers a full palette of

products and services to provide

exhibitors and moviegoers with the

ultimate cinema experience is the

Registration and Lanyard Sponsor.

For more than a decade, Barco has

been bringing movie magic to life by

delivering superb digital projection

quality and breakthrough

technological innovation.

Christie

Christie, market leader in the Digital

Cinema Projection will exclusively

showcase its robust projection

technology at the Demo Suite

(Grand Ballroom 3). With expertise in

professional projection systems for

more than 80 years, Christie has

established a global reputation as the

leading manufacturer of a variety of

display technologies and solutions.

The broad range of technologies

offered by Christie include LCD and

DLP display technology, LED

illumination, projectors, displays, rear

screen projection modules, and

cutting edge 3D, virtual reality and

simulation.

April-June 2012TW-58

Harkness

The world's largest manufacturer of

projection screen surfaces, Harkness

will showcase its latest innovations at

Cinema India Expo 2012.

Today, Harkness is the world's largest

cinema screen manufacturer,

supplying thousands of screens

annually to customers in over 60

countries.

Harkness Screens Matt Plus, Perlux,

and Spectral brand products are

helping the cinema industry go

digital while at the same time

reducing operating costs. Harkness

screens are crafted and engineered

using the highest quality materials

ensuring an outstanding finish with

excellent brightness, colour

rendition, and contrast.

QSC Audio/Pro Visual

QSC Audio, a globally recognized

leader in professional audio, has

confirmed its participation at 12th

Cinema India Expo. QSC has a three-

decade history of bringing out the

magic in cinema sound. QSC Audio

over the years has built a reputation

as a major manufacturer of complete

cinema solutions. With processing,

amplification, and loudspeakers

integrated into a seamless whole,

QSC is the complete solution for all

your cinema sound needs.

Pro Visual Audio, the leading

distribution firm in the areas Acoustic

and Audio Visual equipments is the

distributor of QCS Audio in India.

Osram

Osram, the global company that has

been "passionate about intelligent

light" for more than 100 years will

display its latest innovations for the

digital cinema market.

Callystro Infotech

Callystro Infotech, that offers

comprehensive ticketing,

information and analysis solutions

for Multiplex and single screens have

confirmed its participation in Cinema

India 2012.

FOCUX Technologies

FOCUX Technologies that has

received high recognition from

consumers for its patented video and

audio products will showcase its state

of the art technology at Cinema

India Expo 2012. With its cutting-

edge digital technology and a

powerful R&D team, FOCUX designs

an innovative line of products. The

numerous patented technologies not

only provide the perfect 3D image,

but also reproduce the most complex

multi-channel sound effects.

United Media Works

United MediaWorks has also

confirmed its participation. UMW has

developed its own proprietary

technology product - Digital Cinema

Server (DIGIBUTOR) aiding the

digital distribution of the film and a

portal for digital cinema services.

Filmmaker Ramesh Sippy todeliver the keynote address

Renowned filmmaker, Ramesh Sippy

who is the President of Film and

Television Producers Guild and the

Chairperson at the National film

development Corporation, will

deliver the keynote at a conference

session on 23rd July 2012.

Kabir Bedi will present and moderate

the conference sessions. Kabir Bedi,

India's most celebrated international

actor will present and moderate the

Anil ChopraManaging Director, DCI

panel discussions and the conference

sessions at the 12th Cinema India

Expo and Conference.

Conference

One of the main attractions of

Cinema India is the Conference

Program. CIE 2012 features the topics

of interest and concern to the

industry. The Conference theme this

year is: The next upgrade in digital

quality. The speakers will be the

who's who of the global industry.

The 2-day conference program

features the big questions facing

theatre and multiplex chains-the

debate on resolution upgrade,

enabling high quality 3D, screen

quality, Hollywood growth in India,

market intelligence, futurescape in

digital platforms for movies

promotion. The conference topics

that are to be discussed at Cinema

India 2012 are Higher Frame Rate

[HFR] or 4K - A great debate,

Hollywood's growth in India, Digital

Cinema's biggest nightmare - light

levels on screen, Digital Cinema in

India - Countdown to 100% digital,

Futurescape in Digital Platforms for

movies promotion/movie, 3D -

Adaptability to higher frame rate

and Creating 3D content.

Digital Cinema chain fundamentally

originates with the acquisition and

production chain and Cinema India is

the destination for digital cinema

technology in digital

cinematography, 3D, 4K, Motion

Capture and Virtual Production.

"Cinema India attracts the decision makers and isideal for international companies seeking partnersto debut their latest products, services andtechnology, our team provides extreme hospitalityto all delegates creating a meaningful andproductive industry gathering" says AnilChopra, Managing Director, DCI.

April-June 2012TW-60

27 - 29 July 201227 - 29 July 201227 - 29 July 201227 - 29 July 201227 - 29 July 2012Chennai Trade Centre, Chennai, IndiaChennai Trade Centre, Chennai, IndiaChennai Trade Centre, Chennai, IndiaChennai Trade Centre, Chennai, IndiaChennai Trade Centre, Chennai, India

The 6th edition of Cinema Today,

the only kind of its exhibition for the

Complete Cinema, Television &

Entertainment industry is scheduled

for 27, 28 & 29 July 2012 at Chennai

Trade Centre, Chennai. With the

ardent support of the film industry

related associations, exhibitors &

trade visitors, the show has grown in

strength with each passing year to

become one of the top events of its

kind in the industry.

The Expo is a unique business,

networking, partnership building

and marketing proposition which

will throw light on impact of latest

technology. Its an International show

for the Complete cinema, theatre,

media & entertainment industry.

CinemaToday - Exhibition for

Theatre, Studio, Auditorium, Cinema

& Entertainment Industry has seen

many changes. Over the last few

years, the number of multiplexes in

India has grown exponentially.

Single screens are being upgraded to

multiplexes (4–6 screens ) which are

expanding rapidly in major

metropolitan cities as well as second

and third tier cities. The increase in

the number of malls, the common

choice of location for multiplexes, is

a key enabler of the rapid roll out of

multiplex screens. Cinema chains like

INOX, PVR Cinemas , Cinemax India,

Sathyam Cinemas are changing the

rules of exhibition in the world’s

largest film industry with significant

expansion plans. India is also

witnessing the recent emerging trend

of megaplexes with 14–15 screens

planned by Adlabs Cinemas &

Mexico-based player Cinepolis.

Technologies such as Digital

theatrical distribution with digital

prints leading to investment in

digital screens, 3D technology,

upgradation of infrastructure in

theatres, Globalisation in Indian film

exhibition wherein International

players are entering India after

Government policies allowed 100%

FDI are some of the factors fuelling

the industry growth.

It is in this scenario that Buysell is

organizing ‘CinemaToday Expo’

scheduled for 27, 28 & 29th July 2012

at Chennai Trade Centre, Chennai,

the only show in South India

showcasing the latest technology ,

equipment, products and services

related to the Theatre, Studio,

Auditorium, Cinema & Entertainment

Industry all under one common roof,

attracting the target trade visitors

from all over South India & Sri Lanka.

The Exhibit profile consist of Projection

Equipment, Sound Systems, Theatre

Seating Facilities, Ticketing Hardware

& Software , Acoustics, Theatre

Lighting, Fabric & Wall Coverings,

Flooring / Carpets, Screens, Theatre

Architecture / Construction, Indoor

Entertainment Machines, Digital

Cinema Equipment, Lighting, Lobby

displays and Theatre Signages.

PREVIEW

India is the largest film producing

country & the second fastest growing

economy in the world. Opportunities

in India in film, television, radio and

new media (technologies like 3D,

IPTV, Ultra-HD) are growing. The

Indian media and entertainment

industry is going through a

metamorphosis due to the

digitization of content and delivery

platforms. With experts predicting

that India would emerge the least

affected among the countries of the

world from the current economic

crisis and the sheer size of the market

in India make it the place to watch

out for in the days to come.

The Exhibition is held in India

because it’s a very big market and the

following reasons.

• Indian media and entertainment

industry is one of the fastest

growing sectors with a market

size of 584 billion in 2008,

recording a growth of 12.4 per

cent and projected to reach

1052 billion by 2013

• India is the highest producer and

consumer of filmed

entertainment

• The cinema exhibition industry in

India is growing at 10% per

annum driven by multiplexes,

which are expanding rapidly in

major metropolitan cities as well

as second and third tier cities.

• The South Indian cinema industry

is pegged at 17.3 billion with the

domestic theatrical revenue

stream being most dominant,

accounting for nearly three-

fourth (around 12.6 billion)

• The four southern states have

50 per cent of the theatres in

India and almost 25 per cent

(1,200 theatres) of the 5,000

theatres in the south are digital

• Growth opportunities galore as

some of the world’s largest

multiplex chains are foraying into

India.

April-June 2012 TW-61

Production20th Century Fox

DirectorSteve Martino

StarringRay Romano,Queen Latifah

GenreComedy, Family

Ice Age: Continental Drift

ProductionWarner Bros.

DirectorChristopher Nolan

StarringChristian Bale,Michael Caine

GenreAction, Thriller

The Dark Knight Rises

ProductionSummit Entert.

DirectorScott Speer

StarringRyan Guzman,Kathryn McCormick

GenreDrama

Step Up Revolution

Production20th Century Fox

DirectorAkiva Schaffer

StarringBen Stiller,Vince Vaughn

GenreComedy, Sci-Fi

The Watch

ProductionColumbia Pictures

DirectorLen Wiseman

StarringColin Farrell,Kate Beckinsale

GenreAction, Thriller

Total Recall

Production20th Century Fox

DirectorDavid Bowers

StarringZachary Gordon,Robert Capron

GenreComedy, Family

Diary of a Wimpy Kid:Dog Days

A glimpse of movies coming to Asia this autumn or later…F U T U R E R E L E S E SA

April-June 2012 TW-63

ProductionUniversal Pictures

DirectorTony Gilroy

StarringJeremy Renner,Rachel Weisz

GenreAction, Thriller

The Bourne LegacyProductionEntertainment One

DirectorDavid Cronenberg

StarringRobert Pattinson,Juliette Binoche

GenreThriller

Cosmopolis

ProductionWarner Bros.

DirectorJay Roach

StarringWill Ferrell,Zach Galifianakis

GenreComedy

The CampaignProductionLionsgate

DirectorSimon West

StarringSylvester Stallone,Jason Statham

GenreAction

The Expendables 2

ProductionColumbia Pictures

DirectorDavid Frankel

StarringMeryl Streep,Tommy Lee Jones

GenreComedy

Hope SpringsProductionFocus Features

DirectorSam Fell

StarringCasey Affleck,Tempestt Bledsoe

GenreAnimation, Thriller

ParaNorman

ProductionWalt Disney

DirectorPeter Hedges

StarringJennifer Garner,Joel Edgerton

GenreComedy, Drama

ProductionKenn Viselman

DirectorMatthew Diamond

StarringToni Braxton,Cloris Leachman

GenreFamily

The Oogieloves in the BIGBalloon Adventure

F U T U R E R E L E S E SA

The Odd Life ofTimothy Green

April-June 2012TW-64

F U T U R E R E L E S E SA

ProductionWarner Bros.

DirectorTodd Lincoln

StarringAshley Greene,Sebastian Stan

GenreSupernatural Thriller

The Apparition

ProductionOpen Road Films

DirectorDax Shepard

StarringDax Shepard,Kristen Bell

GenreAction, Comedy

Hit and Run

ProductionColumbia Pictures

DirectorDavid Koepp

StarringJoseph Gordon,Michael Shannon

GenreAction

Premium Rush

ProductionThe Weinstein

DirectorJohn Hillcoat

StarringShia LaBeouf,Tom Hardy

GenreDrama

Lawless

ProductionColumbia Pictures

DirectorSalim Akil

StarringJordin Sparks,Whitney Houston

GenreDrama, Musical

Sparkle

ProductionImage Entert.

DirectorPascal Laugier

StarringJessica Biel,Jodelle Ferland

GenreSuspense Thriller

The Tall Man

ProductionLionsgate

DirectorOle Bornedal

StarringJeffrey Dean,Kyra Sedgwick

GenreHorror

The Possession

ProductionRoadside Attractions

DirectorJamie Bradshaw

StarringEd Stoppard,Leelee Sobieski

GenreSci-Fi, Thriller

Branded

April-June 2012 TW-65

F U T U R E R E L E S E SA

ProductionYash Raj Films

DirectorKabir Khan

StarringSalman Khan,Katrina Kaif

GenreRomance,Thriller

Ek Tha TigerProductionUtv Motion Pictures

DirectorMadhur Bhandarkar

StarringKareena Kapoor,Arjun Rampal

GenreDrama

Heroine

ProductionBalaji Motion Pic.

DirectorShirish Kunder

StarringAkshay Kumar,Sonakshi Sinha

GenreDrama

JokerProductionHope Productions

DirectorGauri Shinde

StarringSridevi,Amitabh Bachchan

GenreDrama

English Vinglish

A D V E R T I S E R S ’ I N D E XCompany Page # Product Email Website

Amar AV TM-19 Screens bhup@amarscreens.com www.amarscreens.com

Anutone TW-11 Acoustics info@anutone.com www.anutone.com

Christie TW-9 Projectors sharon.lee@christiedigital.com www.christiedigital.com

CinemaIndia TW-59 Tradeshow mmadhavan@divcom.in www.cinemaindiaexpo.com

CinemaToday TM-20 Tradeshow info@buysellint.com www.cinematoday.in

DLP TW-5 Digital Cinema guns@ti.com www.dlpcinema.com

Doremi TW-2 Digital Cinema info@doremicinema.com www.doremicinema.com

Galalite TM-3 Screens info@galalitescreens.com www.galalitescreens.com

Harman TW-67 Sound indiapro@harman.com www.harman.com

Kinoton TW-29 Projectors hofbauer@kinoton.de www.kinoton.com

Osram TM-2 Projection Lamps p.deshpande@osram.com www.osram.com

QSC TW-3 Audio savannah_english@qscaudio.com www.qsccinema.com

R&S India TM-5 Audio sales@rns.co.in www.rns.co.in

Scrabble TW-68 Digital Cinema ranjit@scrabbleentertainment.com www.scrabbleentertainment.com

USL TW-7 Sound uslinc@uslinc.com www.uslinc.com

Vista TW-31 Ticketing info@vista.co.nz www.vista.co.nz

April-June 2012TW-66