MINDSHARETW EDITORIAL

July-September 2012TW-4

Sandeep MittalEditor / Publisher

A roundup of some of the issues of interest to cinema exhibitors today:

SoundThings are hotting up in the 3Dsound space. We just reported on thefour major 3D sound systems in theprevious edition of TheatreWorldand Dolby as already boughtImmSound to reinforce its positionin this new, interesting andpromising front. It was inevitableand is synergistic as it bringsImmSound’s patented technologiesto Dolby’s Atmos platform andsaves the industry from a bleedingwar since a new sound format can becapital intensive in gainingacceptance both with producers andexhibitors. We would think furtherconsolidation is on the anvil withboth Barco’s Auro and Dolby’sAtmos going aggressive much likeDTS and Dolby in yesteryears.

PictureExhibitors have much to rejoice as thecapital costs of 2k digital cinema aresteadily going south. 4k too isgradually moving in. Brands arecompeting furiously to cost-optimisetheir projectors what with xenonbeing replaced with mercury lampsand integrated media blocks (IMB)enabling boothless projection.Satyam’s Escape at Chennai in Indiahas already implemented thissuccessfully with all their projectors

suspended in the lobby ceiling. Theyare not even inside the auditoriums!This is truly pathbreaking and kudosto the owner, Kiran Reddy, whoalways thinks ahead as a multiplexer.

Projection booths were a must in thefilm era. Being nitrate, film wasflammable and local byelawsordained a fire-isolated design.Digital projectors and buildingautomation have done away with allthese reasons and more. Boothlessprojection provides exhibitors with alot of flexibility and saving on spaceand all this can only be good for thebottomline. Next on the tech frontwould be laser projection that willimprove 3D picture dramaticallybut it is still some years away.

Aspect RatioBoth sound and picture have gainedfreedom from the limitations of thefilm era. Digital technology andautomation have made it much moreflexible for the cinema of the future.So much so that aspect ratio, thatholy cow of film projection, looks alsoto see exciting changes ahead. Itshould be possible to boast varyingaspect ratios as per movie content andmaybe 2:1 can become the newstandard. From 1.33 to 1.85 to 2.40,the transition has been dictated bycompetition from television so far, butcinema could forge ahead withvariable aspect ratios that suitspicture content, anchored around 2:1!

SeatingSeating continues to get plusher andoffered more as a monoblock, a singleunit with closer integration of its

components like metal skeleton,foam, fabric, back, cupholderarmrests, lighted numbering etc.The next frontier, motion seating, isstill the preserve of theme parks andyet to take off in mainstreammultiplexes. Like 3D sound has beenaround for a decade and only nowtaken off, motion seating in whichevery seat vibrates in sync withscreen action, should take off ascomplementary to 3D pictureprovided the technology maturesand becomes viable. We had the samedoubts with digital cinema, 3Dpicture, 3D sound all of which arereality today so do not be surprisedif motion becomes a reality by 2020!

Cinema TodayWhile we discuss the latest conceptsand future technologies it would beworth to emphasise that exhibitorsneed to focus on the now as well.Stick to the basics of providing aclean, healthy and state-of-the-artexperience for patrons to come inwith their family and friends andenjoy the wholesome storytellingsessions on screen. It sounds simpleyet it is so true that exhibitors tendto lose sight of the core of theirbusiness which is essentially asmooth, seamless experience for theirpatrons - easy parking and ticketing,smart lobbies, hygienic concessions,comfortable seats, state-of-the-artsound and picture, clean toilets, safeexit and a polite staff.

Value - 150 (US$ 15)

Issue # 54July-September 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

Sandeep Mittal - Editorial

Yashodhara S - Design & Layout

Naga Bhanu M - Online

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contentsThis issue of TW has two sets of page numbers - International pages TW-1 to TW-60 for TW, andIndia pages TM-1 to TM-20 for TM. TM is inserted between pages TW-50 and TW-51 of TW.

TMTheatreMagic

TWTheatreWorld

TW-8

TW-33

INSTALLSTW-35 Cinetopia, Vancouver Mall

Atmos Powers “Brave”

CINEMA SYSTEMSTW-36 Projection Series-XXXIV

Schedule Maintenance

TRADESHOWSTW-38 Preview -

TW-40 Review -

TW-44 Review -

FIRST PERSONTW-45 Moving

A Step Further !!!!

TW-48 Sound !!!!An important ingredient to Digital Cinema

ENTERTAIN WORLDTW-51 A New Look Multiplex

Refurbishing Works Wonders

TW-54

TM-4

INSTALLSTM-13 Cinemax Launches

6 Screen Multiplex at Cyberabad

SPECIAL FEATURETW-14 A Concept with a Cause

CINEMA SYSTEMSTW-16 Galalite

Enhancing the Movie Viewing Experience

TECHNOLOGYTW-17 D-Cinema Qubed:

Anticipating HFR Era

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

July-September 2012TW-6

Christie is proud to bring the future

of premium cinema entertainment

solutions to Asia Pacific at its

Entertainment Solutions Summit (ES

Summit) at the Great Hall of the

People in Beijing, China. Christie's

signature digital cinema technologies

impressed more than 200 exhibitors

from China and Asia Pacific with live

demonstrations of 2D and 3D movie

contents using Christie Duo, a

product preview of the Christie

Solaria One digital cinema projector

and a demo of the Christie SKA-3D

processor. Christie also reinforced its

commitment to innovation by

helping to create the standards and

equipment for 3D High Frame Rate

(HFR) movies and new laser-powered

projection solutions. Participants

were inspired by a presentation of

Christie's roadmap of laser-powered

projection technology.

Presenting Christie's latest product

solutions at the event, Dr. Don Shaw,

senior director, product

management, Christie Entertainment

Solutions, commented, "As the world

advances into the technological era,

consumers are becoming more

sophisticated with the choice of

entertainment options available in

Christie Brings Future of Premium CinemaEntertainment Solutions to Asia Pacific

the market. Both filmmakers and

exhibitors are rapidly adopting new

technologies to improve the

cinematic experience of the

audience." Continuing, Dr. Shaw

said, "At the Christie Entertainment

Solutions Summit, we presented the

world's most complete line up of

entertainment solutions products to

Asia Pacific exhibitors and industry

partners. Participants had the

exclusive opportunity to learn about

Christie's industry-leading products

and technology, including 4K, HFR,

and laser projectors, which are set to

take the digital cinema world by

storm."

"We welcomed our invited guests to

witness Christie's revolutionary

cinema technology at the Great Hall

of the People, our distinguished

client who has benefited from

Christie's advanced technological

solutions in conveying its public

messages to more than 1.3 billion

people in China," said Lin Yu, vice

president, Christie Asia Pacific. "By

holding our Entertainment Solutions

Summit at the Great Hall of the

People, we aimed to influence the

technological landscape of cinemas

in Asia Pacific. Following the success

of the event, the exhibitors were

impressed with our full suite of

cinema technologies. The interest

shown in the presentation of our

laser projection technology roadmap

clearly illustrates the confidence in

our next generation technology. We

look forward to demonstrating our

laser-powered projection solutions to

the exhibitors and industry partners

in September 2012."

Leading the entertainment solutions

product presentation at the ES

Summit was Christie Duo, a new dual

projection integration kit that gives

exhibitors the flexibility to deliver

the brightest 2K or 4K movie

experience in 2D or 3D on the

world's largest screens. The

integration kit is the basis of a

July-September 2012TW-8

Two of Pittsburgh's largest cinemas,

Chartiers Valley 20 in Bridgeville and

North Versailles 22, reopened after a

temporary closure on August 3, with

new releases Total Recall and Diary of

a Wimpy Kid: Dog Days.

The theatres were closed for two days

for the properties to undergo

changes including the introduction

PittsburghTheatres UpgradeUnder PhoenixBig Management

compact and convenient stacking

system for 3D installations, or a

choice of two innovative physical

configuration that perfectly align

every pixel on the screen for optimal

2D and 3D presentations. 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.

Christie also presented its DCI

Compliant (Digital Cinema Initiatives)

integrated media block (IMB)

solution with 4K and HFR capabilities

at the ES Summit. The Christie IMB

operates within the projector to

become an integral part of the

display device, creating a secure

connection that can manage the

high bandwidth required for HFR

and 4K content without

compromising image quality. Also,

featuring MPEG2 and H.264 support,

the Christie IMB allows end-users to

display a larger variety of alternative

and advertising content from the

same storage device that holds the

packaged cinema content.

It was clear from the product preview

of the Christie Solaria One digital

cinema projector that it will set a new

level of performance and value for

digital cinema technology. The

Christie Solaria One projectors are

designed for reliability and packed

with features - including brilliant 3D

technology and high frame rate

capability - that combine to deliver

amazing image quality to meet the

highest demands of cinemas around

the world.

Christie SKA-3D, an audio and video

processor that connects digital

cinema projectors to the widest

possible range of 2D and 3D

alternative-content feeds, was also

featured during the ES Summit.

Combining the function of powerful

audio and visual processing under a

single product, Christie SKA-3D

makes alternative content look and

sound as spectacular as feature

presentations. Exhibitors can

transform the experience of

moviegoers by extracting the latest,

high-quality lossless audio from

HDMI signals and integrating them

into the cinema audio system.

As cinema multiplexes grow in screen

count to accommodate their diverse

audiences, managing multiple

projection operations has become a

real challenge for cinema operators.

To meet this challenge, Christie

introduced the Christie Avias-TMS

late last year. Christie Avias-TMS is a

Theater Management System (TMS)

software application designed

specifically for cinema operators to

centrally manage and orchestrate all

of their projection operations within

a multiplex, regardless of the diverse

projectors, servers or operating

systems (OS) in use. The user-friendly

software application is easy to install

and can be accessed securely from

any location through a standard

Web browser, offering cinema

exhibitors the ultimate freedom and

flexibility to conduct theater

operations from an office or home

PC, tablet computer or iPad. Christie

Avias-TMS also allows centralised

scheduling of all content, devices

and Key Delivery Messages (KDMs),

including a drag and drop playlist to

cater to rapid changes based on

changing customer demands.

of new operator Phoenix Big

Cinemas Management. Other

changes to the sites included the

introduction of RealD 3D, gift cards,

online and advance ticketing

through MovieTickets.com and an

expanded concession menu. Guests

can also join the free "Motion Picture

Points" loyalty club to earn points for

free popcorn, soft drinks and movie

tickets at both locations.

"Phoenix Big Cinemas brings a track

record of high quality entertainment

to the Pittsburgh cinemas," said Marc

Kossman, part of the ownership

group of the two megaplexes. "The

theatre upgrades and renovations

will improve the overall cinema

experience by offering a state-of-the-

art Hollywood destination to our

guests."

Additional changes and

enhancements for the all-stadium

theatres are planned during the next

several months including a

conversion to all digital projection,

upgrades to digital surround sound,

more screens offering RealD 3D and

new signage. With the upgrades,

Chartiers Valley will change from 20

to 18 stadium auditoriums with

approximately 4,000 seats and North

Versailles will adjust from 22 screens

to 18 with over 3,000 seats.

"As we transition the theatres under

our management, we hope to bring

a new, refreshed energy and provide

the best possible entertainment

experience possible," said Phil

Zacheretti, president of Phoenix Big

Cinemas Management. As of August

1, Phoenix Big managed 27 theatres

with a total of 220 screens in 16 states

throughout North America.

July-September 2012TW-10

Christie MicroTiles and Christie Spyder X20at History Colorado Center

The breathtaking majesty of the

Rocky Mountains is featured at the

History Colorado Center (HCC) in

Denver on a 134-unit Christie

MicroTiles array designed to emulate

the jagged peaks of the famous

mountain range, complete with

spectacular video footage. The HCC,

which celebrated its grand opening

recently, wanted a large, expressive

statement characterising the history

of the picturesque state while

redefining the museum with relevant

and engaging content.

"The HCC wanted a dazzling display

in their atrium," said Howard Steele,

director, Technology Plus, the

project's consultant. "The atrium is

very bright and only a 30K lumen

projector would even begin to

display images in that strong light,

but that created issues with where to

place the projector and exhaust."

Ed Nichols, president and CEO,

Colorado History Museum, agreed.

"We had a wall in our atrium

begging for a major media treatment

because there was a visitor

orientation problem. We thought of

projectors but the architect

introduced the museum to the

Christie MicroTiles. As our staff

contemplated the possibilities with a

MicroTiles wall, we were intrigued

with the idea of letting the wall tell

the museum's story to its visitors.

"The Museum also liked MicroTiles'

flexibility: they are high resolution,

high visibility in bright light at

different angles and distances. We

wanted rear projection and a

product that would be financially

sustainable. The tiles have a long

lifespan, which means a low cost of

ownership."

Christie MicroTiles are perfect for

color matching and self-calibration

according to Craig Shonka, project

manager for AVI-SPL, project

integrator. The first plan for using the

MicroTiles was installing three simple,

yet attractive ribbons running down

the wall.

"It was Randy Pagnan of RP Visuals

who made the mounting support

brackets for the design we went with

which really made it all come

together and align properly," added

Steele.

"The atrium is very big and full of

daylight pouring in especially from

the south facing glass wall and the

skylights," said Stephanie Stewart,

project manager, Richard Lewis

Media Group. "When the museum

saw the color saturation of the

Christie MicroTiles, they went crazy;

they loved how beautifully bright

and crisp the images are and so do

July-September 2012TW-12

we. The MicroTiles fit perfectly with

what the museum is trying to say."

Driving the content is the Christie

Spyder X20 video processor. A

versatile, hardware based video

processor combined with the

flexibility of a universal routing

switcher, the Christie Spyder X20's

integrated source monitoring allows

for simultaneous, real-time, full-

frame-rate monitoring of all inputs.

"We also have the option of

reconfiguring the wall if we want to

change things up or even growing

the wall, and, in the end, we have

great products (Christie MicroTiles

and Spyder) that are running

consistently," continued Stewart.

"This project was huge and both an

artistic and technical challenge, but

that made it exciting. The team that

Kevin Barlow (Senior Director,

Control Rooms, Christie) put

together did a fantastic job. Ken

Hartling (Western Regional Sales

Manager, Control Rooms, Christie)

was so helpful and it was terrific to

work with Christie. The entire Christie

team kept the project going

smoothly; they were always solid and

got us what we needed when we

needed it."

Dan Waltens, director of operations,

AVI-SPL, said the project went

smoothly. "Having worked with

Christie in the past, we had that level

of comfort when working on a

project of this scope. Christie knew

every detail, was involved in the

project meetings so they understood

what the HCC was trying to

accomplish, and gave appropriate

advice that was key. The beauty of

Christie MicroTiles is that you can

access the power supply from the

front as well as the back."

Hartling said the Christie MicroTiles

and Christie Spyder installation is

"one of the most extraordinarily

complex projects I've ever been a

part of and one of the most

impressive installations I've seen. It's

eye-catching, creative and mind-

blowing."

MegaplexTheatres ChoosesDoremi toComplete DigitalConversion

Doremi has been selected by

Megaplex Theatres as the primary

technology provider for the upgrade

of its remaining screens across six

locations throughout the state of

Utah. Forty-one (41) Doremi DCP-2K4

servers are scheduled for installation.

Moreover, Doremi's accessibility

product line including the CaptiView

closed captioning system and the

Fidelio device for the visually

impaired are also scheduled for

installation in the theatre complexes.

The theatre chain expects to have the

upgrade completed by the end of

September, 2012.

"We are happy to offer enhanced

services in these new cities to our

guests, especially those with hearing

or visual limitations," said Blake

Andersen, senior vice president and

general manager of Megaplex

Theatres. "We chose Doremi products

because of their unmatched

reliability and performance

characteristics. We are very pleased

and excited to be partnering with

the industry's leading technology

provider in ensuring the best quality

experience for our guests."

"What we have is so different because

a high-tech array in the atrium is an

immediate signal to visitors that this is

not a typical state history museum,"

concluded Nichols. "The Christie

MicroTiles array captures the

magnificence of the Colorado

landscape and furthers our mission in

a financially sustainable manner."

Megaplex Theatres has the highest

grossing box office per capita in the

U.S. Megaplex Theatres recently

finished in the top five in the U.S.

for the midnight premiere of The

Dark Knight Rises as well as several

other films including the Twilight

franchise, the Harry Potter franchise,

and the Pirates of the Caribbean

franchise among others.

One World Bank authorised the real

estate and equipment auction of

Reel Grill Cinema & Tavern at 108

Tulane Avenue, Alvarado, Texas, on

Tuesday, August 14 at 11 a.m. by

Maas Companies of Rochester, Minn.

The two-year-old, $4.6 million

cinema and entertainment complex

operated for less than 90 days. The

real estate includes a 22,541 square

foot, two-story theatre with stadium

seating plus a 4,280-square-foot

unfinished retail space and a 1.47-

acre retail out lot. Theater equipment

includes four digital theatres, one

with 3D technology, and a 2,000-

square-foot Lasertron Laser tag arena

plus all support equipment.

The auction property will be offered

in individual lots and then as a

package and will sell whichever way

brings the greatest money.

Tyler Maas, director of sales and

marketing for Maas Companies,

states, "This auction offers a unique

opportunity for a new owner. The

property operated for such a short

time, the equipment is like new and

includes current technology."

The seller chose to market the

property via auction to actively

recruit a new owner and return the

building to a functioning status to

benefit the community.

New $4.6 MillionCinema/retailComplex up forAuction

July-September 2012TW-14

Barco announces the successful

implementation of its localisation

strategy in China. CFG-Barco

(Beijing) Electronics Co., Ltd. (CFG-

Barco) a joint venture between Barco

and China Film Group delivers

localised total solutions catering to

the Chinese market. Through its

long-term investment and

commitment, Barco's localised

approach is building trusting

relationships with local customers.

Up to June 2012, more than 6,600

Barco DC projectors have been

installed in Mainland China, covering

over 60% of the market share. In

addition, Barco University has trained

a large number of technical people for

China's digital cinema industry,

including: 1,208 DCOC engineers, 294

DCIC engineers, and 35 DCAC

engineers. These results illustrate

Barco's strong and solid position in the

digital cinema market in China and

CFG-Barco's successful transition since

the company was founded last year.

CFG-BarcoImplementsLocalisationStrategy

Hoyts Chooses Christie Duo for Blacktown Cinema 5Christie, is proud to announce that

Hoyts has chosen Christie Duo for the

theater's premium custom projection

needs, lighting up Australia's biggest

traditional screen, the Blacktown

Cinema 5 with the brightest images

available. The single-mirror

configuration of Christie Duo with

projectors from theChristie Solaria

CP4230 Series was installed in time

for the June 21 premiere of Snow

White and the Huntsman.

Xtremescreen - Australia's Largest

Multiplex Screen with its record-

breaking 28.1-meter wide screen. The

entire complex features 10 state-of-

the-art cinemas, with comfortable

stadium seating and the latest Digital

Surround Sound.

The engineering teams from Hoyts'

Cinema Technology Group and

Christie worked flawlessly together to

resolve operational issues and get the

world's first single-mirror installation

up and running in just a few days. To

ensure the sound experience

matched that of the new visual

experience, Hoyts also replaced the

auditoriums speakers and sound

processing equipment with the latest

equipment from QSC. "The system

has been tested with 4K content and

in my opinion is second to none in

regards to Big Screen experiences

available in mainstream multiplexes

today," added Wrightson.

"We pride ourselves on responding

to customer needs and when

numerous exhibitors approached us

in late 2011 and into January with

requests for a flexible and

economical alternative to the

industry's standard premium-cinema

experience, Christie responded with

Christie Duo. With Christie Duo,

Hoyts is receiving the ultimate in

performance, at a reasonable price

point," said Jim Dukes, product

manager for Christie Duo, Christie

Entertainment Solutions.

Christie Duo, available for the 2K or

4K Christie Solaria Series digital

cinema projectors, is an integration

kit specially designed to optimise 3D

and other special effects on the

largest screens. It features a choice of

configurations including a compact

stacking system for 3D installations,

or a physical configuration that

exactly aligns every pixel on the

screen for optimal 2D and 3D

presentations. With automated

features that calibrate, align and

optimise the images for 2K or 4K

projectors, Christie Duo delivers a

completely seamless, premium movie

experience for the world's largest

screens at a cost that all manner and

size of exhibitors can afford. Christie

Duo answers the global market

demand for a solution that delivers a

high performance and financially

accessible premium movie

experience.

"We're very excited to be the first

exhibitor in the world to deploy the

Christie Duo single-mirror, 90 degree

projector configuration, which is a

cutting-edge technology that delivers

the brightest, pixel-perfect 4K images

onto Australia's largest traditional

movie screen," said Adam Wrightson,

executive director and CTO of Hoyts

Cinema Technology Group. "The

technical capabilities that the product

opens up for us will help us give our

guests all the features of advanced

cinema that they expect from Hoyts."

"The light levels achievable with the

Christie Duo are unprecedented for

large screens. Most dual projector

installations are installed for 3D

output, and configured to use only

one of the projectors for 2D films,

resulting in lower than acceptable

light levels. Christie's solution allows

both projectors to be utilised for

playback of 2D content, delivering

spectacular images on large screens.

Christie's technology ensures that

convergence is not a problem, with

Christie Duo perfectly aligning each

of the 8 million pixels from the two

projectors," added Wrightson.

Hoyts Blacktown is the destination

for Sydney moviegoers to enjoy

July-September 2012TW-16

Drawing on Barco's world-class

technological advances and level of

service, CFG-Barco provides

customers with localised, premium

products and services, thus

strengthening Barco's leadership in

China's digital cinema market.

At the 2012 New Digital Cinema

Technology Presentation & Exchange

Conference held in Nanjing in June,

Barco premiered its new digital

cinema projector, which is based on

the latest DLP S2K chipset recently

launched by Texas Instruments.

Mr. Chen Xuxiang, General Manager

of CFG-Barco, commented "Barco

partnered with Texas Instruments for

nearly two years to develop this

projector. The field presentation at

the Conference showed that its

features are better than those of

other DLP Cinema S2K chipset based

projectors and local experts and

customers had high praise for Barco's

new projector."

Earlier in June, CFG-Barco has started

to deliver its first integrated digital

projection system - the DP2K-11Cx

and DP2K-18Cx - for Chinese

customers including Shanghai United

Circuit Co., Ltd. and Sichuan Pacific

Cinema Circuit Co., Ltd., among

others. Tailored exclusively for China,

the DP2K-Cx Series boasts intelligent

modular design and a user-friendly

interface.

In mid-June, CFG-Barco held the

'Cinema of the Future - 2012 CFG-Barco

Digital Film Summit', showcasing

Barco's leading technologies and total

solutions for digital cinema, including a

4K laser projector and the DLP S2K

chipset-based projector. Over 130

experts in China's film industry

participated, discussing the technology

trends and market potential of the

'cinema of the future'.

Kinoton has equipped the Cinema

Paris in Berlin, a movie theatre with a

grand tradition, with a modern

Kinoton DCS Digital Cinema Solution.

The cinema, which is located right at

the Kurfürstendamm and enjoys

protected status as a historic building,

has thus caught up with the digital

age and is now excellently prepared

for the future. The Cinema Paris is

inside the Maison de France - Institut

Français cultural center and has

specialised in original French movies.

Kinoton installed a modern DCS

Digital Cinema Solution with

integrated Dolby Server and a new

micro-perforated screen. The Kinoton

DCS now ensures an outstanding

digital cinema experience with

accurately reproduced colors. The

tradition-steeped theatre has already

been relying on projection equipment

from Kinoton for quite a while. Highly

reliable Kinoton FP 30 und FP 38 film

projectors excel with their low

operating costs and first-class

projection quality. An FP 38 projector

will also be installed parallel to the

new D-Cinema projection solutions to

Historic Movie Theatre goesDigital with Kinoton

enable screenings of classic film

material.

In recent years the Cinema Paris has

acquired a reputation as one of

Germany's leading repertory cinemas.

It was originally established mainly for

the purpose of presenting French film

culture but deviated significantly from

this mission in the 1980s. This

prompted the French government to

buy it up and look for someone to

lease it and consistently offer a

program of European and French

cinematic art. The Yorck Group won

out, and in 1994 ushered in a new,

successful era in the Cinema Paris with

Claude Chabrol's "L'Enfer". The

original films are nearly always shown

parallel to the dubbed German

versions. Since 1995, the establishment

has also belonged to Europa Cinémas,

a network of European movie theatres

whose members have pledged to

screen a significant number of

European films. Thanks to this clear

orientation, the Cinema Paris has won

its audience's lasting loyalty, even in

this age of multiplex theatres.

July-September 2012 TW-17

Christie MicroTiles were used for the

Jakarta Governor Elections at RCTI TV

station in the TV programme

'Laporan khusus pilkada DKI Jakarta

di Program seputar Indonesia,' as

well as the Grand Final of Indonesia

Idol 2012.

Christie also presented a compelling

3D projection mapping

demonstration using two Christie

projectors in Jakarta with its partner

Hitecindo Kharisma (M) Sdn Bhd

(HIKA). Argo Visual Omega Prima,

HIKA's valued rental partner - owner

of the first two Christie Roadster

HD20K-J projectors in Indonesia - and

PT V2 Indonesia, HIKA's Christie

MicroTiles master dealer who

acquired the first MicroTiles in

Indonesia, supported the event. The

event attracted more than 200

representatives of the Indonesian

business community.

"Through our entertainment

solutions partner, PT. Megatech

Engineering, Christie is highly

recognised for its superb

performance in the digital cinema

market in Indonesia. Our success is

especially remarkable with the

deployment of 100 4K digital cinema

projectors (Christie CP4220

andChristie CP4230, in Cinema 21,

the largest cinema chain in

Indonesia," mentioned Lin Yu, vice

president, Christie Asia Pacific. "To

further extend our footprint in

Indonesia, we are showcasing our

suite of solutions for business

application in Indonesia for the first

time. Through this event, we are

demonstrating our competence in

delivering end-to-end projection

solutions."

"With an established network of

business associates in Jakarta, HIKA

understands its needs and priorities.

By partnering with industry veteran

Christie Inspires Indonesian BusinessCommunity with Compelling 3DProjection and Christie MicroTiles

Christie, we are committed to

bringing the latest visual

technologies to meet their business

demand to provide powerful visual

communications to the Indonesian

audiences," commented C. K. Lum,

general manager, HIKA.

Taking the multi-dimensional surface

of the building exterior architectural

structure into consideration, two

Christie Roadster HD20K-J projectors

were deployed for projection

mapping onto its upper and lower

levels. The projectors delivered

exceptional image quality that

stunned the audience with Level D

and Yi studio, Aptronim Team, and

Eightniq Production providing

projection-mapping content.

The representatives were also

captivated by the brightness and

image quality of the Christie

MicroTiles array. Leveraging the

strengths of both DLP projection and

Light Emitting Diode (LED)

technology, Christie MicroTiles offer

substantially brighter images and a

much wider color palette than

conventional flat panel LCD and

plasma displays. Christie MicroTiles

produce a virtually seamless canvas

with an unlimited number of super-

fine pixels, making them ideal for a

wide range of demanding

applications, including architectural

elements, out-of-home advertising,

command and control video walls,

and event production.

When the Shanghai Film Museum

opens in the fall of 2012, visitors will

be greeted with an 11-meter wide by

5-meter high video wall comprising

416 Christie MicroTiles, the largest in

Asia. The 12-storey main building will

house an exhibition hall, a digital

cinema and an interactive platform

to chronicle the legacy of Shanghai

movies.

The strategic location of the Christie

MicroTiles installation poses a

stringent requirement on the

installation as Gang Zhao, Chairman

of Shanghai Film Museum Steering

Committee, elaborated, "We need a

solution that not only provides

bright, colorful and clear projection

but one that integrates seamlessly

with the design and environment of

the venue. It should be able to be

viewed in a short distance setting

and continuously provide projection

365 days throughout the year. After

assessing the various solutions

available, we are confident that

Christie MicroTiles are capable of

meeting our criteria."

With a thickness of 26cm, Christie

MicroTiles are more superior to

conventional LED display in terms of

the outlook and image quality with

no image pixel lost in transmission.

Built on proven DLP technology and

specifically designed for maximum

image quality in high-ambient light

environments, Christie MicroTiles are

the next frontier of display

technology. By utilising its unique

strengths of both rear projection and

Light Emitting Diode (LED)

technology, Christie MicroTiles offer

substantially brighter images and a

much wider color palette than

conventional LCD and plasma

displays.

ChristieMicroTiles toShine atShanghai FilmMuseum

July-September 2012TW-18

Amongst the important deals that

visualization expert Barco closed in

the aftermath of Infocomm is the

one with LANG AG. Headquartered

in Lindlar, near Cologne, the 120-

strong company dry-hires and sells a

wide range of visual presentation

technologies, including Barco

projectors. To meet the rental

market's pressing demand for ever-

better brightness, LANG AG has now

purchased 30 of Barco's new ultra-

bright HDF-W26 and HDQ-2K40

projectors. "This is just the

beginning," CEO Tobias Lang said.

Founded in 1978 as a small business

renting out slide projectors, LANG

AG now is one of Europe's largest

suppliers of audiovisual material,

rental and sales to rental companies

LANG AG meetsDemand forHigher LightOutput with 30New Bright BarcoProjectors

modular design for easy installation

and service and the 'built-for-the-

road' ruggedness - the latter

ensuring years of reliable service.

"The market indeed demands an

ever-increasing degree of

brightness," said Mark Bultinck,

Barco's Vice-President Sales Western

Europe, Entertainment Division.

"Building on years of experience in

rental and staging, our R&D team

designed these two newcomers to

combine brightness with other

features like robustness and ease-of-

installation. We are glad that a

leading player like LANG AG decided

to immediately add them to their

product offering. I believe the

investment will further boost the

success of LANG AG, as well as that of

Barco.

"To realise the vision of the Shanghai

Film Museum, Christie is proud of this

Christie MicroTiles installation. At the

same time, we will supply Christie

Solaria Series digital cinema

projectors and Christie's business

projectors," said Lin Yu, vice

president, Christie Asia Pacific. "This

is a milestone for Christie in the

movie industry as we provide

multiple visual solutions for the

Shanghai Film Museum."

and system integrators. LANG's

product portfolio comprises selected

products from leading international

manufacturers like Barco, with whom

the company is forging a long-term

relationship. "Last year, we

brainstormed on how to meet the

market's demand for more and more

light output. Barco's efforts resulted

in the recently launched HDF-W26

and HDQ-2K40 projectors, which we

are now adding to our rental

offering," Tobias Lang stated.

The HDF-W26 projectors will

supplement the existing stock of

FLM-HD20 and FLM-R22+ products,

to meet the needs of customers

wanting a compact, yet very bright

projector. The top-of-range HDQ-

2K40 projectors will replace the XLM-

30 products, which LANG AG has had

in its portfolio for almost seven years

now. "The XLM-30 was the brightest

projector around at that time and

has been rented out week after

week, throughout Europe," Lang

continued. "Of course, technology

has changed massively in the past

few years. While we will add the

HDF-W26 projectors to our existing

stock of FLM products, we plan to

really replace our XLM projectors by

the HDQ-2K40. As only a few XLM

products are available in Europe,

there is hardly any demand for cross-

rental of XLMs, making it easy for us

to fully convert to digital. The

benefits of the HDQ-2K40 are so

impressive that the few other dry-

hire companies who have XLMs in

their stock will, I think, replace them

by the HDQ-2K40 too. I am confident

our investment in the new products

is just the beginning."

Barco's HDF-W26 and HDQ-2K40 HD

three-chip DLP projectors are part of

a series of three that Barco launched

this June during Infocomm. With a

light output of 26,000 and 40,000

lumens respectively, both 3D-ready

projectors display crisp images with

rich colors even in venues with lots of

ambient light. Much-appreciated

extras include the wireless control

features (smartphone or tablet), the

Cineplex Entertainment's Front Row

Centre Events, SuperVision Media

and Sony Digital Cinema

broadcasted the Wimbledon tennis

championship in high-definition 3D

at select theatres across Canada on

Sunday, July 8, at 9:00 a.m. EDT.

"This is our second year showing the

Wimbledon men's final, and last

year's event drew rave reviews from

thousands of tennis fans across

Canada," said Pat Marshall, Cineplex

VP, communications and investor

relations. "The only better way to

experience Wimbledon is to be there

live."

Cineplex TheatresBroadcastsWimbledon Men'sFinal Live in 3D

July-September 2012 TW-19

IMAX Corporation (NYSE: IMAX; TSX:

IMX) and TGV Cinemas Sdn Bhd (TGV

Cinemas), one of Malaysia's premier

film exhibition companies

announced an expansion of the

parties' joint revenue sharing

agreement announced in October

2011 to include the installation of

seven additional IMAX theatre

systems.

The deal brings to eight the

exhibitor's total IMAX commitment

and brings to 321 the total number

of IMAX theatres open or contracted

to open in the Asia Pacific region.

Under the terms of the new

agreement, the first IMAX theatre is

scheduled to open in a new

construction project in the city of

Bandar Utama in the fall, with the

second theatre opening in December

2012 in an existing multiplex in Johor

Bahru. The third and fourth IMAX

theatre systems will also be located in

new construction projects in the cities

of Penang and Kuala Lumpur, which

are slated to open in December 2013

and December 2015, respectively.

Locations for the remaining three

theatres will be determined by the

parties at a later date.

"IMAX's immersive experience makes

our guests feel like they're a part of

the blockbusters - something no

other cinematic format or in-home

entertainment option can replicate,"

said Kenny Wong, CEO of TGV

Cinemas. "Our first IMAX theatre has

been a tremendous success and we

are keen to build on this momentum

with today's agreement. We're

confident that our new IMAX

theatres will continue to strengthen

our business and delight our guests."

"With a large population and

growing middle-class fueling

consumer demand for entertainment

options, Malaysia is a key area of

growth for IMAX in the Asia Pacific

IMAX and TGV Cinemas Expand JointRevenue Share Agreement with SevenAdditional IMAX Theatres in Malaysia

On July 27, the 2012 London

Olympic Games were officially

opened, and after a spectacular

opening ceremony, this year's

Olympic Games are now fully

underway, and the whole of London

is buzzing with the Olympic spirit.

Panasonic has been supporting the

Sharing thePassion in 3Dwith Panasonic atLondon 2012

Olympic Games with its cutting edge

AV technology for over 25 years,

starting with the 1988 Calgary

Olympic Games.

This year, the company has delivered

its largest ever supply of audio-visual

and broadcasting equipment to the

Olympic Games. Panasonic has also

supplied large screens and

professional sound systems which

have been installed in sites all around

the Olympic Park, so spectators can

enjoy the Olympic Games wherever

they are in the Park.

The Olympic Games have always been

at the forefront of AV technology,

and this year is no exception. This

year, Panasonic has supplied its 3D

camera recorders and equipment to

the 2012 London Olympic Games, and

through a 3D technical partnership

with the International Olympic

Committee (IOC) and the Olympic

Broadcasting Services (OBS), the 2012

London Olympic Games will be the

first Olympic Games ever to be

broadcast in 3D.

In addition to the 3D broadcasting of

the Olympic Games, Panasonic has

also set up a showcase in the Olympic

Park, the Panasonic Full HD 3D

Theatre, where visitors to the Park

can experience the Olympic Games in

full HD 3D on large 152-inch and

103-inch plasma displays.

Under the slogan of "Sharing the

Passion", Panasonic hopes to bring

the excitement and thrill of the

Olympic Games to people all over

the world.

region," said IMAX CEO Richard L.

Gelfond. "It is great to see TGV

already realising value from its first

IMAX theatre in such a short period

of time and together we look

forward to bringing our unparalleled

movie-going experience to more

audiences throughout Malaysia."

"We are pleased to expand our

relationship with TGV, a strategic

partner that is committed to

delivering the best cinematic

experiences and developing IMAX as

a premium brand in Malaysia," said

Don Savant, Senior Vice President

and Managing Director, Asia Pacific.

"With today's agreement, TGV will

bring IMAX theatres into high-

growth areas further supporting our

expansion efforts in this key part of

Asia."

July-September 2012TW-20

Doremi Cinema has secured its second DLP licensee for its

IMS1000 platform, making it a de facto standard for

movie servers supporting the digital cinema industry.

"Our agreement with NEC Display Solutions, Ltd. will help

ensure exhibitors will receive the highest quality product

with the greatest feature set. The new generation IMS1000

platform brings new features not available today or in next

generation platforms from our competitors," said Michael

Archer, Vice President Digital Cinema, Doremi. "Doremi is

now a fundamental building block in next generation DLP

technology based projectors. We look forward to our

continued growth alongside our support for the digital

cinema industry in the years ahead."

NEC Display Solutions has licensed the Doremi IMS1000

for standard distribution with their new NC900C model.

The IMS1000 is an integrated media server that combines

a digital cinema server and an Integrated Media Block

(IMB), making it an efficient and cost effective solution.

"NEC wanted to ensure our customers received the most

reliable integrated solution available with our NC900C

model," stated Atsushi Kuroda, General Manager,

Projector Development Division, NEC Display Solutions.

"It was the right decision for us to work with the market

leader who has proven over the last six years to bring

feature rich, reliable products to the market."

Designed for the future, the new Doremi IMS1000

platform is the server of choice among next generation

projectors introduced by two dominant and leading

projector manufacturers, NEC and Barco, which in turn

solidifies Doremi's position as the market leader as new

technologies develop.

NEC Picks Doremi'sIntegrated Media Server(IMS1000) to Support NewProjector Line

Combining the highest-quality 3D technology with stylish

appearance for one of the world's most prestigious film

festivals of the year, XPAND 3D glasses were used for a

technical 3D presentation at the 18th Sarajevo Film

Festival, which took place on June 6 - 14. The Sarajevo

Film Festival has grown into one of the biggest film

festivals in the world, drawing the most successful

regional artists and international stars alike. This year's

festival drew approximately 100,000 attendees and

featured 210 films from 57 countries. Nine feature films

from Bosnia, Serbia, Macedonia, Turkey, Austria and

Romania were entered in competition for the festival's

Heart of Sarajevo award.

XPAND 3D at Sarajevo FilmFestival

"Trekkers" across Canada were

invited to the "Star Trek: The Next

Generation 25th Anniversary Event,"

a one-night in-theatre celebration

on July 23 at 7:15 p.m. local time at

select Cineplex Entertainment

locations (7:30 p.m. at some

locations).

The anniversary event marked the

debut of the first season of "Star

Trek: The Next Generation" on Blu-

ray on July 24 and featured two

episodes that have been remastered

from the original camera negatives

'Star Trek: TheNext Generation'Journeys toCanadian Cinemas

during a multi-million-dollar

restoration: "Where No One Has

Gone Before" and "Datalore." The

episodes were handpicked by "Star

Trek" experts and restoration

consultants Mike and Denise Okuda,

who chose "Where No One Has

Gone Before" for its spectacular

visual effects and its embodiment of

the series' central theme: wonder in

exploring the unknown. They

selected "Datalore" because it

features the fan-favorite character

Data and his evil twin, Lore.

"We're thrilled to be able to

introduce 'Star Trek: The Next

Generation' to a new generation,"

said Ken Ross, executive VP and

general manager of CBS Home

Entertainment. "Seeing the episodes

in a theatre setting is the perfect

way to show off the pristine picture

that high-definition allows, while

also launching the first season on

Blu-ray."

Fans were treated to specially

recorded episode introductions by

the Okudas and a glimpse of the

new special features on the season

one Blu-ray, including never-before-

seen cast interviews. The evening

concluded with an extended

preview of the "Star Trek: The Next

Generation' season two Blu-ray.

Wehrenberg Theatres recently

expanded its "Five Star Lounge" to

Des Peres 14 Cine in Des Peres, MO.

The concept originated in the nearby

Galaxy 14 Cine in Chesterfield, MO,

and features a luxury movie

environment. All seats are plush,

heated recliners with a call button to

summon wait staff. Reserved seating

and a full menu with appetizers,

entrees and drinks, including adult

beverages, are available.

The two Five Star Lounge houses at

Des Peres are partnered with the Five

Star Lounge lobby bar, a separate bar

area where guests can mingle or

meet up before or after a show. They

can order food, have a few drinks

and enjoy sports or other shows on

the HDTV. The bar, like the Five Star

Lounges themselves, is available for

all guests over the age of 21.

Wehrenberg Theatres plans to build

more Five Star Lounge facilities in St.

Charles 18 Cine and Ronnies 20 Cine,

both also located in the St. Louis

area. Des Peres will also get two more

of their own by 2013.

In the coming months, St. Charles 18

will introduce a food service order-

type operation in its auditoriums.

The entire theatre will undergo a

renovation that will begin this fall.

In addition, Wehrenberg's Eagles

Landing 8 Cine is under construction

in Osage Beach, MO. Osage Village 5

Cine, the current theatre in town, will

remain.

WehrenbergExpands 'FiveStar Lounge'Concept

The festival included a technical

presentation, hosted by XPAND

partner dcinex at the Meeting Point

Cinema in Sarajevo, which discussed

the present state and future of 3D

technology. For the event, XPAND

supplied 200 of its Infinity 3D glasses.

The Infinity 3D glasses provide up to

38% transparency and a 3000:1

contrast ratio. The glasses' lightweight

ergonomic designs ensure long-

wearing comfort, and their wide 3D

viewing angle provides an optimal 3D

image across the entire cinema. All

new XPAND cinema systems and

glasses fully support HFR (High Frame

Rate) double and single flash at 96fps,

120fps, 144fps, 192fps, 240fps and

even variable fps.

"The enduring success of the

Sarajevo Film Festival and its

development into one of the world's

most prestigious festivals is a source

of tremendous joy for everyone here

at XPAND 3D," said Maria Costeira,

CEO of XPAND 3D. "We are of course

honored to provide our 3D cinema

glasses for the event and continue to

spread the word that XPAND 3D

offers the best 3D experience,

whether it's at the Sarajevo Film

Festival or in your home!"

July-September 2012TW-22

Cinemex, the world's 6th largest

exhibitor, has chosen Arts Alliance

Media (AAM) to be the exclusive

provider of software to its cinema

screens across Mexico. The chain,

which has 2,000 screens in Mexico, will

use AAM's proprietary software suite

to manage content across all its digital

cinema estate.

Cinemex, which is negotiating its own

VPF (Virtual Print Fee) deals directly

with the studios, will roll out digital

across its network over the next 18

months, and will utilise a range of

AAM software products to manage

various aspects of the deployment.

All screens will employ AAM's world-

class and newly enhanced Screenwriter

Theatre Management System to

manage content, playlist, scheduling

and reports, and the enterprise

Producer software will be used to

AAM AnnouncesDigital CinemaSoftware Deal for2,000 Screens

manage the entire Cinemex chain with

circuit-wide schedule management,

centralised advertising and pre-show

creation, and dynamic playlist

updating.

For monitoring and maintenance of all

screens, Cinemex will use AAM's

Lifeguard suite to monitor equipment

24/7, and provide notifications of any

exceptions which need to be resolved.

AAM's Auditor will manage all aspects

of Cinemex's VPF deployment,

managing and tracking all equipment

deployed in the field, gathering data

and reconciling to booking reports.

To deliver advertising across the

Cinemex network, the circuit will use

Courier, the content delivery system

designed to deliver centrally stored

content to sites over existing network

connections, providing complete

control and visibility over all pre-show

content.

Andrei Savtchenko, Head of

Information Technology at Cinemex

said "Managing a digital rollout across

a circuit of 2,000 screens can be a

logistical challenge, but with AAM's

integrated software that has been

repeatedly proven in the field, we

know that all the details and

commitments for running a digital

cinema chain will be taken care of by

software built by digital cinema

experts."

Howard Kiedaisch, Chief Executive

Officer of AAM, commented

"Deploying our suite of software

products across a chain as large and

respected as Cinemex is a really

exciting opportunity for AAM. We've

used all of our experience over the

past years in digital cinema to build

solutions to best serve the needs of

exhibitors like Cinemex who are

poised for tremendous growth over

the coming years and we're thrilled to

be working with them. The digital

cinema opportunity in Latin America

at the moment is very exciting, and we

look forward to working with other

exhibitors in the region, large and

small, to support and facilitate their

digital rollouts"

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

Apollo Cinemas Screens a New EPoSSolution from J2 and Vista

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.

July-September 2012 TW-23

Cinedigm Entertainment Group,

announced the company is

partnering with ARC Entertainment

for the distributor's highly

anticipated Nitro Circus The Movie

3D opening in theaters nationwide

on Wednesday, August 8th.

A fully integrated distribution

company, ARC will utilise the

expertise of Cinedigm to

supplement the theatrical release of

the film.

In the world of the sports adventure

troupe known as Nitro Circus, no

dream is too out-there, no idea is

too high-risk and no never-before-

seen stunt is too impossible-

sounding to attempt. They laugh at

gravity as they somersault across

skyscrapers, gleefully morph their

bodies into human torpedoes and

generally aim to have more fearless

fun than anyone else on the planet.

And now, this summer, the action-

athletes who never stop pushing the

boundaries of what others say can

and can't be done head off on their

wildest and most inspiring quest yet,

in three dimensions. They're on the

road to world domination or at least

to Las Vegas as they pull off a series

of one-of-a-kind, irreverent stunts in

pursuit of creating the ultimate live

show in the heart of America's

entertainment mecca.

Using innovative 3D cinematography

and the latest compact camera rigs,

the filmmakers provide moviegoers

with a groundbreaking experience in

Cinedigm and ArcEntertainment toPartner

More2Screen is delighted to

announce that it has been appointed

by EuroArts Music to distribute the

Mariinsky Theatre's The Nutcracker In

3D, the world's first 3D Nutcracker

ballet to digital cinemas worldwide

from November 2012.

Filmed at the historic Mariinsky

Theatre in St. Petersburg, this is a

sumptuously traditional production

brought to life on the big screen in

stunning 3D. As the all time favorite

ballet for the festive season, the

Mariinsky Theatre's The Nutcracker In

3D is perfect Christmas entertainment

for families, ballet fans and 3D

aficionados worldwide.

This is the third 3D ballet distributed

by More2Screen, following on from

the Mariinsky Theatre's Giselle In 3D

in 2011 (the first 3D ballet) and in

2012 Matthew Bourne's Swan Lake In

3D, which continues to delight

audiences as it rolls out worldwide.

3D is the perfect medium for dance

as it illustrates the space between the

dancers as well as bringing the

viewer right into the performance, a

truly immersive experience.

Under the leadership of Artistic

Director and renowned conductor,

More2Screen to Distribute World's First3D Nutcracker Ballet to Digital CinemasWorldwide

Valery Gergiev, the Mariinsky Theatre

was the first ballet company to

embrace 3D technology. Working

with EuroArts Music who have more

than thirty years of experience in

creating spectacular arts events for

the screen, The Nutcracker In 3D

demonstrates the Mariinsky Theatre's

commitment to the synthesis of

tradition with cutting edge

modernity.

Christine Costello, Managing

Director, More2Screen comments:

"We are thrilled to be working with

EuroArts Music and the Mariinsky

Theatre again on this superb 3D

production. It is a privilege to add

the world's first 3D Nutcracker to our

portfolio of special events for digital

cinemas."

Bernd Hellthaler, CEO and Executive

Producer of EuroArts Music, says of

the collaboration with More2Screen:

"With their impressive track record in

distributing alternative content to

exhibitors across the globe, and

previous experience with 3D ballet

productions, More2Screen is the ideal

partner to work with us on the

release of the world's first 3D

Nutcracker."

More2Screen is the leading London

based alternative content distributor

with more than 6 years of experience

acquiring and distributing world class

opera, ballet, music concerts, theatre

and special event films to cinemas

across the globe including 23 live

broadcasts, and over 100 different

recorded productions and 3D live/

recorded content.

July-September 2012TW-24

3D cinema that puts the audience in

the shotgun seat with The Crew as

they pilot motorcycles, rally cars,

parachutes, mountain bikes, monster

trucks and more.

"ARC Entertainment is the perfect

partner to utilise our theatrical

distribution expertise and TDS

software to manage their film

releases," said Brad Carroll, Vice

President of Theatrical Distribution,

Cinedigm. "With ARC's pre-existing

relationships, the two companies

together form a powerful and

efficient distribution machine."

"Cinedigm has emerged as a true

21st Century company within the

entertainment industry," said Trevor

Drinkwater, Chief Executive Officer

of ARC Entertainment. "Nitro Circus

The Movie 3D' brings out the best in

those who see it, and our unique

partnership brings together the best

of ARC and the best of Cinedigm."

"This film is certain to have the

legions of Nitro Circus fans

thoroughly entertained," continued

Carroll. "It is action-packed from the

beginning to the end, with each

stunt crazier than the last."

Cinemark plans to construct a nine-

screen, all-digital movie theatre that

will feature the company's new

Cinemark NextGen design concept in

the Los Angeles area. The Runway at

Playa Vista development will be

located south of Santa Monica in the

Playa Vista neighborhood.

Cinemark XD is a complete

entertainment environment

featuring a 72 foot, wall-to-wall and

ceiling-to-floor screen, plush seating

and a custom digital surround sound

system featuring the latest in sound

technology. A Doremi server and a

Barco DLP digital projector will

deliver the digital images.

"We are thrilled to introduce our

new Cinemark NextGen movie

theatre experience with VIP premium

seating, that features the latest in

digital and sound technologies, to

guests in Los Angeles," says Tim

Warner, Cinemark's chief executive

officer. "The Runway at Playa Vista

promises to be one of the premier

developments in Southern California

and our theatre will quickly become

recognised as the preferred place in

the market to enjoy a great movie-

going experience. We plan to move

very quickly to open the theatre in

early 2014."

Cinemark to Open NextGen Theatre inLos Angeles Area

"The Cinemark Playa Vista will

provide a convenient opportunity

for movie screenings and Premiers as

we combine the best technical

theatrical experience with dining and

cocktails," says Steve Bunnell, senior

vice president global content

programming. "We will feature

ample parking with valet service and

a secure environment for red carpet

press events. All of this will be

conveniently located in an area that

is near the studios, the 405 Freeway

and LAX."

"We are ecstatic to have Cinemark

open what will be the premier

theater experience in Los Angeles at

Runway," says Lincoln Property

Company's executive vice president,

David Binswanger. "Runway is

designed to reflect the Southern

California coastal culture and we are

pleased to be adding Cinemark to

our tenant mix which will also

include a gourmet grocer, pharmacy

and other neighborhood serving

restaurants and retailers. The open

public spaces, landscaped walkways,

and outdoor fire places will make

Runway a natural community

gathering place."

July-September 2012 TW-25

Christie announced its continued

sponsorship of theToronto

International Film Festival by

providing multiple Christie Solaria

Series digital cinema projectors.

Recognised around the world for

presenting the best of international

and Canadian cinema to film lovers,

the Festival screens more than 300

films from 60+ countries during its

11-day program September 6-16, in

addition to offering year-long

programming. This year represents

Christie's 12th year as the official

projection sponsor, supporting The

Festival's mission of transforming

the way people see the world

through film. In 2011, The Festival

selected Christie's industry-leading

Christie Solaria 4K DLP Cinema

projector for screening filmmakers'

Ron Fricke's and Mark Magidson's

70mm movie Samsara - marking the

first 4K screening at The Festival,

while Francis Ford Coppola's movie

Twixt was shown in 3D on a Christie

CP2230 4K-ready DLP Cinema

projector.

"The explosion of digital cinema

technology has provided the

industry with accessibility while

meeting the rising demand of

filmmakers around the world who

want their films screened in the

Christie to Deliver Superior Visual Experiences at TorontoInternational Film Festival 2012

highest digital quality available,"

said Diane Cappelletto, The Festival's

Director of Technical Production.

Cappelleto adds "Transforming

many of our screens to digital

format was made possible with the

support of Christie, whose digital

projectors are recognised worldwide

for performance and reliability. We

value Christie's exceptional image

quality and expert service to help

make the Festival successful every

year."

"Throughout Christie's long-

standing partnership with The

Festival, we have seen a growing use

of digital projection technology for

screenings. Last year, the sold-out

documentary "Samsara" was

screened in 4K,"said Kathryn Cress,

vice president, Global and Corporate

Marketing, Christie. "With its

international flavor, The Festival

truly transforms the way people see

the world, and Christie is proud to

support it as it transitions from what

was once a film-only industry to one

predominantly digital," adds Cress.

Christie digital projectors are used

by leading Festivals around the

globe. This year, Christie renewed its

official technical sponsorship of the

Festival de Cannes for the next three

years, a position it has held since

Richard Fay, president of domestic

theatrical distribution for Lionsgate

Distribution, will receive the 2012

Salah M. Hassanein Humanitarian

Award during the final night banquet

and awards ceremony at this year's

ShowEast convention at the Westin

Diplomat Resort and Spa in

Hollywood, Florida, on Nov. 8.

The Hassanein Award was established

in 1987 and has been presented to a

leader in the industry each year who

has distinguished him or herself in the

philanthropic community.

ShowEast managing director Robert

Sunshine stated, "Richie has been at

ShowEast toHonor Lionsgate'sFay withHumanitarianAward

2006. In addition, Christie was the

exclusive projection sponsor of the

"Water for Elephants" screening at

the opening gala of the 14th

Shanghai International Film Festival

last year. Today, Christie equipment

is found in more than half of all

digital projection rooms - about 33,

000 projectors in use.

July-September 2012TW-26

Marcus Theatres has completed a

new UltraScreen auditorium and

remodeled its cinema in the Duluth

Entertainment Convention Center in

Duluth, Minnesota. The project

included the renovation of the

former adjacent DECC OmniMax

Theatre structure into the company's

14th UltraScreen, adding a Take Five

Lounge and remodeling the cinema's

lobby, entrance and box office.

"The new UltraScreen takes

moviegoers to a totally new level of

excitement and entertainment, with

an extremely wide screen, award-

winning sound, custom seating and

the amazing D-Box motion seat

technology," said Bruce J. Olson,

president of Marcus Theatres. The

cutting-edge D-Box completely

immerse audiences in the viewing

experience by making realistic

Marcus Upgrades itsDuluth Theatre

Red Wing Cinema 8 is the latest

theater to adopt Sony's Digital Cinema

4K technology. The popular family

owned cinema, located near the

Mississippi River in Red Wing, Minn.,

recently installed Sony 4K projectors in

all eight of its auditoriums.

The upgrade is the newest

enhancement made by co-owners

Chris and Amber Brown, who took

over the theater in 2010 with the

goal of redefining the viewing

experience for their customers.

Sprucing up the theater meant

updating the technology and

improving picture presentation, so

the Browns selected Sony 4K

projection for its image resolution

attributes and operational benefits.

"In the long run there are so many

positives," Chris Brown said. "The

presentation quality is beautiful and

improving the customer experience

was our number one consideration.

Plus, the possibilities with alternative

content are really interesting and

digital is an easier process for owners."

According to Brown, converting Red

Wing Cinema 8 to Sony digital

technology was a carefully

researched decision, one made easier

through Sony's flexible financing

and lease programs.

"We looked at several other lease

programs and, with advice from our

finance advisors, we decided that Sony

4K was definitely the best fit," he said.

Sony also offers an exhibitor-

managed finance program based on

Sony's VPF administration. By

leveraging this full menu of

customised options, exhibitors of all

sizes, like Red Wing, can take

advantage of state-of-the-art

technology, reinforce their

dedication to loyal customers and

increase sales and market share

through the competitive advantages

offered by Sony 4K. With its highest-

resolution image quality and more

Minnesota's Red Wing Cinema 8 withSony Digital Cinema 4K Projection

than 12,500 4K projectors deployed

in movie theaters worldwide, Sony is

the gold standard for the digital

cinema industry.

"It's not easy for independent

theaters to make the transition to

digital," said Christopher Simpson,

national account manager for Sony

Electronics' Digital Cinema Solutions

Group. "Our affordable leasing

programs illustrate our commitment

to smaller theaters who are interested

in upgrading and help theaters like

Red Wing Cinema offer the best

possible movie-going experience."

With the 4K installation at Red Wing

Cinema 8 fully complete, the Browns

are now beginning to advertise the

Sony 4K experience to their

theatergoers.

"It's been a great experience with

Sony," said Brown. "They have made

it so easy for us, and we look forward

to sharing their technology with our

customers."

the forefront in supporting

humanitarian and charitable

organisations both within and outside

the cinema exhibition and distribution

communities and we are pleased to

honor him with this prestigious

award."

Fay, a 40-year industry veteran,

oversees and executes the distribution

strategy for Lionsgate's domestic film

slate. His prior position was president

of Summit Entertainment from 2007 to

2012. Before that, he headed his own

firm, Fay Enterprises, which consulted

for a number of enterprises including

Deluxe Labs as well as several motion

picture and in-theatre marketing

companies including Movie Me and

Timeplay.

Prior to starting his own firm in 2005,

Fay was president of AMC Film

Marketing for ten years, where he was

responsible for film buying and in-

theatre marketing. During his tenure

at AMC, Fay was also responsible for

negotiating all the film settlements

with distributors and initiating

aggregate film deals as AMC grew into

a circuit of megaplexes.

Before working at AMC, Fay had a

solid foothold in both the exhibition

and distribution arenas, holding the

positions of senior VP and assistant

general sales manager for Sony

Pictures Releasing, senior VP and head

film buyer for United Artists Theatres,

and VP and film buyer for Loews

Theaters. He got his start in the early

1970s as a salesman for United Artists

Pictures and as a booker and salesman

for Warner Bros. in New York.

Fay has received many awards for his

charitable work including the 1995

ShowEast Kodak Reel Award, the

Variety Boys & Girls Club of Queens

1997 Humanitarian Award and the

ShowEast 2001 Al Shapiro

Distinguished Service Award. He is a

board member of The Options for Life

Foundation and is a board member

and former secretary of the Will Rogers

Institute. He also served as VP and

board member of the Motion Picture

Club in New York.

July-September 2012 TW-27

movements and vibrations in perfect

sync with the on-screen action. We are

excited to introduce this new multi-

sensory revolution in movie-watching

to our audiences in Duluth."

The patented D-Box MFX technology

is available in 29 of the auditorium's

244 seats for an additional $8.00 per

reserved ticket. Each year,

approximately 15 to 18 movies are

programmed with the D-Box system.

"We're delighted to be a part of this

new state-of-the-art cinema, our first

with Marcus Theatres, and to

introduce a new dimension to

moviegoing with our incredibly

immersive D-Box MFX experience,"

said Claude Mc Master, president and

CEO of D-Box Technologies.

Olson added, "The UltraScreen

digital cinema experience doesn't

end there. Viewers are put right in

the center of the excitement with the

65-foot-wide, three-and-a-half stories

tall screen. The latest MDX (Marcus

Digital Xperience) digital projection

technology presents movies in 4K

high resolution for superior clarity,

vivid color and outstanding

definition and depth. When it comes

to sound effects, the 39,000-watt 7.1

digital sound system featuring JBL's

Academy Award winning Screen

Array speaker system creates an

incredible audio experience. Seating

in the new auditorium features new

luxurious velour high-back memory-

foam chairs designed for the ultimate

relaxation and comfort. With the all-

encompassing look, feel and sound

of the UltraScreen, moviegoers will

enjoy the latest Hollywood

blockbusters like never before."

UltraScreen admission is $2 more

than standard movie prices.

"The Take Five Lounge offers a

complete selection of beer, wine and

creative cocktails, as well as a variety

of appetizers, pizza and finger foods.

The lounge seats 65 guests, with

elegant soft leather seating for

relaxing and critiquing the movie

while enjoying a favorite cocktail

and snack," added Olson.

Additional enhancements to the

Duluth Cinema include a relocated

box office, new entrance and

renovated lobby area that connects

the UltraScreen auditorium with the

existing 10-screen lobby, as well as

new design elements that extend the

existing look and feel of the theatre.

Self-service soda stations, which are

extremely popular with guests at

other Marcus Theatres locations, have

also been added.

Sony Digital Cinema is pleased to

announce that leading Irish

independent cinema chain, Spurling

Group Cinema (SGC), will be the first

exhibitor to install Sony's new 4K

projectors on its site in Dungarvan,

Ireland, from November 2012.

Now offering the latest in digital

projection and sound technology,

SGC Dungarvan has become the

standard bearer for multiplex facilities

and is at the forefront of embracing

Sony AnnouncesFirst WorldwideSales of 4KProjector SRX-R515

digital cinema in Ireland. The four

screen cinema is the perfect location

to install Sony's next generation SRX-

R515 projector, as it enables the chain

to deliver a superior viewing

experience to its visitors.

With Sony's launch of the SRX-R515

last month at CineEurope, smaller

exhibitors, like SGC, will now be

empowered to expand their current

role to become entertainment

venues, offering new services beyond

traditional content, such as sports,

music, theatre, opera, multi-user big

screen gaming and cultural events.

Not only that, they will have earlier

access to a broader variety of films

and be able to host film premieres

simultaneously with the multiplexes.

Graham Spurling, Managing Director

of Spurling Group Cinemas says, "We

have always been at the forefront of

technology in our cinemas, as we are

fully aware of the benefits that

digital cinema brings to us as a

smaller independent chain. The new

Sony 4K projector is full of

technological innovations like 4K

resolution, outstanding contrast ratio

and new lamp systems that deliver a

truly superior viewing experience to

our customers."

"This partnership further emphasises

our passion for the longevity and

quality of the cinema industry

globally. It will enable SGC to

capitalise on the enormous

opportunities that digital cinema

offers to strengthen and sustain their

business, as well as to revolutionise

the movie-going experience," said

David McIntosh, Director, Sony

Digital Cinema. "The new SRX-R515,

with its outstanding image quality,

operational versatility and low cost

of ownership, showcases Sony's long-

term commitment to delivering the

ultimate entertainment experience to

the independent cinema market."

Spurling Group Cinemas will also be

the first cinema to benefit from the

new exhibitor owned VPF scheme

put in place by Sony Digital Cinema.

July-September 2012TW-28

Qube Cinema will show visitors to

IBC how its Quad 3G interface for

digital cinema projectors facilitates

digital intermediate and D-cinema

mastering workflows. The Qube XP-

I server can stream uncompressed

4K data, as well as compressed DCP

images, directly to a projector

through a 4K Xi Integrated Media

Block (IMB) featuring the Quad 3G

interface.

Post facilities can now use the same

server projector setup for both HD-

4K uncompressed color grading and

2K-4K digital cinema playback for

comprehensive review and quality

control.

The postproduction version of the

Qube Xi IMB features a Quad 3G

interface with four 3G-SDI cables

that can link to color grading or

finishing systems. These four BNC

connectors simplify 4K setups for

post houses, allowing users to easily

switch between uncompressed 4K

and 4K DCP playback.

The Qube XP-I server has a data

throughput of up to 1,000 Mbps,

enabling 4K 3D dual projector

playback from a single server

running a single DCP. The Xi IMB

supports HFR playback up to 500

Mbps. Multiple-projector setups for

stereo 3D playback from a single

XP-I server are possible due to

internal synchronisation of the Xi

IMBs.

"Being able to stream

uncompressed 4K from the server

straight into a projector is a serious

step forward for postproduction

facilities," said Nigel Dennis,

director of marketing and sales for

Qube in Europe. "They can now

review a raw master image, correct

data directly and encode into a

JPEG 2000 without the fuss of

swapping input boards."

Qube Cinema ShowsUncompressed4K IMB

Alamo Drafthouse Cinema will open

Alamo Drafthouse New Mission in

San Francisco, California sometime

during the fourth quarter of 2013 in

the historic New Mission District.

"With the possible exception of Austin,

San Francisco is my favorite city in the

world. My parents met there, I was

born in Berkeley, and my wife was

working in the city before I begged her

to come help me start my first theatre

venture in Bakersfield, California," said

Alamo CEO and founder Tim League.

"There is no accident that the first

theatre outside of Austin that my wife

and I pursued is in San Francisco."

The Alamo Drafthouse New Mission

venue, upon successfully completing

the local entitlement and approval

process, will feature five screens of new

release movies, independent and

repertory films as well as the Alamo's

unique signature programming. Each

of the auditoriums will be equipped

with digital projection as well as

excellent screen size to room ratio and

quality sound. In addition, the layout

of each screening room will eliminate

the traditional front row, ensuring

every seat in the house allows for a

great viewing experience. The

theatres at Alamo Drafthouse New

Mission will also be equipped for 3D

and 35mm projection. The

programming of Alamo Drafthouse

New Mission will be similar to the

Alamo Ritz location in Austin with a

mix of classic film programming,

alternative content and live events,

foreign films, independent films as

well as some studio films. As in Austin,

Alamo Drafthouse New Mission will

entertain partnerships with new and

upcoming film festivals.

Alamo DrafthouseNew Mission toOpen in 2013

Bringing digital cinema software to

Ecuador's No. 1 cinema chain, Arts

Alliance Media (AAM), worldwide

leader in digital cinema, and

Cinevise, the Miami and São-Paulo

based digital cinema solutions

supplier, have announced a software

deal with SuperCines, Ecuador's

leading circuit. The deal will see

AAM's Theatre Management System

(TMS), known as Screenwriter,

installed by Cinevise in over 150

SuperCines screens across Ecuador.

AAM and Cinevise have been

working together since 2011 when

they signed their first software

licensing agreement that is bringing

AAM's TMS into all of Cinemais'

theaters in Brazil. The Supercines

deal is Arts Alliance Media's first in

Ecuador and significantly expands

the company's presence in Latin

America. Cinevise will also provide

SuperCines sites with monitoring

services from its Global Network

Operations Centre (NOC).

Martin Schwartz of SuperCines said of

the deal "We have been working with

a demo version of Screenwriter for a

while now, and have been impressed

with its ease of use and its

comprehensive features. We're

pleased to announce a wider rollout

of the software into our screens across

Ecuador with monitoring by Cinevise.

We look forward to continuing to

work with Cinevise and AAM to

extend our relationship."

Alex Younger of Cinevise added "We

have been working with SuperCines

for 20 years now, and we're

delighted to supply them with AAM's

best in class TMS software, as well as

monitoring and supporting their

digital sites. We look forward to

continuing our discussions with them

and working with other exhibitors

throughout Latin America to bring

the best software to them as they

convert to digital."

AAM andCinevise MakeFuther Inroads

July-September 2012 TW-29

Quvis Technologies has announced

the availability of Wraptor Digital

Cinema Package services. Quvis now

offers indie filmmakers a fast, reliable

and attractively priced alternative for

creating, archiving and distributing

studio quality DCPs.

With all cinemas expected to convert to

digital projectors by 2015, the Digital

Cinema Package is replacing film print

as the standard cinematic format

globally. Up until now, filmmakers have

paid anywhere from $5,000 to $20,000

to convert their films to DCP. With

Quvis DCP services, the company is

making it easy and affordable for

filmmakers to not only convert films to

DCP, but also archive and distribute

them easily to film festivals.

"Studios distribute in DCP for a

reason, the quality is better," said

Quvis AnnouncesWraptor DCPServices

Cinedigm Digital Cinema Corp., the

global leader in digital cinema and

theatrical technology solutions,

announced today that its leading

digital cinema Theatre Command

Center TMS solution has been

successfully installed at Cinesystem's

theatre in Hortolandia, Brazil in the

state of Sao Paulo.

Cinedigm, with its local partner DGT, is

now working directly with exhibitors

in Latin America, starting in Brazil, to

showcase Cinedigm's digital cinema

technology in preparation for its VPF

program roll out later this year.

Hortolandia's 5-screen fully digital

cinema is using Cinedigm's Theatre

Command Center (TCC) to manage the

scheduling, monitoring and playout of

all digital content. TCC is the most

automated and widely used TMS

solution in the world, and supports the

innovative boothless cinema concept

that has been pioneered by

Cinesystem, the fastest growing

cinema exhibitor in Brazil. TCC will link

to DGT's network operations center

using Cinedigm's powerful circuit

management solution, Enterprise, to

provide complete circuit-wide

management and monitoring of

shows, content, KDM's and digital

systems.

The transition from 35mm film

projection, which has been used for

110 years, to digital projection systems

is a standardised world-wide motion

picture industry effort. The total cost to

deploy this new technology is shared

by exhibitors and studios through the

payment of virtual print fees (VPF) to

implementation companies. Cinedigm

together with DGT will be responsible

for structuring and implementing the

underlying VPF agreements with the

studios, as well as administering the

VPF program.

"We are thankful for the opportunity

and excited to work with such a

forward-thinking exhibitor as

Cinesystem and to demonstrate why

Cinedigm Brings Digital TheatreManagement System to Brazil

the Cinedigm solutions are such a

great fit for Brazil and the Latin

American market," said Jim Miller,

President of Cinedigm's Software

Division. "Once installed, TCC and

Enterprise will easily manage digital

cinema operations without the daily

hands on intervention by theatre staff

required by other TMS solutions. As a

result, our customers save time and

money managing their digital

theatres, with less errors and lower

training costs."

"This showcase in Hortolandia is the

first of many planned deployments

designed to demonstrate to exhibitors

the technology and value that we are

bringing to Brazil and Latin America,"

said Tieres Tavares, President of DGT.

"I am very pleased to work with

Cinedigm and DGT to explore the

efficiencies that the Cinedigm TMS can

bring to Cinesystem," said Marcos

Barros, President of Cinesystem.

Quvis CEO Kenbe Goertzen. "Indie

filmmakers are increasingly required

to convert and distribute their

projects to film festivals in DCP. It

delivers a better exhibition and that

is why studios don't distribute to

cinemas in Blu-ray. With Quvis, we

make it affordable for Indies to make

a professional grade DCP. Now with

our Wraptor DCP service offering,

we're taking it even further by

offering everything from DCP

conversion, to archiving your film

and managing the distribution."

"Film festival programmers are

responsible for viewing hundreds and,

sometimes thousands of movie

submissions a year and they're always

looking for the simplest and most cost-

effective viewing experience as well

the best quality picture," said Laurie

Kirby, executive director of the

International Film Festival Summit, a

conference for festival organisers.

"Fortunately, new technology makes it

possible to stream submissions,

eliminating the need for DVDs. More

festivals are exhibiting in DCP format

so filmmakers and festivals will

definitely benefit from this type of

DCP service and distribution package."

IMAX and VieShow Cinemas, the

leading exhibitor in Taiwan,

announced an agreement for three

IMAX theatre systems. The deal brings

VieShow's IMAX commitment to 10

and to 232 the total number of IMAX

theatres open or contracted to open in

Greater China, of which 97 are

currently in operation.

Under the terms of the new

agreement, VieShow Cinemas will

install three IMAX theatre systems in

Taiwan, with the first to open in the

city of Tainan in 2014 and the second

and third systems slated to open in

2015 with the locations to be

determined at a later date. The

exhibitor currently has six IMAX

Imax ExpandsPartnership withVieShow Cinemas

July-September 2012TW-30

Digital Domain Media Group and

Prime Focus World have signed an

agreement whereby Digital Domain

Media Group will license its 3D

conversion technology to Prime

Focus World. The agreement settles

and terminates the patent

infringement litigation action filed

by DDMG against Prime Focus World

in 2011. Under the agreement DDMG

and Prime Focus World will

collaborate on visual effects and 2D-

to-3D conversion services work for

Digital DomainSettles 3DLawsuit withPrime Focus,Signs Reliance

feature films. In related news,

Reliance MediaWorks, an Indian film

and entertainment services company

and a member of the Reliance

Group, has joined the Digital Domain

Media Group's 3D technology

licensing program.

"Ultimately this was a lawsuit

between two companies that enjoy

working together, so we're happy to

put it behind us and resume our

prior relationship with Prime Focus -

one of performing high-quality VFX

work collaboratively," said John

Textor, CEO and chairman of DDMG.

"We understand that Prime Focus has

its own significant 3D technology

and we are pleased to report, as this

license suggests, that they respect

ours as we respect theirs."

"Prime Focus is dedicated to

delivering the highest level of

conversion to its clients. The

technology that we've licensed from

Digital Domain Media Group

enhances our own robust proprietary

processes and increases our efficiency

for our customers. We look forward

to continuing our work with DDMG

on their most important VFX

projects," said Namit Malhotra, CEO

and chairman of Prime Focus World."

Reliance MediaWorks, also Digital

Domain's preferred visual effects

production partner in London and

Mumbai, joins Prime Focus World

and Samsung Electronics who have

also licensed Digital Domain's 3D

technology for 2D-3D conversion

services and consumer electronics

respectively.

The Digital Domain Stereo Group

owns the six U.S. patents that

represent the original commercially

feasible computerised process for

converting two-dimensional filmed

imagery into three-dimensional

stereoscopic imagery. The patents

provide fundamental coverage of

any modern 2D to 3D conversion

process. The patents principally

involve rotoscoping (i.e.,

computerised, semi-automatic and

semi-automatic conversion with

theatres in operation in cities

throughout Taiwan and four in

backlog.

"Today's agreement is a direct result of

IMAX's strong contribution to our box

office results and the tremendous

popularity of IMAX among our

patrons, underscored most recently by

our strong opening weekend for The

Dark Knight Rises," said Jimmy Yuan,

Chairman of VieShow Cinemas. "We're

delighted to build on this success and

are confident that IMAX's popularity

will continue to grow among our

guests."

"The level of enthusiasm for IMAX in

Greater China is evidenced through

the per screen averages, which

represent some of the highest in the

world," said Jiande Chen, CEO of IMAX

China. "We're pleased to expand our

footprint with leading exhibitor

VieShow that has embraced the IMAX

brand and supported our efforts to

further penetrate the market in

Greater China."

"We're pleased to expand our

relationship with Taiwan's top

exhibitor and bring more audiences

the best in Hollywood films in the

most immersive format available," said

Don Savant, Senior Vice President and

Managing Director, Asia Pacific.

roto), and relate to any conversion

process that includes horizontal

image displacement/transform.

Beginning with its license to

Samsung Electronics in late 2011,

DDMG made its patent portfolio

available to select companies in the

broader industry through a studio-

friendly licensing program.

"We have made clear our view that,

while down-line technologies are

certainly important, the current 3D

feature film businesses is principally

dependent on image capture and

image creation, either the

proprietary technology of native 3D

camera pioneers, such as the

Cameron Pace Group, or the 3D

stereoscopic conversion pioneers of

In-Three/Digital Domain," said John

Textor, chairman and CEO of Digital

Domain Media Group. "We continue

to be pleased with our new licensing

efforts as important global

companies, such as Samsung and

Reliance, recognise the value of our

invention. We look forward to an

increasing financial participation in

the growing 3D industry that we

helped to create."

Signiant, the market leader in

intelligent file movement software

for the media and entertainment

industry, announced that

Broadmedia, Japan's leading content

distributor, has deployed the

company's software for a major new

Digital Cinema Package (DCP)

delivery service.

Working with Signiant's Japanese

reseller, Photron, Broadmedia has

already connected 80 cinemas

nationwide, with hundreds more to

be added across major exhibition

chains in the next few years.

Offering extensive content

aggregation services for broadcast,

Broadmedia DeploysSigniant forDigital CinemaPackage Delivery

July-September 2012 TW-31

theatrical releases, video on demand,

pay TV, game and mobile delivery,

Broadmedia is using Signiant

Managers+Agents to capitalise on

the cinemas' broadband Internet

connectivity for faster and more

efficient delivery of digital theatrical

releases.

"With an average finished file size of

greater than 250 GB moving over a 50

Mbps broadband Internet connection

to the theater, it could take

approximately 12 hours to deliver a

single digital cinema package," said

Yasushi Mishima, Director of Photron.

"If you are sending to two theaters,

files can move overnight. However, if

you send to many more theaters

anarchically, there is congestion at the

distributor end, and it could take

months to distribute the DCPs. Using

Signiant to manage accelerated file

transfers to theaters, we can ensure

more predictable and proportional

delivery times."

A core component of Signiant's

compatible enterprise product suite,

Managers+Agents is optimised for

automated batch file transfers and

workflow integration. Unlike other

solutions, it features advanced

resource management that provides

sophisticated control of network

bandwidth and server resources. This

allows administrators to prioritise the

delivery of assets between sites and

control bandwidth usage to specific

locations or servers based on content

delivery windows to ensure that

systems or networks are not

overloaded.

"This partnership is a significant step

forward for Signiant in the region's

growing DCP market, and provides

the best possible file transfer solution

for Broadmedia," said Michael

Burnie, Managing Director of

Signiant Asia-Pacific and Japan.

"Broadmedia has found a proven

software based solution that not only

delivers acceleration, but also the

ability to allocate bandwidth

intelligently and manage, track and

approve file transfers centrally."

Kinoton CAN bus via flexible

modules to maximize versatility in

everyday operation.

The Metropol in Chemnitz looks back

on a varied past. Originally

constructed by architect Wenzel

Bürger in 1913 to serve as a music

hall, hotel, and restaurant, in the

1930s it was converted into a cinema.

From 1936 until the end of the

Second World War, it was called the

"Filmpalast Metropol". In 1945 the

building suffered severe damage

during an air raid on central

Chemnitz, which completely

destroyed its roofs and towers. After

18 months of repairs and restoration

work, the METROPOL reopened on

April 22, 1947. "Die Fledermaus" (a

filming of The Bat, an operetta by

Johann Strauss II) was the first movie

to dance on its silver screen.

In the 1980s the auditorium and

façade were completely redone.

After Germany's reunification and

the end of communist East Germany,

Ufa (Universum Film AG) briefly ran

the Metropol, followed by "Kino

Kino Entertainment" of Hamburg,

although the latter then withdrew in

late 2005. But the cinema had only

been closed for 12 days when Evilin

Paulat of Chemnitz reopened the

Metropol as a private operator. She

proceeded to renovate the vestibule,

the reception hall, and the

auditorium and

redesign the box

office area.

All of this has

enabled the movie

theatre to continue

operating successfully

down to the present

day. As a result, today

the history of this

impressive, venerable

old building can still

be vividly

experienced after 99

years.

Right on time for the 99th birthday

of the imposing Metropol cinema in

Chemnitz, Germany, Kinoton helped

it enter the digital age. In late July,

the time honored movie theatre was

finally able to present a digital film.

Designed by architect Wenzel Bürger,

the Metropol was built in 1913 but is

still in fine shape, integrating both

Baroque and Art Nouveau elements

in a monumental structure.

Kinoton equipped the Metropol with

a leading edge Kinoton DCS Digital

Cinema Solution. The system includes

a top-of-the-line DCP 30 SX II

DCinema projector based on

projection technology supplied by

Barco. 1.2-inch 2K DLP Cinema Series

II technology from Texas Instruments

ensures highly precise color

reproduction and brilliant contrast.

The projector is already fitted with an

Integrated Media Block (IMB) for

displaying higher frame rates (HFR).

This significantly improves picture

quality, especially with 3D content

and rapid motion. The Metropol also

opted to install a Kinoton DCA

Digital Cinema Automation system,

which seamlessly links control of

classic auditorium functions such as

curtains, masking, and lighting with

the new D-Cinema technology. The

individual cinema technology

components are connected to the

Kinoton DCS at Metropol

July-September 2012TW-32

USL Announces the LSS-100 Projection andAudio Analyzer

USL, Inc. announced its latest

innovation, the LSS-100 Projection

and Audio USL Analyzer. The LSS-

100 allows theater 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 theater

screen. In addition, the LSS-100 is a

fully networked unit, making it

possible for theater 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.

Ushio DebutsNew Large-fieldStepper

NEC Display Solutions Brings DigitalProjection to Smaller Theaters

NEC Display Solutions of America,

announced the newest model in its

Digital Cinema Projector Series, the

NC900C. The NC900C builds on NEC's

expertise in the digital cinema

industry, being the first projector to

incorporate the new S2K chipset

from Texas Instruments. Perfect for

small theater screens, as well as

cinemas in universities and public

buildings, the projector can render a

screen with a width of up to 29 feet

in DCI specifications and 39 feet in

non-DCI specifications without any

color correction, depending on the

contents, when using a 1.8x gain

The NC900C delivers 3D HFR content

and has a multitude of connections

from the HDMI 1.4a(*) connector

(based on the HDMI certificate

application), dual HDSDI 3G

interfaces for those using alternative

content and USB connectivity for

those ingesting content. With its two

Gigabit Ethernet ports, content can

be provided over the network and

stored on an integrated Raid 5 server

with capacity up to 1.5TB. As the first

dual-lamp digital cinema projector

on the market, the NC900C provides

added reliability by showing no

black-screen and easy lamp exchange

and transportation. Its integrated

lamp power supply and lack of

exhaust ensure simplified installation.

These features also allow for a lower

total cost of ownership (TCO).

"The NC900C is the perfect answer

for those exhibitors that require a

budget-friendly and size-appropriate

digital cinema projector," said Jim

Reisteter, General Manager for Digital

Cinema Projectors at NEC Display

Solutions. "By implementing Texas

Instrument's S2K chipset, we can

facilitate the transition to high-end

digital cinema by creating a solution

for smaller screens that have not yet

been able to transition to digital

technology."

NEC will offer a variety of NC900C

solutions to fit customer

requirements including a built-in

Integrated Media Server (IMS) option

and a stand-alone solution that

allows compatibility with a

customer's preferred IMS. A fully

integrated, true turnkey cinema

solution complete with a Doremi IMS

will also be available.

Ushio Inc announced that the

company has completed

development of the large-field

stepper lithography tool "UX7-3Di

LFS 200" for manufacturing

interposers used for 2.5D/3D

packaging applications.

The UX7-3Di large-field stepper

lithography tool is mounted with a

large-diameter projection lens to

allow a significant increase in the

stepper field size, which has limited

the flexibility for designing

interposers used for 2.5D/3D

packaging solutions. The UX7-3Di

LFS 200 stepper lithography system

announced today has achieved a 50

x 50 mm field size with a high-

precision projection lens of 70 mm in

diameter. Using the projection lens of

100 mm in diameter, to be available

in the 3rd quarter of 2012, the field

size will be able to be increased up to

70 x 70 mm. USHIO plans to market

the UX7-3Di LFS 300 stepper

lithography system mounted with

this newly developed 100-mm

projection lens in the first quarter of

2013.

Using a combination of USHIO's

proprietary technologies for large-

diameter projection lens and the

field-proven UX series platform with

its installed base of more than 1,100

units, the UX7-3Di stepper series will

allow manufacturing of large-size

interposers required for 2.5D

packaging applications and future

3D packaging solutions as well as a

dramatic increase of flexibility for

designing such interposers.

In addition, by enabling projection

exposure of a further larger field, the

UX7-3Di LFS 200/300 will significantly

reduce CoO (Cost of Ownership) by

30% compared with the

conventional stepper systems

currently on the market for wafer-

level packaging.

July-September 2012TW-34

One of the 14 theatres nationwide

screening Pixar’s ”Brave” with Dolby’s

new Atmos immersive multi-channel

surround format, Cinetopia’s latest

Vancouver Mall 23 in Washington

state has chosen Meyer Sound EXP

cinema loudspeaker systems to

provide the linearity and headroom

to intensify the audience experience.

This new screening room is amongst

the four GXL theatres that owner

Rudyard Coltman has equipped with

EXP in this brand new

Cinetopialocation.

”Meyer Sound EXP is a studio-grade

loudspeaker system with far greater

power and frequency range,” says

Coltman. “EXP delivers a sense of

realism that you won’t find in an

ordinary sound system, and is the

only loudspeaker product that can

faithfully reproduce the audio

content in our new extended

surround format.”

“Brave” was the first feature release

with a soundtrack created for

playback with the new multi-

directional Atmos surround sound as

well as with standard 5.1 and 7.1

formats. Atmos supports up to 128

channels of audio inputs, which are

then rendered for up to 64 outputs

for sound designers to place and

dynamically move discrete “audio

objects” around the audience.

Atmos playback requires

loudspeakers on the auditorium walls

and overhead. Each loudspeaker is

individually addressable to

reproduce a localised, full-range

audio object such as a helicopter,

cannon shot, or charging rhino. All

of this audio information can only be

accurately delivered through a

loudspeaker system that performs in

a linear manner across all frequencies

and sound levels.

“EXP is a premium sound system that

is not available from other exhibitors

in this metro market,” notes

Coltman, who has installed Meyer

Sound EXP at Cinetopia Progress

Ridge 14, located across the

Columbia River. “It wowed our

audiences in Beaverton, so it was an

easy decision to extend that track

record to the GXL screens here in

Vancouver.”

In addition to the Atmos-compatible

GXL Auditorium, Cinetopia

Vancouver Mall 23 features three

more GXL screens, each equipped

with Meyer Sound EXP loudspeakers

for its 7.1 surround systems.

The Meyer Sound EXP system in

Cinetopia’s Atmos-compatible GXL

auditorium is based around Acheron

screen channel loudspeakers and X-

800C subwoofers. In addition to the

full complement of HMS-10 surround

loudspeakers required for 7.1

surround, the system also employs

front and overhead surrounds along

with rear subwoofers. The system is

optimised using a Galileo

loudspeaker management system

with Galileo 616 and 408 processors.

Also featured in the numerous

screening rooms at Cinetopia

Vancouver Mall 23 are 4K digital

projection, Dolby 3D technology,

and stadium seating with premium

wide seats. All EXP systems were

installed by ACE (American Cinema

Equipment) and Franklin Designs.

With their extraordinarily linear

performance, the EXP systems used at

Cinetopia for the screening of

“Brave” provide an exact translation

of what was heard on the film’s

mixing stage. The film was mixed at

Lucasfilm’s fabled Skywalker Ranch,

also using Meyer Sound EXP

loudspeakers. In addition, Meyer

Sound EXP loudspeakers were used

for the overhead, surround and low-

frequency reproduction in the Atmos

system at the Dolby Theatre

(formerly the Kodak Theatre) in

Hollywood for the public unveiling

of the Atmos format on June 11.

Cinetopia, Vancouver Mall

Atmos Powers “Brave”

• I N S T A L L S •

July-September 2012 TW-35

One message of the last two units is

that many of the mechanical and

electrical items in a cinema require

constant checking and maintenance.

This job falls usually on projection

staff because they are often the most

technically competent people in the

cinema. It is up to the chief

projectionist to contact all the

companies who have service

contracts for any plant in the

building and make himself fully

aware through their guidance what

is expected of him and his staff.

Once all the service information is

collected for a particular situation it

is a good idea to collate it all into a

full service programme for the whole

building, which when worked

through day by day ensures that

there are no failures due to

negligence. Hopefully by spreading

Projection Series-XXXIV

ScheduleMaintenance

the load he can ensure that no piece

of equipment is left unserviced.

Drawing up a full maintenance

schedule is not an easy job, and it

needs to be updated from time to

time, to allow for new or

replacement items of equipment. If

you have access to a computer, and

the necessary skills, you can use any

of the more common scheduling

applications, or you can use good

old-fashioned pen and paper.

The best approach to the task is to

think of inputs and outputs. The

desired output is a document which

may be used by anybody concerned

to carry out maintenance on any day

in the working year.

SCHEDULING INPUTS

• Maintenance tasks

• Items of equipment

• How often each task should be

done (Recommended

frequencies)

• Times available for maintenance

• People available for the tasks

• How long each task normally

takes

• Availability of spare parts

Typical maintenance wallchart

• C I N E M A S Y S T E M S •

July-September 2012TW-36

Perhaps the first move is to base the

schedule on a blank calendar format,

such as you will find on an annual

planning chart, or in a computer

scheduling application. Go through

the chart, identifying days and times

available for maintenance, based on

the normal pattern of film showing

and any other known commitments.

You may also then be able to allocate

people to days, through normally

this has to be done week by week, as

part of normal stall scheduling.

Then make a list of all the

maintenance tasks to be undertaken,

in whatever way you find easiest,

noting the recommended frequency

alongside.

Projectorsmotors m

belts m

sprockers / rollers w

film path / guides d

oil levels / changes ar

lenses / optics w

switchgear / fuses m

spares ar

Lamp Housesxenons [changes & log] ar

fans m

motors m

mirrors w

filters ar

connections m

rectifiers m

switchgear / fuses ar

Long Play Equipmentplatters / towers m

motors / brushes m

rollers d

speeds / timing m

lubrication ar

cleaning d

Projection Roomportholes w

rewinders ar

splicers m

benches / floors d

switchgear / fuses m

cleaning d

Projection & AuditoriumMaintenance Frequencies

You may find it useful then to sort

the list by recommended frequency,

according to whether the

recommendation is daily, weekly,

monthly, as required, service,

quarterly or annual.

Finally, you have the hard slog of

marrying up the list items with the

calendar time slots, crossing each task

off the list as you go. It is best to start

with the least frequent tasks, such as

the annual ones, then work through

to the most frequent. If you find

there are not enough days, even

taking into account how long each

task should take, then you will have

to priorities tasks, cutting down on

the least important. If this happens,

your manager should be informed,

as the likelihood of emergency

breakdowns is bound to be

increased. If there is some slack in the

system, leave it alone, so that if tasks

get complicated, or spares do not

turn up on time, you may be able to

adjust the schedule to suit.

Once you have completed the

schedule, you will be in a position to

draw up a spare parts ordering plan

to fit alongside.

Depending on how you do the

schedule, it can be distributed on

paper, marked up on a wall chart, or

made available from the computer.

Sound Equipmentamplifiers ar

dividing networks ar

processors ar

readers

[srd, sdds, dts] ar

[cds & tapes] d

deaf aid d

PA ar

emergency w

epas / ecop w

foyer PA etc d

switchgear / fuses m

operation d

Stage Areamotors d

cables m

limit switches ar

tracks / bobbins m

lubrication ar

Maskingmotors d

cables m

limit switches ar

tracks & runners m

lubrication ar

Screen Examinationdamage, marks/dust w

Battery Roombatteries m

acid level m

connections ar

readings ar

secondary rectifier

m

distilled water ar

H&S service q

Switch Room / Intakesswitchgear ar

fuses / spares ar

timeclocks / settings ar

Heating & VentilationPlenum fans:

motors / brushes

belts m

bearings m

lubrication ar

filters s

switchgear ar

spares ar

Extra fans:

motors / brushes m

belts m

bearings m

lubrication ar

switchgear ar

spares ar

Plant Maintenance Frequencies

Air conditioning:

settings ar

operations d

switchgear, motors m

filters, grilles m

service ar

Boiler house:

boilers/gas/oil ar

heating & domestic m

pumps [circulation]

iu

pumps [other] iu

belts/motors m

valves w

settings ar

water tanks m

gauges d

lubrication ar

Miscellaneousvoids m

lamping d

ladders & steps m

H & S ar

d = daily

w = weekly

m = monthly

a = annually

s = service

ar = as required

iu = when in use

• C I N E M A S Y S T E M S •

July-September 2012 TW-37

PREVIEW

ShowEast, this year will be held on

November 5-8, 2012 at the Westin

Diplomat Resort & Spa in

Hollywood, Florida. This year's

ShowEast is going to be better

than ever with lots of new

programming, new special events,

more film screenings and product

presentations, a more

comprehensive Trade Show and

much more.

ShowEast is the only major

convention and trade show for

the cinema exhibition and

distribution community on the

East Coast. Cinema Exhibition

professionals come to ShowEast

5 - 8 November 2012Westin Diplomat Resort & Spa, Florida

for exciting film screenings of major

studio and independent feature films

slated for holiday release as well as

product reel presentations, exciting

special events with Hollywood's

hottest stars, educational seminars

and to find the latest products,

services and technologies at the trade

show.

ShowEast is the place to be, if you

want to do business with the multi-

billion dollar cinema exhibition and

distribution communities. Each year,

more than 1,300 cinema exhibition

and distribution professionals with

enormous purchasing power come to

the ShowEast trade show to buy

equipment and services to better

run their businesses. Major,

Regional and Independent circuits

throughout the US and

internationally attend ShowEast

to make their purchasing

decisions. Close to 71% of those

who attend ShowEast

recommend, specify and are

responsible for buying goods and

services for their theatres. They are

always on the lookout for new

and different ways to enhance the

theatre-going experience.

Based on the 2011 ShowEast

survey, the majority of ShowEast

trade show exhibitors that

July-September 2012TW-38

responded said ShowEast

delivered the best ROI and value

for the money compared to other

industry events. That's why

ShowEast exhibiting companies

have a return rate of 85% and

why so many new companies

choose ShowEast as part of their

marketing each year.

ShowEast also delivers an average

of 15% new buyers that you may

not meet at any other event. The

ShowEast trade show is the ideal

environment for introducing new

products and services when buyers

are gearing up for the holiday

movie season.

ShowEast attendees come to the

convention for the informative

educational seminars, networking,

special events, product

presentations and screenings...

and they also visit the trade show

to find the

products and services they know

are invaluable to their business.

Top Reasons to AttendShowEast this year

• See major studio and

independent feature films

slated for Holiday release to

help you make informed

programming decisions

• Get the latest information on

issues affecting the industry

such as: Digital Cinema; 3D;

Alternative Content;

Concessions and much more,

to stay current with industry

trends

• Special programming for the

Latin American market

• Network at sponsored special

events

• Find the products, services and

technologies you need at the

trade show to make your

theatre a must-attend

destination

Exhibitors

Arts Alliance Media ........................ 1214

Ballantyne Strong ............................. 703

C Cretors & Co .................................. 911

Camatic Seating ............................. 1120

Callahan Digital ................................ 627

Christie Digital ................................. 915

Cinedigm Digital ............................. 1015

Cinema Equipment & Supplies ........ 1211

Cinema Scene Marketing ............... 1005

Cru-dataport ..................................... 626

D-box Technologies ......................... 1109

Dolby ............................................... 1103

Doremi Cinema ................................. 903

Embedded Processor ......................... 819

Enpar Audio .................................... 1223

Eomac ............................................... 807

Etouchmenu .................................... 1119

Eurokeyton S.a. ................................ 521

Focux Technology .............................. 418

Franklin Designs ............................... 814

Gdc Technology Of America ............. 621

Gold Medal Products ....................... 1201

Golden Link ..................................... 1126

Greystone Public Seating ................. 727

Gxm ................................................... 315

Harkness Screens .............................. 818

High Performance Stereo ................. 908

Hytex Industries ............................... 609

Inorca Seating .................................. 319

Integ Process Group .......................... 918

Irwin Seating Company .................... 815

Jack Roe Usa ..................................... 816

Jbl Professional .............................. 1003

Kernel Seasons ................................. 909

Klipsch Group, Inc. ............................ 726

Lightspeed Design .......................... 1118

Magna-tech Electronic ...................... 620

Martek Contracts ............................. 611

Masterimage 3D ............................... 415

Mobiliario Sa De Cv .......................... 715

Moving Image Technologies ............. 515

NCR .................................................. 1115

Nec Display Solutions ................. Suite 1

Nestle Usa ......................................... 706

Omniterm Data ................................ 708

Oreck Commercial Sales ................ 1026

Osram Sylvania ................................ 702

Paradigm Design ............................... 619

Philips Specialty Lighting ................ 803

Proctor Companies ............................ 906

Prostar Industries ........................... 1023

Qsc Audio Products ........................... 603

Qube Cinema ..................................... 920

Ready Theatre Systems .................... 414

Retriever Software .......................... 719

Ricos Products ................................... 811

Schneider Optics ............................. 1008

Seating Concepts LlC ........................ 509

Severtson Corp. ................................ 518

Sonic Equipment Co. ......................... 419

Stadium Savers Ltd. ......................... 618

The Coca-Cola Company .................... 902

TheatreWorld ........................ Pub-Bin

Tk Architects .................................... 821

Universal Cinema Services ............... 822

Ushio America .................................. 519

Usl Inc. .............................................. 615

Vista Entertainment Solutions ........ 910

Volfoni 3D ....................................... 1007

West World Media ......................... 1008

Xpand ................................................ 927

July-September 2012 TW-39

REVIEW

After the successful edition of

Cinema India Expo in 2011, 2012

saw a bigger and better event on 23

& 24 July, 2012 at the Renaissance

Convention Centre Hotel, Powai,

Mumbai. The 12th edition and the

2nd successive stand-alone

conference and exhibition

witnessed more informative

conference sessions, state of the art

technology demos and quality

attendees. The focus of the show

was on digital cinema exhibition,

film production and 3D Technology.

This Hollywood Bollywood

conference of its kind in the world

was a great success with the

conferences addressing key issues

and insights from cinema industry

stalwarts and early screenings of

Hollywood and Bollywood movies

being previewed by enthusiastic

audiences. Filmmaker and

President of the Film and

Television Producers Guild Ramesh

Sippy presented the industry

keynote and spoke about the

evolving technology in Indian

films. He gave an overview of

Bollywood to Hollywood,Made Bigger and Better

advancements in Indian film

technology and spoke about the

further opportunities in making a

better film viewing experience.

John Fithian, President and CEO of

National Association of Theatre

Owners, USA presented conference

keynote and highlighted the three

biggest challenges to cinema

operators as -

• Making the Most of Digital

Cinema and New Technologies

• Reducing the Effects of Move

Theft ("Piracy")

• Preserving an Exclusive

Theatrical Release Window.

John, during the two day event

met with the members of Cinema

Owners and Exhibitors Association

executive committee members

along with President RV Vidhani

and Multiplex Association led by

Prakash Chaphalkar to discuss the

future business opportunities

between Indian exhibition

industry and NATO.

The star attraction of the event

was the moderator Kabir Bedi.

July-September 2012TW-40

Kabir's flamboyant personality

brought a grandeur to the show

as he moderated all the

conference sessions with much

professionalism and in depth

technical knowledge about the

cinema exhibition industry.

The show recorded a total of 600

delegates which included Theatre

Owners, Cinematographers, Film

Buyers, Distributors, Manufacturers,

Technical Experts, Directors,

Photographers, Cinema Content

Creators, Studio Executives,

Production Executives, and Theatre

Operation Executives. 30 companies

adorned the exhibit floor with their

latest offerings and products across

3D Cinema & Production

Technologies, Digital Cinema

Equipment, Booth / Projection

Equipment, Lighting / Signage /

Displays, Distribution Technology,

Sound / Speakers / Amplifiers, Walls

/ Panels / Screens, and Digital

Cameras.

Exciting Conference Sessions

The highly informative conference

programs discussed several issues

relating to the technological

advancement in the exhibition

industry. The topics that were

discussed during the 2 days were

focused on Higher Frame Rate,

Countdown to 100% digitization in

India, Hollywood's growth in India,

Importance of sound in digital

cinema world, 3D adaptability to HFR

and Digital cinema's biggest

nightmare - Light levels on screen.

The tightly-programmed conference

and seminars disseminated valuable

knowledge to the delegates. The

panels across wide subjects comprised

of some eminent leaders of the

industry including Peter Cane of Box

Office Magazine, Ad Weststrate of

UNIC (Europe), Tony Adamson of Texas

Instruments, Don Shaw of Christie,

Tom Bert of Barco, DOP Rafey

Mahmud, Ranjit Thakur of Scrabble

Entertainment, Senthil Kumar of Real

Image, Kapil Agarwal of UFO Moviez,

Varun Gupta of KPMG, Neeraj

Goswamy of Viacom 18, Ashish

Saksena of Big Cinemas, Sushil John

of QSC Audio, Mark Brown of

Christie, David McKinney of

Harman, Chris Ward of DepthQ,

Ami Dror of Xpand, Sundeep

Reddy of Light Illusion, Bernard

Mendiburu of Volfoni, Andrew

Robinson of Harkness Screens, Mike

Esch of Christie, Chandan

Bhattacharjee of Osram and

Cameron Mitchell of Vox Cinemas.

HFR or 4K

The cinema beneficial session that

covered the great debate on HFR

or 4K commenced with the demo

put together by LightStorm

Entertainment and narrated by

James Cameron himself discussed

the benefits of Higher Frame Rate

in cinema specifically in 3D. The

panel there after discussed the

revised industry standards that

could either enhance to 4K or

adapt to HFR content to enhance

the cinema viewing experience.

Digital Cinema in India

Today, the cinema exhibitors and

producers are engaged in digital

cinema transition, the most

dynamic period of change in the

Focux Harman

Alcons Audio Christie Doremi

Harkness Screens

TheatreWorld’s Raghav (left) andClancy (right) with Kabir Bedi

July-September 2012 TW-41

cinema exhibition industry. The

panel on Digital Cinema in India -

Countdown to 100% Digital

discussed the challenges and

opportunities for 100% digital

transition in India and the

methods to be adapted by the

cinema exhibitors and content

holders to ease the digital

transition.

Hollywood's growth in India

The panel of the top industry

leaders spoke on the role, growth

and influence of Hollywood in

India. The session explores the

potential that Hollywood content

has in India and the probable

strategy that content providers

can adopt to maximize the same.

Importance of Audio inDigital Cinema World

Cinema India Expo 2012 focused

on audio for cinema. Digital audio

for films is gaining ground in

India, as well as globally. A panel

discussion on Importance of

Sound in digital cinema world was

followed by a 'Story of Sound'

presented by Dolby that discussed

the evolution of sound from

different sound formats.

3D Adaptability to HFR

The latest buzzword, 3D, is fast

gaining a foothold in the Indian

marketplace, from the story to

production to distribution and

monetization. The dynamic panel of

experienced 3D technical experts in

India and around the world discussed

the latest trends and challenges in

creating 3D content and technology

and adaptability to HFR.

Digital Cinema's Biggest Nightmare -

Light Levels on Screen. The

concluding conference session on

Light levels on Screen spoke about

the remedy for this nightmare in

digital cinema and the de facto

standard of screen brightness for 2D

and 3D presentation.

Demo Suites

The Demo Suites set up by market

players like Christie, Canon, Xpand,

Volfoni, DepthQ, Panasonic and Real

Image showcased the latest offerings

in projection and 3D technology.

Christie, the market leader in digital

projection techniques exclusively

Pro VA Professional e Solutions Ticketnew

showcased its projection

technology along with its audio

innovation SKA - 3D. The demo of

HFR by Lightstorm Entertainment

and narrated by James Cameron

himself attracted a great traction

of visitors.

While Xpand, Volfoni, DepthQ

showcased their latest innovation

in 3D technology to enhance the

movie-viewing experience, Qube

demonstrated their DCI complaint

technologies. Panasonic displayed

their state of the art projection

technology and the new range of

camera systems.

Canon joined hands with Cinema

India Expo to unveil the new

Cinema EOS C300. After wowing

Hollywood through its newly

launched Cinema Camera, Canon

captured the imagination ofIndian entertainment industry.

Another interesting demo was by

3ality Technica. 3ality Technica

along with it's camera partners

RED demoed a live workflow at

Cinema India Expo 2012. The state

of the art TS-5 3D rigs paired with

RED EPICs demonstrate the use of

Nukkad Osram Philips

July-September 2012TW-42

3ality Technica's technology on a

live 3D shoot. This was the similar

technology that was used to shoot

'The Amazing Spiderman'.

Trade Show

The show floor was dominated by

global and national digital cinema

equipment players like Barco

Electronic System, Doremi Cinema,

Harkness Screens, Harman,

Professional Esolutions, UFO

Moviez, Texas Instruments,

Callystro, Pro Visual, QSC Audio,

Alcons, Focux Technology, United

Media Works, Spectro Screens,

Osram, Magna Tech, Philips

Lighting, Advanced Photonics,

3Ality Technica and Galalite.

Box Office International was the

official international media

partner. Among the other media

participants were

1Takemedia.com, Screen World,

Theatre World,

Indiantelevision.com, Cinema

Technology, HDTV Magazine and

Film India. Bright was the outdoor

media partner.

Movie Screenings

On the lines of the previous

editions, Cinema India Expo 2012

too had its own dosage of movie

entertainment and showcases of

forthcoming releases from

Hollywood majors woven around

the technical programming. Day

one saw the pre-release screening

of Ice Age 4 by Hollywood's major

studio, 20th Century Fox. The

audience was enthralled with the

screening of Harud by Aamir Bashir

on second day.

Networking over Dinner andCocktail Parties

The lunch, dinner and cocktail parties

on both the days of the show

provided a plethora of networking

opportunities to the delegates,

exhibitors, speakers and every other

attendee. The five-star ambience of

the venue further served as a catalyst

to the networking opportunities.

Scrabble Entertainment, India's first

2K DCI Compliant Cinema

deployment entity, was the

presenting partner of Cinema India

Expo 2012.

If it's networking with peers and

professionals, attending highly

educative conferences and seminars,

listening to internationally reputed

technical experts, viewing screenings

of upcoming releases, or

understanding and upgrading to the

latest state-of-the-art technologies,

then Cinema India Expo is the place

to be.

UFO Digital Cinema XPAND 3D Demo Room

Scrabble Lounge

EVENT CALENDERAUTUMN 2012

17-21 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

SUMMER 2013

JULYCINEMA INDIA,MUMBAI, INDIA

www.cinemaindiaexpo.com

JULYCINEMA TODAY,

CHENNAI, INDIAwww.cinematoday.in

AUGUSTAUSTRALIAN INTERNATIONAL

MOVIE CONVENTIONGOLD COAST, AUSTRALIA

www.movieconvention.com.au

July-September 2012 TW-43

REVIEW

The 6th edition of Cinema-

Broadcast-Theatre-Pro Sound

Light Expo organised by Buysell

Interactions Private Limited at

Chennai was inaugurated at 10 am

on 27th July by Mr. Murugavel

Janakiraman, Founder & CEO,

BharatMatrimony.com. This is the

only trade show for Cinema,

Broadcast, Professional Sound

Light, Media and Entertainment

under one roof and took place for

three days (27-29th July) at

Chennai Trade Centre.

Latest products & technology

from all over the Globe such as

3D/2D cinema equipment used in

digital cinema/digital

entertainment, Audio Video

Solutions, Home/Office/Hotel

Automation, Character

Generators, Subtitling systems,

Studio/Portable Teleprompters,

Digital projection equipment, Pro-

Audio Equipment, PA Systems,

Portable Audio systems,

Microphones, Processors, Mixers,

Led Panel lights, Led On-Camera

Lights, DSLR Rigs, Grips, Lights,

Musical Instruments, Digital

Cameras were on display to the

sheer joy and excitement of the

business visitors.

Exhibitors included Sony, Panasonic,

Fujifilm, Aerons India, DB Sound, Pro

Musicals, Pope Professional,

Montarbo, AGIV, R&S Electronics,

Dolby, Hansa Cine, Wacom, CDAC,

Cineom Broadcast, Expandore, G-

Boomba, Ilfords, Innovative Lasers,

Radaan TV, Royal Broadcasting,

Setron, Katban, Associated Cable

Cord, Nvidia, Vinardax, Visual Media

System, NK Decibels, Allied

Enterprises to name a few.

Sound, Lights, Camera and Action!

Broad Spectrum of visitors like key

personnel from TV Channels,

Studios, Production Houses,

Content providers, Film Makers,

Cinematographers, Sound

Recordists, Directors, Hotel/Mall/

Multiplex/Theatre Management

and Viscom students attended the

three day mega event. The visitors

were impressed by the wide array

of latest equipment, technology

and the vast knowledge base they

could muster by visiting the

Cinema-Broadcast-Theatre-Pro

Sound Light Expo .

By the end of the third day, it was

clear that the show was a success

in terms of its avowed aim of

providing an access to the Global

technology & services in the

Cinema & Entertainment Industry.

July-September 2012TW-44

TW – How is the marketresponding to 4K projectors?

TB – In 2010, 4k was a big topic ofdiscussion and thecustomers had a lot ofquestions about 4kprojectors. We providedthem with the knowledgethey needed and informedthem, we encouragedthem about 4k projectors.People accepted 4k and ittook off well. For us now4k is 5 to 10% of the totalinstall base. In 2010 weseen a slight acceleration

Barco has been recently selected by Indian cinema chains Inox Leisure and Fame India to deploy

its latest digital cinema projectors through GDC Tech. Earlier this year, Real Image Media

Technologies, India's leading provider of film, video and audio technology, confirmed an order

for 300 DCI-compliant Barco projectors while its subsidiary Qube Cinema equipped 39 screens of

Kuwait National Cinema Company (KNCC) with Barco solutions. These deals have catapulted

Barco to the top of the country's digital cinema industry, with an install base of 500 digital

projectors by end 2012 and about 700 by the end of 2013.

At the recently concluded

Cinema India Expo in

Mumbai, TheatreWorld (TW)

Team discussed the Cinema

Exhibition industry and

Barco's achievement in

deploying digital projectors

nationally and internationally

with Tom Bert (TB)- Product

Marketing Manager, Barco

and Abel Garamhegyi (AB) -

Managing Director, Barco

India.

A Step Further !!!!Moving

but it didn't take of that well, theway 3Dand 2k took off. It didn't dothat well, what we expected out ofit. People gained knowledge about

it, played around with it and it wasstable.

People are well versed and wellinformed about 4k, they know thevalue of it, they make it a very wellthought decision about it.

Customers, who wantto go for it, go for itas it is not a hypeanymore. It's apremium thing.

AG – 4k was apremium product andevery premiumproduct has a certainlimitation. There arecertain cinemas whoinvested in 4k

"India wise and worldwide, this year has beena turning point for us with the highest numberof installs already done and many more in thepipe line. We are present worldwide in themarkets because of the quality we provide andthe trust of the people who have been workingwith us and using our product over the years,"says Tom Bert, Product Marketing Manager.

Abel Garamhegyi - Managing Director, Barco India andTom Bert - Product Marketing Manager, Barco.

July-September 2012 TW-45

device was able to display a 4K (4096x 2160) resolution onto a 70 footscreen. The company was also proudthat the laser projection system wasable to provide a brightness levelthat was significantly higher thanBarco's current brightest projector,theDP2K-32B. The 32B is capable ofdisplaying 33000 ANSI lumens, a2000:1 contrast ratio, and 2K HD(2048 x 1080) resolution.

It was later demoed at CinemaCon.We have now beaten our ownWorld record from 43000 lumens to55000 lumens and now notechnicalities are being questioned.The only concern now is gettingregularities and authority from theenvironmental bodies, since laserscannot be used in a publicenvironment commercially. Nothingis going to stop laser entering intocinema and we believe that shouldhappen within the next 18 to 24months.

It is DCI complaint and thus we arecommitting to craft it in such a waythat it can be fitted on existingprojectors also, where exhibitors canjust take out their lamps and replaceit with the laser.

TW – If you could highlight onAuro 3D and its market ?

AG – Auro 11.1, developed by AuroTechnologies and powered by Barco,is the next-generation 3D soundformat for the cinema industry. Itturns conventional cinema audiointo a fully immersive 3D soundexperience, with sounds comingfrom all around and above thelistener.

Auro 11.1 improves the audioexperience by making intelligentuse of the headroom in today'saudio standards. This means that thecurrent formats and channels canstill be used for content generationand distribution. Auro 11.1 caneasily be installed in new-built orexisting theaters, in most casesutilising components from yourcurrent audio system.

As far as India is concerned, we want

because they wanted the best ofbest. Every Theatre owner wouldnot keep on investing on everytechnological advancement/ changethat we came up with. 4k gave themthe best of best. And in India, I havenever seen on a billboard that amovie is advertised that it will beplayed on a 4k projector. The moviegoers generally can't make out thedifference but there are certaincinema owners who want the moviegoers to experience something thatthey can never experience at homeand that is what 4k gave them andthey invested in the same.

We have Exhibitors like SathyamCinemas who only go in for 4k anddoesn't buy anything else as theybelieve it is the best of best andthere are others too who have thesame opinion. A lot of systemintegrators and exhibitors buy 4k forlarge screens.

TW – How is Barco looking atHigh Frame rate (HFR)?

TB – From December 2011, everyBarco projector is made in HighFrame Rate, so we don't consider itas special feature or a premiumthing, for us it is just a technologicaladvancement that we follow. HighFrame Rate is the thing now andthere is nothing special about goingHigh Frame Rate. High Frame Rate islike a process. The transition tohigher frame rates impacts the entireindustry workflow, from production,

post-production and packaging, todistribution and exhibition.

TW – How has it helped Barcoworking with THX and Datasat?

TB – Yes, it is to bring Auro 3Dsound technology in cinemas. Wehave collaborated with THX tooptimise performance of the Auro3D system, we use the expertise ofTHX for certification. Datasat haspartnered with us for manufacturingof the audio processor. Every oneworks on what they are good at andit's a complete package. Together,they apply vast experience andproficiency in digital cinema soundto Auro 3D.

TW – If you could tell us aboutlaser based projectors?

TB – Barco displayed their first laserprojector for guests at the 2ndAnnual Moody Gardens DigitalCinema Symposium in Galveston,Texas. The laser projection systemreceived rave reviews and was notedto show the best images every seenfrom a large venue system. The

July-September 2012TW-46

to demo it where the audience canexperience it. We will surely test itfirst and later it will step in India,but we don't accept it this year. Wehave our partners but yet themarkets are not open.

TW – If you could please tell usabout Inox Theatres signing upwith Barco for 300 screens ?

TB – We are very proud andhonored to have this achievement.What made the deal for Barco, is it'sreasonability and a well runningprojector, and quality is the key.Long discussions were held and thuswe are happy with the deal that gotconfirmed. The first sets of projectorsare already delivered and we areworking together for the nextinstallment of delivery.

TW – What challenges do you forsee in the Indian Market?

AG – There are primarily twochallenges, the first being, we haveto prove the capability of Barcoprojectors and system integrators tothe Indian Market. It also becomesnecessary to inform that the qualityof projection does not remain sameafter it has been used for 100 days.Basically giving an understanding tothe potential buyers of what all wehave to offer.

The second challenge that we face isto reach the remote areas, which is adifficult task. The theatre Ownersnow, in the remote areas want to goin for the best ones - they want areliable one, an easy set up and atan affordable price and plus a verygood after service. We are workingwith Real Image in that area sincethey have a background in this fieldand are good enough for us toreach. We have system integratorswho calibrate the whole thing andthe set up is done with the packagethat we have to offer now.

TB – We have started and designed awhole package along with IMB,(projectors with IMB) which is easyand convenient for the buyers. It'sreliable and affordable which is theperfect match. It is a package that

we have in our factory, which isdirectly shipped on site, installedand calibrated and you can startusing it. Indian Markets appreciatesthis and it is a convenient method.

For example the package includes,Barco and Doremi's completeprojection and integrated mediaserver package to the digitalcinema industry. This package hasbeen installed, tested and certifiedin the factory, to offer trueturnkey cinema. In thisready-to-use and fully DCI-certifiedpackage, Doremi's Integrated MediaBlock (IMB) has been incorporatedinto Barco's projectors.

The DP2K-32Bx package includesa compact Barco digital cinemaprojector, a 7kW lamp, a

cinema-grade lens, a Doremi IMBand showVault media serverincluding Screen ManagementSoftware (SMS) and storage.

TW – What are your plans for theIndian Market?

AG – We keep our plans steady. Weare constantly working on newinitiatives and how we can improvein all fields, and offer the best. Thereis always some India specific issuethat comes up. We have a very goodafter service team to work andprovide the best service to ourcustomers. We have already done agreat job in the Indian market andwe are going to reach the mark ofmore than thousand installations bythe end of this year.

July-September 2012 TW-47

TW – How important is sound forDigital Cinema experience?

DP – At QSC, we believe sound isvery important to the total cinemaexperience. However, it is often acase of good sound getting a fewpositive comments but bad soundresulting in patrons just not comingback.

It is important to remember that D-Cinema actually improves the audioexperience that can be delivered tothe cinema when compared to 35mmfilm. Every cinema now gets asoundtrack that is identical to whatwas recorded on the dubbing stage.If you take the time to do it right,cinema sound can truly reproducewhat the director intended. It startswith the room design and wallconstruction. Get this right and thena sound system can be designed tomeet the needs of D-Cinemasoundtracks.

We've upgraded processors tohandle 16 or more channels andwe've increased the capability of allsystems, screen channels, surroundspeakers and subwoofers, to handlethe dynamic range and frequencyresponse available on the D-Cinemasoundtrack which has no digitalcompression or encoding. This gives

Sound !!!!Danny Pickett (DP) - Key Accounts Manager, Cinema of QSCAudio talks to TheatreWorld (TW) and gives an insight onimportance of sound in Digital Cinema.

Pickett provides product and sales support, accountmanagement and education for QSC's widely acclaimed cinemaproduct line, thus extending an even higher level ofcommitment from the undisputed leader in the cinema market.His experience has seen the evolution in cinema sound.

the theatre owner a chance to re-create an experience identical towhat was recorded in the dubbingstage.

TW – Tell us one big change thathas happened in cinema soundrecently?

DP – The newest development ismulti-channel systems that movebeyond the usual 5.1 or 7.1 systemsand are often refereed to as "3D"sound. These generally use morespeakers, particularly surroundspeakers, and are capable of panningaudio "objects" around theauditorium and they can include a"height" dimension to the overallexperience.

TW – Tell us about the launch ofthe new DCS surround soundloudspeakers for cinema by QSC?

DP – The new DCS surround speakersare a line of four models that coverthe smallest to largest cinemas. The

largest speaker in the range, the SR-1030, was designed to for high soundlevels and extended bass. All of thenew models feature improvedcosmetics to look as good as theysound. In addition, high qualityMDF construction, powerful woofersand large ports result in exceptionallow bass performance. The SR-8200,SR-1020 and SR-1030 use a new horndesign to achieve impressive soundquality and assure smooth and evencoverage. All four models areexpected to be available forshipment in October, 2012.

TW – How important is the spacedesign with sound design in thecinema and how do you overcomethese challenges?

DP – The system has to be balanced.You can't cut corners in one area andexpect to have good performance ofthe entire chain. For example, wheninstalling D-Cinema into a cinemathat has insufficient wallconstruction, we often find thatbleed thru to adjacent rooms can bea problem. There are really no cost-effective ways to address this in

An Important Ingredient to Digital Cinema

July-September 2012TW-48

existing theatres. Sometimes wehave to limit the low frequencyresponse of the system or not run thesubs as loud as they should be.While this is not ideal, it is oftenbetter than overpowering the roomnext door. QSC takes roomconfiguration and desiredperformance level in to accountwhenever we specify a system.Designing in really big amps withinsufficient speakers won't yield anyreal performance benefit. The systemhas to be designed to have no weaklinks in the room acoustics and audioequipment.

TW – How QSC is geared up forseveral new sound formats, likeDolby Digital 7.1, Dolby Atmos,Barco Auro 11.1, etc.

DP – QSC's DCP series of CinemaProcessors have been designed toeasily handle 7.1DS and Auro 11.1formats.

The SC-423C-F Screen Channelloudspeaker can be safely suspendedabove the screen for the Left, Centerand Right "height" channels.

Our new surround speaker line hasthe high output capability, widecoverage and extended bass neededfor Dolby Atmos. We also have thefour channel DCA 1644 poweramplifier to power each surround

speaker individually at an affordablecost and with reduced rack spacerequirements.

TW – How beneficial is the 3Dtechnology for the cinemaspeaker market?

DP – It approximately doubles theamount of loudspeakers required.Depending on the system, we gofrom 3 to 5 or 6 screen channels. Thebig change is in power amps for thesurround speakers with Dolby Atmossystems. We usually power 4surround speakers per amp channelbut Atmos has one speaker perchannel and about twice as manyspeakers so it is possible to requireeight times the amp channels of a 5.1or 7.1DS system.

TW – How would you describe thetechnological change that hasevolved for cinema sound overthe years?

DP – The biggest change is in the

delivery of the audio content. Thelimitations of 35mm film set limitedperformance requirements for therest of the audio system. D-Cinemasoundtracks can deliver an exactreplica of what is heard in the studio.This drives the upgrades in theplayback systems that we have seenover the past few years.

TW – What was the thoughtbehind the new DXP DigitalExpansion Processor?

DP – The DXP has two primaryfunctions. First, it serves as an outputexpander to allow for the connectionof more screen, subwoofer andsurround channels that are oftenrequired when we go beyond 7.1DSsystems. The QSC DCP 300 CinemaProcessor is limited to 5 screenchannels unless a DXP is added.The second function is to simplify therouting of audio in a cinema andallow more flexibility in the locationsof power amplifiers. Since all audioand control is routed to the DXP overEthernet, The amps for screenchannels and subwoofers could beplaced behind screen to save onwiring and reduce rack spacerequirements in "boothless" cinemadesigns.

TW – Are more up gradationhappening for cinema speakers ormore new buyers, how do youspecify?

DP – We are seeing both newconstruction and upgrades drivingour business. QSC is providing manyof the premium experience soundsystems to major circuits. We are alsoseeing upgrades to cinemas thataren't properly equipped for theminimum 5.1 requirement forD-Cinema conversions.

July-September 2012 TW-49

As far as system specifications, thesystem has to be balanced. You can'tcut corners in one area and expect tohave good performance of the entiresystem. QSC takes roomconfiguration and desiredperformance level in to accountwhenever we specify a system.Designing in really big amps withinsufficient speakers won't yield anyreal performance benefit. The systemhas to be designed to have no weaklinks.

TW – Tell us about the New QSCQ-Sys DSP Technology forcinemas.

DP – Q-Sys is a very powerful DSPsystem with network audio routingand control. The new Q-SysIntegrated cores, the 250i and 500i,have made Q-Sys affordable forpremium cinema and postproduction applications. With acapacity of 64 inputs by 64 outputs(250i) or 128 inputs by 128 outputs(500i) Q-Sys can handle even thelargest systems with ease. The Q-SysCores connect to our I/O frames viastandard gigabit Ethernet to allow

maximum flexibility in system design.The signal processing and routing isuser configurable via a powerful userinterface. System control is achievedvia QSC touch screens or via iOSdevices.

TW – How is QSC iOS App forRemote Cinema Controlbeneficial?

DP – Our free DCPConnect Androidand iOS applications control andmonitor cinema sound systemsequipped with QSC's DCP cinemaprocessors. QSC goes beyond justcontrol of the processor by alsomonitoring amplifier andloudspeaker status. Along withvolume and audio preset control, theapplication turns DCA amps on andoff and monitors the entire systemfor amplifier clipping or overheatingand open or shorted loudspeakerloads.

The Android or iOS device connectsto the DCP's via Ethernet andstandard wi-fi routers. Passwordprotection ensures control is limitedto authorised devices. The system is

ideally suited to "booth-less"theatres since theatre personnel donot need to physically access theequipment for daily operation andfor troubleshooting in case ofproblems.

QSC's advanced DataPort connectionbetween the DCP and DCA amplifiersallows the DCP to monitor amplifierand loudspeaker loads and reporttheir condition via DCPConnect.

TW – How is the competitionamong the multiple players in themarket, any strategy used inmarketing the new DCS surroundsound loudspeaker?

DP – QSC offers a total cinemasolution, from processors to amps tospeakers. The installation is easy anda QSC system is truly greater than thesum if the individual parts. The newsurround loudspeakers are just thelatest in a long line of QSCloudspeaker products that worktogether with our amps andprocessors to create great systems.

TW – What are the strategiesplanned for Global and Asiamarket?

DP – QSC is focused on providingthe best overall system solutions.Systems must be easy to install,reliable and provide the best possibleperformance. We will use the latestin DSP, loudspeaker, amplifier andnetwork technology to offer thegreatest overall value.

TW – What is the futureinnovation for cinema sound?

DP – There are a number of areas leftto explore in terms of matchingamps, DSP and loudspeakers for thebest possible performance. QSC willcontinue to push the limits of overallsystem performance to insure thatthe D-Cinema soundtrack isreproduced as accurately as possible.

July-September 2012TW-50

entertainworld

Housed in Inorbit Mall - one of Asia’s

largest malls, Fame Malad is a

multiplex spread across 55,000 sq. ft.

and is the largest multiplex in the

western suburbs.

The all-new Fame Cinema at Malad,

Mumbai was renovated with a

seating capacity of 1500 plus and the

all new and renovated multiplex

with 7 screens re-opened with a

whole new get-up and adorned a

super flamboyant look.

The whole new look has been

changed to fit in the culture and

requirements of the guests who visit

this property. The multiplex has

A New Look MultiplexRefurbishing Works Wonders

July-September 2012 TW-51

entertainworlddigitized screens and has the capacity

to screen 3D as well as films on

analogue format.

The Multiplex prides itself on the

ergonomically designed seating

system, Specially designed Lighting,

Plasma screen video walls, Cold

cathodes and colour changing LED‘s,

state-of-the-art temperature control

system and agglomerated marble

flooring.

“We have brought in exuberance and scintillatingarchitecture to our 7 screen multiplex at Malad,Inorbit Mall. Making the movie viewingexperience a glamorous affair. The 25 feet LEDchandelier is the highlight of the architecture.”

- Rajeev Patni, Director Operation, FAME

July-September 2012TW-52

entertainworld

The facility of 100% computerised

operations and internet bookings has

added to the advantage of the

movie goers.

Fame Malad too has become

synonymous with Fame’s punch line,

“Fame Makes my day”, Movie

premieres, opportunities to meet the

biggest Bollywood stars, exclusive

ticketed previews, innovative & exciting

contests and numerous food festivals

are just some of the elements that keep

the buzz going at Fame Malad, giving

patrons a true flavour of cinema and

entertainment as we know it!

July-September 2012 TW-53

ProductionScreen Gems

DirectorPaul W.S. Anderson

StarringMilla Jovovich,Michelle Rodriguez

GenreAction, Adventure

Resident Evil: Retribution

ProductionLionsgate

DirectorPete Travis

StarringKarl Urban,Olivia Thirlby

GenreAdventure, Sci-Fi

Dredd 3D

ProductionOpen Road Films

DirectorDavid Ayer

Starringake Gyllenhaal,Michael Pena,

GenreCrime, Drama

End of Watch

ProductionWarner Bros.

DirectorRobert Lorenz

StarringClint Eastwood,Amy Adams

GenreDrama

Trouble with the Curve

ProductionSony Pictures

DirectorGenndy

StarringAdam Sandler,Selena Gomez

GenreAnimation, Family

Hotel Transylvania

ProductionRelativity Media

DirectorMark Tonderai

StarringJennifer Lawrence,Elisabeth Shue

GenreHorror, Thriller

House at the End ofthe Street

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

July-September 2012TW-54

ProductionTriStar Pictures

DirectorRian Johnson

StarringBruce Willis,Joseph Gordon

GenreAction, Thriller

LooperProductionATO Pictures

DirectorJulian Farino

StarringLeighton Meester,Hugh Laurie

GenreComedy, Drama

The Oranges

Production20th Century Fox

DirectorDaniel Barnz

StarringMaggie Gyllenhaal,Viola Davis

GenreDrama

Won’t Back DownProductionUniversal Pictures

DirectorJason Moore

StarringAnna Kendrick,Brittany Snow

GenreComedy

Pitch Perfect

ProductionThe Weinstein

DirectorJim Field Smith

StarringJennifer Garner,Ty Burrell

GenreComedy

ButterProductionSummit Ent.

DirectorScott Derrickson

StarringEthan Hawke,Vincent D’Onofrio

GenreThriller

Sinister

ProductionWalt Disney

DirectorTim Burton

StarringWinona Ryder,Martin Short

GenreAnimation, Comedy

Production20th Century Fox

DirectorOlivier Megaton

StarringLiam Neeson,Maggie Grace

GenreAction, Thriller

Taken 2

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

Frankenweenie

July-September 2012 TW-55

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

ProductionWarner Bros.

DirectorBen Affleck

StarringBen Affleck,Alan Arkin

GenreDrama, Thriller

Argo

ProductionAtlas Distribution

DirectorJohn Putch

StarringSamantha Mathis,Jason Beghe

GenreDrama, Mystery

Atlas Shrugged Part 2

ProductionColumbia Pictures

DirectorFrank Coraci

StarringKevin James,Salma Hayek

GenreComedy

Here Comes the Boom

ProductionSummit Ent.

DirectorRob Cohen

StarringTyler Perry,Matthew Fox

GenreAction, Thriller

Alex Cross

ProductionThe Weinstein

DirectorAndrew Dominik

StarringBrad Pitt,James Gandolfini

GenreComedy, Crime

Killing Them Softly

ProductionParamount

DirectorHenry Joost

StarringKatie Featherston,Kathryn Newton

GenreSupernatural Thriller

Paranormal Activity 4

ProductionLionsgate

DirectorJustin Zackham

StarringAmanda Seyfried,Robert De Niro

GenreComedy, Romance

The Big Wedding

Production20th Century Fox

DirectorCurtis Hanson

StarringGerard Butler,Elisabeth Shue

GenreDrama, Sports

Chasing Mavericks

July-September 2012TW-56

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

ProductionRed Chillies Ent.

DirectorKaran Johar

StarringSiddharth Malhotra,Varun Dhawan

GenreDrama

Student Of The Year

ProductionEros International

DirectorPrakash Jha

StarringAbhay Deol,Arjun Rampal,

GenreSocial

Chakravyuh

ProductionAjay Devgn Ffilms

DirectorAshwani Dhir

StarringAjay Devgn,Sonakshi Sinha

GenreComedy, Action

Son Of Sardaar

ProductionUtv Motion

DirectorAnurag Basu

StarringRanbir Kapoor,Priyanka Chopra

GenreComedy

Barfi!

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 TM-6 Acoustics info@anutone.com www.anutone.com

Barco TM-3 Projectors sales.in@barco.com www.barco.com

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

CineAsia TM-20 Tradeshow judy.smath@filmexpos.com www.cineasia.com

DLP TW-11 Digital Cinema guns@ti.com www.dlpcinema.com

Doremi TW-3 Digital Cinema info@doremicinema.com www.doremicinema.com

Galalite TM-5 Screens info@galalitescreens.com www.galalitescreens.com

Harman TW-59 Sound indiaproinfo@harman.com www.harman.in

Kinoton TW-21 Projectors hofbauer@kinoton.de www.kinoton.com

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

QSC TW-5 Audio savannah_english@qscaudio.com www.qsccinema.com

Scrabble TW-60 Digital Cinema ranjit@scrabbleentertainment.com www.scrabbleentertainment.com

ShowEast TW-2 Tradeshow judy.smath@filmexpos.com www.showeast.com

USL TW-13 Sound uslinc@uslinc.com www.uslinc.com

Vista TW-33 Ticketing info@vista.co.nz www.vista.co.nz

Volfoni TW-7 3D achamaillard@volfoni.com www.volfoni.com

July-September 2012 TW-57

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