Theatre World

October-December 2010TW-4

contentsTWTheatreWorld

This issue of TW has two sets of page numbers - International

pages TW-1 to TW-44 for TW, and India pages TM-1 to

TM-24 for TM. TM is inserted between pages TW-34 and

TW-35 of TW.

MINDSHARETW EDITORIAL

SP

ECIA

L FE

AT

UR

E

TW-8

TW-15

A Record of Sorts

TW-22TW-17

TECHNOLOGY

4D Cinema Alive atMadame Tussauds

A Technicolor Feat250 Screens on Film 3D

TW-24

CINEMA SYSTEMS

Projection Series-XXX

Maintenance of XenonLamps, Rectifiers

TW-26

TW-25

Digital Cinema‘Drives-in’ to Theatres

entertainworld

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

Review - ShowEastPreview - Cinema Expo

Cinema India ExpoCinema Today

TW-29

TW-35

TW-39

Sandeep Mittal

Editor / Publisher

Film 3DTo those who thought film is dead … the news is … not

yet! Companies with interests in film are attempting to

breathe life into this format by adding 3D technologies to

it. There is no denying the flavour of the season is 3D! If

film 3D can give simple, economical solution to theatre

owners then, given the majority population of film

projectors across the world, it might just work. Film did

pioneer 3D and that too many decades ago but it was

riven with infirmities which are now addressed. Existing

exhibition infrastructure which is not switching from film

to digital anytime soon, due to various issues, is the

compelling reason why film 3D might just work.

While digital 4k has been around for quite some, with more

providers coming in, it is gradually going mainstream. We can

expect film leapfrogging directly to digital 4k provided the

involved companies emerge with a winning solution of

simplicity and economics. Moreover 4k will eventually become

inevitable as television is hot on heels and affordable 4k sets in

21:9 ratio are expected in a couple of years. 4k surpasses film

resolution and digital will have to think of some new tricks since

8k as a natural evolution makes no sense. Eventually we can

expect all film and 2k to evolve to 4k. Given the uncertainty of

technology evolution it would be risky to predict beyond this!

Digital 4k

October-December 2010 TW-5


Value - INR 150 (US$ 15)

TEAM SANDY(in alphabetical order)

Bhavanashi Ramakrishna

Bobby Chetia

Meera Bai J

Mohanraj P

Raghavendra T

Yashodhara S

Issue # 47 / October-December 2010

PrintingRamya Reprographic, Bengaluru

TWTheatreWorld

Never doubt that a small group of thoughtfulcommitted people can change the world.Indeed, it is the only thing that ever has.

Theatre World is a quarterly publication, on the motion picture exhibition industry,for private circulation. It reaches out to subscribers, mainly theatre owners and tradeprofessionals in India, also subscribers in select Asian cities. Additional copies arebeing promoted at major international industry events. Theatre World seeks thehealthy promotion of the theatre industry through dissemination of usefulinformation. Some of the information is compiled from industry sources, tradejournals, company brochures for the benefit of readers, especially, theatre owners.Theatre World acknowledges with thanks the authors and publishers of these printedmaterials. Views expressed in the articles are those of the authors and not necessarilyof Theatre World. Theatre World is a trademark under registration. The contents ofTheatre World are under copyright registration. All rights reserved. Reproductionby any means in whole or part without written permission is prohibited. Unsolicitedprinted material is welcome but no responsibility is undertaken for the same andwill not be returned. Theatre World does not take responsibility for the absoluteaccuracy of information published.

Layout & Graphic DesignRaghavendra T

It’s been eleven years now since TW (TheatreWorld), began showcasingthe Show Business in its own inimitable style. Evidently, it’s been akaleidoscope of the global motion picture exhibition industry, as well as aneffective interactive platform between the industry and the wide spectrumof professionals associated with it: architects, acousticians, interiordesigners, technocrats of sound and projection, ticketing, concessionsconsultants, and, of course, the cinema builders! Due to the kind of contentit has been churning out issue after issue, there had been a persistentdemand from discerning readers that the magazine should have a letterscolumn through which they could express their views and share information.Admittedly, we did not realise that our effort would be valued so high, whichwas why we did not contemplate having a letters column so far. It’s been afulfilling factor too for us. On completion of a decade of striving existence,we are pleased to commence a Cinemascope column under which ourdiscerning readers can share their views. We invite all our readers to sendtheir opinions as well as suggestions relating to the industry and our effortin making it better. It may kindly be noted that for convenience of lucidity,the letters may be edited suitably, and Cinemascope retains the right toaccept or reject any letter depending on the merit of the subject discussed.So, please do send in your views to Cinemascope.

Mail your feedback to [email protected]

CINEMASCOPE

CONTACT DETAILS

RNI # KARENG02795/10/1/2002-TC

POSTAL ADDRESS231, 7th Cross, Indiranagar 1st Stage,

Bengaluru 560 038, India

COMMUNICATIONSPhone +9180 2521 5107 / 2527 2812 Fax +9180 2520 5094

EDITORIALBhavanashi Ramakrishna (Ram)

[email protected] Mobile +9198 4587 2794

ADVERTISINGBobby Chetia

[email protected] Mobile +9198 9250 4871

CIRCULATIONYashodhara [email protected]

Published by Sandeep Mittalon behalf of

Sandy Media231, 7th Cross,

Indiranagar 1st Stage,Bengaluru 560 038, India

Phone +9180 2521 5107 / 2527 2812Fax +9180 2521 5094

[email protected] www.sandy.in

Regional Offices51 Regency Chambers,

National Library Road, Bandra (W),Mumbai 400 050

Phone +9122 2643 9732Telefax +9122 2640 5023

67 Masjid Road, Jungpura Bhogal,New Delhi 110 014.

Phone +9111 2437 8061Telefax +9111 2437 4848

B5, 2nd Floor, Gems Court,14 Khader Nawaz Khan Road,

Nungambakkam, Chennai 600 006Phone +9144 2833 0906Telefax +9144 2833 0907


Datasat to Power Ster Kinekor CinemasDatasat Digital Entertainment has

announced that South Africa’s

largest cinema exhibitor Ster-Kinekor

will be installing the DC20 Digital

Cinema Processor at more than 20 of

their sites in the coming months.

“The DC20 is the server to install into

3D cinemas,” said Johan van Staden,

Technical Manager for Ster-Kinekor.

“The features on the DC20 make

uploading of content so much easier

and faster. The connections and

installations go very fast, and the

software is very user friendly.”

The DC20 features a FIPS certified

media block and can be used as a

standalone digital cinema player for

a single screen, or as a network

player system for a multiplex

configuration. The processor

supports multiple playback formats

Barco Dazzles Cinemas Around the GlobeBarco Digital Cinema announced that

the first half of 2010 has brought

impressive results for its business

thanks to the worldwide deployment

of the DP2K series.

According to the company, this year

took off with a significant increase in

sales, orders and production capacity.

Powered by the global demand for

digital and 3D projection, Barco’s new

DP2K family of digital projectors is on

its way to break all records. Launched

at ShoWest in March 2010, this family

of DLP Cinema Enhanced 4K digital

projectors was the first ever to pass a

DCI compliance testing milestone and

the first to offer integrated

CineCanvas subtitling. Furthermore,

Barco has revealed that it has

obtained full DCI compliance for its

complete line of DP2K ‘C’ series Their

extreme brightness, reliability and

image quality in combination with

Barco’s extended service offering

featuring enhanced remote services,

diagnostics and monitoring, have

made the DP2K family the preferred

projectors for leading exhibitors

worldwide.

Major exhibitors that are already

projecting the magic with the new

DP2K digital cinema projectors

include Cinemark, Malco, Cinedigm

customers Rave, Starplex and Movie

Tavern, Empire Theatres Limited in

Canada, Kinepolis, Europalace,

Cinéville, MD2, FinnKino, DCK,

Cinépolis, UGC, Vue Entertainment,

Empire Cinemas UK, DFL, Real

Cinemas, Palace Cinemas, Multikino,

Cineplex, Yelmo, ZON Lusomundo

Cinemas, Space, Euroscoop, Nordisk

Cinemas, Dadi Media Group, in

Europe, and Jinji Zhujiang Cinema,

Zhejiang Shidai, Guizhou Xingkong,

Shenzhen Taikoo, Xinhua, CGV China,

and Jiangsu Xingfu Lanhai in China,

besides many others.

The new DP2K series has received

high praise from the market. “Barco

will continue to deliver the proven

and offers both digital and analog

audio outputs.

“Backup service on the DC20 is

something that cannot be matched,

fast and down to the point,”

continued van Staden. Datasat offers

a high level of customer service and

technical support on the DC20 and

their entire cinema product line.

Ster-Kinekor Theatres, the filmed and

digital entertainment division of

Primedia, operates 31 Ster-Kinekor

Junction value cinemas and 16 Ster-

Kinekor Classic cinemas with over 400

screens and 60,000 seats.

performance, reliability and user-

friendliness of their renowned DP

projectors, and they will prepare us

for the future with DLP Cinema

Enhanced 4K,” comments Alan Stock,

CEO of Cinemark Holdings, Inc.

“We have worked with Barco since

2006 and successfully installed over

300 Barco projection systems so far,”

comments Liu Kaijun, General

Manager of Dadi Cinema

Development Ltd. “The reason why

we selected Barco for this project

again, is because its excellent product

stability has laid a solid foundation

for the good operation of our

cinemas. We are also impressed by the

company’s superior after-sales

services. As Dadi Digital Cinema is

growing fast, we look forward to an

even deeper cooperation with

industry-leading digital cinema

system suppliers – like Barco.”

Patrick Muller, General Director of

Cinemeccanica states: “Both the Barco

people and our team are passionate

about what they do and are real

experts in their respective fields. The

results are first class projectors which

are unmatched in today’s market. No

other projector offers the same

quality, ease-of-use and reliability like

Barco does.”

Supporting 2D and 3D projection,

Barco’s six new DP2K projectors

represent the most complete

projector family available today with

models for every screen size and

budget. In addition to advances in

software, diagnostics and patented

cooling technology, all DP2K

projectors include enhanced security

features as mandated by the Digital

Cinema Initiative (DCI). All of Barco’s

digital cinema projectors are based on

the pioneering DLP Cinema

technology from Texas Instruments,

guaranteeing perfect re-production

of movies, time and time again, and

ensuring that theatre-goers enjoy the

highest quality movie experience

with consistent picture brightness,

contrast and vibrant colors.


An On-Screen RealityA Cinema ‘XpanDs’ in West Bank

With an ambitious goal of bringing

cutting-edge entertainment and

good will to the West Bank,

German filmmaker Marcus Vetter

has teamed with international

sponsors, including global 3D

leader XpanD, to renovate and

reopen the sole-standing cinema

complex in the city of Jenin. The

project is inspired by Vetter’s

documentary, offering the war-torn

area an entertainment venue that

hasn’t opened its doors since the

1980s.

Cinema Jenin was reintroduced to

the public with a three-day film

festival from 5-7 August, 2010, with

the premiere of Vetter’s film, The

Heart of Jenin, which recounts the

story of a Palestinian man’s decision

to donate his 12-year-old’s organs

to Israeli children after an Israeli

soldier accidentally shot the boy.

The reopening also includes a new

state-of-the-art 3D system, donated

by XpanD, which will be unveiled

at the festival and utilized for

feature films on a regular basis.

Approached by cinematic industry

partner Carsten Schuffert of

Bewegte Bilder Digital Cinema in

October 2008, XpanD, without

hesitation, donated on of its top-

of-the-line system to Project

Cinema Jenin. XpanD CEO Maria

Costeira believes whole-heartily

that contributing to the

reinvention of this once highly

valued cinema would bring a new

aspect of hope, entertainment and

positive thinking to the West Bank

territory.

“The story of this heartwarming

decision shines a humanizing light

on the tension in the Middle East

and the shadow this conflict is

casting on the innocent

bystanders in the area,” stated

Costeira. ”The arts, especially

cinema, are universally appealing

to all cultures as they provide a

window to catch a glimpse at

some of these rarely seen aspects

of the area’s day-to-day situations.

It is XpanD’s hope that with Jenin’s

addition of a 3D cinema, locals will

have an opportunity to enjoy

beautiful films, taking the

constant, uneasy thought of war

out of their minds for a few hours

at a time.”

The complete XpanD system

installed in Cinema Jenin includes:

500 pairs of X101 active 3D glasses,

two infrared emitters, a

synchronization distribution

module, active glasses infrared

tester, power supplies and a

complete hardware set including

the wiring, connections and

cables, etc.

“Today, 3D is a game-changing

technology that allows the world

to express itself in a completely

original way,” said Ami Dror, Chief

Strategy Officer, XpanD. ”Cinema

Jenin is using 3D entertainment to

bring about a social movement;

it’s a chance to really improve the

livelihood of the people in the

surrounding area by showing the

inspirational story behind Vetter’s

film. It will truly inspire the

masses.”

For more information about

Project Cinema Jenin, please

visit www.cinemajenin.org

USL Gets 5th ICTA AwardUSL, Inc., has been awarded the

International Cinema Technology

Association (ICTA) Manufacturer of the

Year Teddy Award for 2009. It is

significant that the cinema equipment

manufacturer had been selected for

the honour for the fifth time in less

than twenty years. Previous Teddy

Awards were bestowed upon USL in

1991, 1995, 2006 and 2007.

This annual award is voted upon by

the dealers in the motion picture

industry who are active members of

the ICTA. The Teddy award

acknowledges the progressive

principles of product development,

the ability to provide dealers with

services and the capability of a

company to provide up-to-date

technical and sales information.

USL, Inc.’s Human Resources Director,

Linda Wilhelmi shares, “we are proud

and extremely pleased as a company

to announce that USL has earned the

prestigious 2009 ICTA Teddy Award as

Manufacturer of the Year.”

To be voted upon by dealers, and to

win the 2009 Teddy Award as

Manufacturer of the Year is an

accomplishment, but to do this in 2009

speaks to the consistent approach and

sound foundation that USL has forged

as a manufacturer. Wilhelmi

continues, “we at USL develop new

technologies while maintaining the

continuous technical support in an

industry that is constantly evolving.

This award is a company-wide win!”

USL, Inc has been a supporting

member of ICTA since 1988. ICTA was

founded in 1971 and now represents

more than 180 manufacturers and

cinema-related businesses worldwide.

Jack Cashin, Founder & President of

USL, Inc. states, “This acknowledgment

is truly satisfying as it represents the

collective success our company has

achieved,” he goes on to say, “As a

technology leader in the development

of cinema products, it is clearly a

compliment when the technical and

sales support for our company is

recognized by our customers / dealers.

“Customer service has always been a

priority of our company” comments

Clint Koch, USL’s Director of Sales and

ICTA Board Member. “Our customers

have the ability to select products

from any manufacturer in the industry.

We believe that our world class cinema

products are chosen by our customers

for their versatility and reliability. USL,

Inc. offers each and every customer a

brand they can trust,” concludes Koch.


Star WarsHappening in 3D

If movie fans of yester year considered

that after 33 years and six blockbusters

of the much frenzied Hollywood saga

called Star Wars they had seen all they

would from the George Lucas stable,

they should think again.

They haven’t seen it in 3D — not yet,

anyway.

Lucasfilm Ltd and Twentieth Century

Fox film studio, which are behind the

movies, recently said that they will

release 3D versions of all six movies to

theaters starting with Star Wars:

Episode I — The Phantom Menace in

2012.

The movies will be converted to 3D by

the special effects wizards at Lucas’

Industrial Light & Magic.

While some recent films have taken

criticism for poor conversions from 2D

to 3D, Industrial Light & Magic visual

effects supervisor John Knoll promises

“getting good results...is a matter of

taking the time and getting it right.

The saga famously began with the

original Star Wars in 1977, telling of a

quest by a young man named Luke

Skywalker who helps save the universe

from evil. It became a smash hit at box

offices and was followed by two

sequels that also proved to be

audience pleasers.

In 1999, Lucas returned to the story

with a new trilogy that told the

backstory to the first three movies. In

all, six movies were made, ending with

2005’s Star Wars: Episode III —

Revenge of the Sith.

The first three movies were re-titled as

No.’s 4-6, to keep the sequence

straight. In all, the six movies have

made billions of dollars at worldwide

box offices.

TOHO's Pact with Sony for Total DigitalTOHO Cinemas Inc., largest theater

chain in Japan, and Sony Corporation

have reached an agreement to install a

total digital cinema system solution.

Through this agreement, Sony 4K

Digital Cinema projection systems will

be installed in all TOHO Cinemas sites

for each of the exhibitor's 545 screens,

not including co-operated theaters.

The installation is planned to be

completed by December 2012.

Sony will provide TOHO Cinemas with

a total digital cinema system solution,

which mainly consists of Sony 4K

digital cinema projectors and

projection servers. Specifically, a

theater projection system is connected

through a network and is composed

of a theater management system

(TMS), which centrally controls

content, and a central server system.

Sony will also provide TOHO Cinemas

with designated maintenance and

service including a customer call

center, remote hardware and system

monitoring, and periodic

maintenance. TOHO Cinemas can also

utilize Sony's comprehensive

hardware, system, and service while

reducing initial startup and

maintenance costs.

"We value Sony's accomplishments in

the digitalization of theaters, which it

has achieved through cooperation with

major Hollywood studios, domestic/

overseas studios and distribution

companies," said TOHO Cinemas.

"Sony is also the only company which

can provide the high-resolution 4K

projector as well as a complete and

future-proof projection system."

Recently, digitalization in the movie

industry has been rapidly accelerating,

and the number of screens with digital

projection systems has been quickly

expanding. According to estimates by

the research firm Screen Digest, the

number of digital screens will increase

globally from 16,000 in 2009 to 25,000

in 2010, while the number of digital

screens in Japan will double from 400

to almost 800.

Through digitalization of theaters,

content can be maintained in master

quality without deterioration from

scratches or dust. Also, theaters have

the flexibility to show alternative

content such as live theater, concerts,

and sporting events, thus creating

additional revenue streams and

increased programming options for

customers.

Since Sony introduced its Digital

Cinema Solution Service in October

2009, there have been an increasing

number of movie studios and

distribution companies which have

supplied digital film content as well as

alternative content to theaters.

Digitalization in the movie industry is

expected to further accelerate, as a

result of TOHO Cinemas efforts to

digitize its theaters.


Hoyts Digital JourneySigns on AAM for TMS

Arts Alliance Media (AAM), Europe’s

leading digital cinema company, has

announced that it has partnered with

Hoyts Cinemas, Australia’s leading

cinema chain, to rollout AAM’s Theatre

Management System (TMS) across the

entire Hoyts circuit in both Australia

and New Zealand.

Hoyts Cinemas, which has over 400

screens across the two countries, will

equip all digital screens with AAM’s

proprietary software, custom

designed to manage digital cinema

operations. Hoyts is rolling out

digital cinema across its entire circuit

as part of the Digital Cinema

Implementation Partners Australia

(DCIPA) group.

AAM will be working closely in

partnership with Hoyts to further

develop its software, calling on

Hoyts’ experience in cinema

advertising services (via its sister

company Val Morgan) and its skills

and knowledge in cinema

operations. In true partnership form,

Hoyts will provide ongoing input

and feedback to ensure that AAM’s

TMS continues to best meet the

needs of all exhibitors.

The partnership follows AAM’s

announcement in March this year of

a deal with Broadmedia to licence its

TMS in Japan, and further

demonstrates AAM’s multi-tiered

approach to the digital cinema

business. The agreement is the first

that Arts Alliance Media has

completed for a cinema outside

those it has equipped as part of its

own digital cinema rollout.

Furthermore, this is the first deal of

its kind where a major exhibitor has

committed to a TMS solution that is

independent from the equipment

selection and the integration

company involved.

Adam Wrightson, Group Technology

Director, Hoyts, said “for an

exhibitor, choosing the right TMS is

an important decision. It will become

the foundation for workflow and

management of our entire digital

cinema network. An effective TMS

will enable us to achieve the

operational efficiencies and real

revenue opportunities that digital

conversion promises. After reviewing

all the products in the marketplace

we found the AAM TMS to be the

most flexible and the most suited to

our needs. As we continue to expand

our digital cinema platform, we see

AAM as a strategic partner to

achieving our goals moving

forward.”

According to Fiona Deans, Chief

Operating Officer of AAM, although

the rollout business is focused in

Europe, their content and software

businesses are worldwide. “We see

Hoyts Cinemas as a key customer

adding to our worldwide portfolio.

Their operational and technical

expertise is second to none around

the globe making Hoyts a very

welcomed client,” he said.

AAM’s Vice-President, Technical

Development, Matt Sullivan, said

“we have been working with Adam

and his team for over six months

gathering their input on our TMS,

which has been invaluable in

improving our product. Our

relationship is a true partnership and

we look forward to continuing to

work with them.”

Arts Alliance Media’s TMS is part of a

software suite designed to manage

all aspects of digital cinema content

and playback in a cinema from a

single location. The entire digital

cinema workflow, from creating

shows and scheduling playback

through to moving content between

screens and managing security keys

(KDMs), can be managed from an

easy to use, secure web interface. The

AAM TMS is currently being rolled

out across AAM’s VPF-signed screens

with Cineworld and Yelmo, a total of

over 1,100 screens.

Pact with Doremi

Hoyt’s Cinemas has also entered into

exclusive agreement with Doremi

Cinema to supply all the playback

server technology for the next phase

of its digital cinema deployment. The

deal also includes delivery of

Doremi’s CaptiView Closed Caption

Viewing Systems for hard of hearing

patrons.

The deal was finalized at the recent

Australian International Movie

Convention (AIMC) on the Gold

Coast. The installations are set to

begin immediately, and expected to

be completed by the end of 2013.

Hoyts Cinemas manages 400 screens

across 38 Australian and 11 New

Zealand cinema complexes, making it

Australia’s second largest cinema

chain.

Delfin Fernandez, Chief Executive

Officer, said, “Our goal is to have

100% of our circuit converted to

digital cinema over the next 36

months. Having already installed

over 80 Doremi servers, we are

comfortable knowing Doremi will

deliver reliable products along with

the innovation necessary to keep

Hoyts at the forefront of technology

as digital cinema advances into the

future. “. “Doremi’s expertise in

large, international deployments, as

well as their capacity to meet

installation deadlines, makes for an

excellent partnership”.

Adam Wrightson, Group Technology

Director comments “Doremi has

provided outstanding service to us

over the last few years since our first

round of installments of their server

technology. For this next phase, the

2K/4K option on the Doremi IMB/

ShowVault is essential to our

expansion as it allows us the

flexibility to convert to 4K when the

time is right. The IMB also provides

us the benefit of its alternative

inputs and full scaling capabilities for

alternative content. We are thrilled

to secure our ongoing partnership

with Doremi.”

“We’ve enjoyed working with Hoyt’s

since their initial installation of our

servers” comments Michael Archer,

VP of Doremi Cinema. ”They

represent the next generation of


exhibition with their commitment to

the latest technology and patron

satisfaction. Their commitment to

deploying three of Doremi’s products

solidifies Doremi’s position as an

innovative product company that

meets the needs of digital cinema.

We are dedicated to exceeding

Hoyts’ expectations on this next

deployment.”

To date, Doremi has shipped over

15,570 digital cinema servers around

the world. Their DCI compliant

technology remains at the forefront

of innovation and sets the standard

for the industry.

Caribbean Cinemasgo ‘Strong’

Ballantyne Strong, Inc., a provider of

digital cinema projection equipment

and services, cinema screens and

other cinema products, announced

that it will provide NEC Digital

Cinema projection systems along

with GDC Technology’s digital

cinema servers and Ballantyne’s own

‘silver’ or ‘gain’ screens to outfit 20

auditoriums for Caribbean Cinemas,

the largest motion picture exhibitor

in the Caribbean Islands.

This most recent deployment brings

Ballantyne’s total installed base for

Caribbean Cinemas to 62 NEC

systems, or approximately 15 percent

of Caribbean’s total footprint.

Caribbean expects to convert the

remainder of its screens to digital

over the next several years and

anticipates that Ballantyne will

continue to play a leadership role in

that process.

“We have enjoyed a mutually

beneficial partnership with the folks

at Ballantyne Strong and greatly

value their outstanding service that

has helped facilitate our strong

growth in the region,” said Robert

Carrady, President and CEO of

Caribbean Cinemas. “We began our

relationship by purchasing Strong 35

mm projectors over a decade ago,

and their reliability and customer

support was a key reason we have

entrusted Ballantyne with

Caribbean’s expanding digital

cinema rollout.”

John P. Wilmers, Ballantyne’s CEO,

commented, “It is particularly

satisfying to work with exhibitors

over an extended time period and to

watch them succeed and expand

their footprints. Caribbean Cinemas,

led by Robert and his team, has truly

done an excellent job of bringing

affordable entertainment to their

part of the world. With the rapid

transformation to digital

entertainment via 3D and alternative

content, we look forward to working

closely with them for many years to

come.”

Yelmo Cine, AAMin Pact for Spain’sLagest D-Deal

In what is the largest digital cinema

deal to date in Spain, AAM and

Yelmo Cines have reached an

agreement to digitise Yelmo’s 31-

strong chain of cinemas in 3D. The

move is set to dramatically increase

the number of digital and 3D screens

in the country. The arrangement

includes all the financing to procure

the equipment, allowing the rollout

to begin immediately.

Yelmo, Spain’s leading local

exhibitor, will install digital systems

in 370 screens under this deal. In

Phase One of the rollout, at least half

of Yelmo’s screens at each location

will be converted to digital, with the

remainder to be installed over the

following months. Today’s

announcement follows the deals

struck between AAM and Yelmo over

the past two years under which

several screens have already been

installed. AAM has recently

announced the opening of an office

in Barcelona to represent AAM’s

business in the Spanish and

Portuguese markets.

The installation and maintenance

will be carried out by AAM in

conjunction with local Spanish

integrator Grupo Kelonik. All screens

will be 3D capable and will receive

AAM’s Theatre Management System

software and library management

server. Sites will also be equipped

with satellite receivers in cooperation

with AAM’s partner Arqiva for the

receipt of digital prints and live

events.

The rollout will be achieved with

financing provided by AAM through

a •50m investment from funds

advised by Sankaty Advisors, LLC,

the credit affiliate of Bain Capital,

LLC, for digital cinema conversion,

announced earlier this year. The

deployment with Yelmo in Spain is

AAM’s seventh announced territory

following deals in the UK (Cineworld

and Reel), France (CGR), Italy (The

Space), Holland (ABC), Denmark

(Denmark Digital) and in Norway via

its JV Nordic Digital Alliance.

Fernando Evole, CEO of Yelmo Cines,

said “the results we have had from

digital cinema over the last two

years, particularly in terms of

bringing 3D to customers and also in

the opportunities brought to us from

alternative content, have convinced

us to digitise our entire circuit. Our

experience with Arts Alliance Media

has also proven to us that they are

the right long term partner.”

Howard Kiedaisch, CEO of Arts

Alliance Media, commented, “Yelmo

has been a leader in digital not only

in Spain, but also in Europe and has

always provided the best experience

to their customers. We have enjoyed

a great working relationship with

Fernando and his team, and are

thrilled to be selected to work with

them going forward.”

Spain currently has around 300

digital screens, approximately 80 per

cent of which are 3D-ready.

Yelmo Cines is one of the leading

exhibition companies in Spain,

operating 396 screens in 31 sites.

With more than 12 million patrons

every year, Yelmo Cines is recognised

for the quality of movie watching

experience. Yelmo Cines innovation

within the exhibition industry, its

enhanced customer service, and the

development of Alternative Content

Programs, among others has served

to be recognised as “International

Exhibitor of the Year 2006” at the

Cinema Expo International Congress

held in Amsterdam.


QSC Audio Opens Asian SubsidiaryQSC Audio Products LLC, a globally

recognised leader in professional audio,

has taken a major step towards building

local sales, service and support

capabilities in key international markets,

with the opening of a new subsidiary,

QSC Asia Ltd., in Hong Kong.

Situated in a 500 sq m split facility in the

New Territories, it will support the

burgeoning Asia Pacific region with a

comprehensive operation, from

localized sales, service, and support

capabilities to managing the supply

chain and offering 24/7 back office

support and product training. Its

geographical scope will extend from the

Indian sub-continent to the West right

across the Far East to Australasia, and

also incorporate the powerful China

and Japan markets.

Commenting on the development,

Harold Yin, QSC Senior VP, Global Sales

and Marketing, said that the opening of

QSC Asia had been the culmination of a

strategic five year plan, and had been

expedited following the strengthening

of QSC’s Asian infrastructure. “First, we

needed to ‘earn the right’ to enter the

market and have the right management

team in place,” he explained.

In April this year the company took a

significant step in that direction by

recruiting the highly-experienced David

Fuller as Sales Manager for the region,

at the same time appointing project

application support technician,

Sebastian Chong, as Product Specialist

for the Asia Pacific Region.

It was after Harold Yin was drafted into

the company two years ago to start

developing global strategies that the

momentum really started to throttle up.

“Though the global recession then

slowed down that momentum it didn’t

stop us spending 18 months of solid

planning through 2009,” he said. With

the market in Asia Pacific continuing to

grow, by early 2010 QSC had identified

this region as a critical priority, and

Hong Kong as the base from which to

service it.

“We will be putting in all the support

functions — including sales and

marketing, technical support and

training. We have a theatre in which to

present seminars, and with Asia

becoming an early adopter of Q-Sys ,

this is vitally important,” confirmed Yin.

Added QSC CEO, Joe Pham, “this

represents a significant investment for

QSC. We are excited about our

prospects for growth in the Asia Pacific

region, which requires strengthening

our capabilities, and enhancing our

partners’ capabilities as well.”

CGV Brands on Imax’s Big Screen ImageIMAX Corporation announced that CJ

CGV Holdings Ltd., a subsidiary of CJ

CGV Co. Ltd., the leading theatre

exhibitor in Korea, and the number

one exhibitor in Asia, has signed an

agreement to install 15 digital IMAX

theatre systems in new locations

planned for The People’s Republic of

China.

The deal marks IMAX’s single largest

theatre deal in Asia and expands its

existing relationship with CJ CGV,

which already operates 5 IMAX theatres

in Korea, and comes on the heels of the

joint venture arrangement between

the two parties that was announced in

March. With this announcement, CJ

CGV now has committed to operating

up to 35 IMAX theatres overall. The

deal calls for CJ CGV to install the first 2

IMAX systems in 2011 with all

remaining installations scheduled to be

completed between 2012 and 2015.

Under the terms of the sale, the parties

anticipate sharing in the box office of

all 15 Chinese locations once installed.

IMAX has had increasing success with

revenue sharing deals in international

markets in recent years. This

announcement brings the total

number of IMAX systems scheduled to

be open in Greater China, IMAX’s

second largest market, to 96. The

Company’s announced number of

theatre systems signings year-to-date

has increased to 168 worldwide, which

compares to 35 system signings in all of

2009.

“Our experience with the IMAX brand

and business in Korea has proven to

us that an effective method for us to

grow our business in China is to

include IMAX in new multiplex

locations,” said Kim Joo Hyung, CEO of

CJ CGV. “Entering a new agreement

with CGV represents our confidence in

their skills as a premier exhibition

partner and in the strength of the

Chinese exhibition market,” said IMAX

Chief Executive Officer Richard L.

Gelfond.

“This deal represents the single largest

IMAX commitment in Asia, and

having it come from an existing

customer reinforces the appeal of our

business model,” added Don Savant,

IMAX’s Senior Vice President and

Managing Director, Asia Pacific. “CGV is

now our third largest exhibitor

partner worldwide, and they will

continue to be a strong partner for us

in the years ahead.”


QSC Audio Products, LLC

announced the release of their new

DCP 100 Digital Cinema Processor

which provides complete signal

processing and monitoring

functions in a single integrated,

rack-mount system. With a

suggested list price of $6,000.00

(USD), the DCP 100 offers many of

the same features as the popular

DCP 300, but at a lower price point

ideal for six to eight channel systems

that do not require CobraNet

network audio distribution or 16

input channels.

“In addition to cinema audio

processing, the DCP 100 also

provides booth monitoring and

digital crossovers in an integrated

package that provides network

control and monitoring of DSP,

amplifiers and loudspeakers,” says

Barry Ferrell, Senior Director of

Cinema Solutions at QSC.

“Moreover, there are thousands of

theaters around the world that are

equipped with DCM-1 and DCM 10

monitor as well as, DCA amps. By

replacing the DCM monitors with

the new DCP 100, theater operators

not only upgrade to D-Cinema

audio but they also get complete

network control and monitoring of

their existing DCA amps and

loudspeakers.”

Designed for use with QSC’s digital

cinema amplifiers (DCA) and

featuring advanced DSP presets for

QSC’s digital cinema speakers (DCS),

the DCP 100 optimizes loudspeaker

performance while simplifying

cinema sound system wiring and

configuration. While maintaining

many of the features of a DCP 300,

the new DCP 100 Digital Cinema

Processor includes inputs for up to

eight audio channels and provides

crossovers for three passive or bi-

amplified screen channels. Network

control and monitoring via SNMP is

QSC Unveils New DCP 100 Cinema Processor

standard. The DCP 100 is ideal for

cinema systems with three screen

channels and two or four discrete

surround channels. The unit is also

compatible with analog cinema

processor formats including Dolby

Digital Surround-EX and DTS-ES and

features an eight channel analog

input for integration with 35mm

audio systems.

Like the rest of the DCP family, the

DCP 100 greatly simplifies system

wiring and set-up, significantly

reducing installation time and labor

cost. Inputs are provided via

standard DB-25 cables from the D-

Cinema server and/or 35mm cinema

processor while connections to DCA

amplifiers are made via a single QSC

DataPort / VGA-style cable. PC-based

software enables simple set-up and

precise configuration of crossover

frequency, equalization, polarity,

delay and gain for optimized

loudspeaker performance.

Commonly used configurations can

also be saved on a laptop via USB,

allowing for quick uploads into

additional DCP units and all system

configuration data is saved to an SD

memory card, allowing easy transfer

of settings to a new DCP, should

replacement ever be required. The

DCP 100 also features QSC’s

exclusive “load fault” detection

which warns of any open and shorts

in the loudspeaker system. The

processor will also alert to any

amplifier clipping, entry into protect

modes and heat sink temperature

variations and reports them via

SNMP (Simple Network Management

Protocol) or a QSControl Ethernet

monitoring system. Moreover,

QSControl and QSCreator allow for

the creation of custom control

screens and remote access for fault

reporting and diagnosis. The NAC

100 Ethernet remote control panel

provides remote operation in a

multiplex from anywhere on the

local Ethernet network.

Having made its debut at Cinema

Expo, 2010 in Amsterdam the DCP

100 Cinema processor is expected to

be ready for shipping by September,

2010.


Polaroid Eyewear, a division of Stylemark

AG, and RealD Inc. a leading provider of

3D technology for cinema, consumer

electronics and professional applications,

announced signing a global license

agreement to use the RealD brand in

conjunction with the launch of a new

generation of curved 3D glasses -

Polaroid Premium 3D Eyewear.

Under the terms of the agreement,

Polaroid Eyewear will distribute its

RealD certified Polaroid Premium 3D

Eyewear line to movie theaters and

cinemas, eye care professionals and

other retail channels through its

global network of subsidiaries and

distributors. Polaroid Premium 3D

Eyewear will be compatible with all

RealD 3D enabled movie theatres

around the world.

“RealD is excited to partner with a brand

like Polaroid that has a heritage in

polarizing lens technology,” said Joseph

Peixoto, President of Worldwide Cinema

at RealD. “Polaroid Premium 3D Eyewear

promises a range of custom frames with

precisely curved lenses so moviegoers can

fully experience RealD 3D with an

uncompromising field of vision and a

pair of glasses to match their personal

style.”

Polaroid Eyewear’s launch collection

features a range of appealing designs

to satisfy demand from all types of

movie-goers. And prescription lens

wearers are not forgotten, with a

range of premium 3D cover styles that

fit comfortably over any optical frame.

There is even a junior style for the

younger audience to enjoy. The

collection has been developed under

the umbrella of a full 3D vision

marketing concept, supporting an

easy-to-handle sales system in movie

theatre and cinema lobbies, and

professional optical and retail channels

and will be available soon. All styles

feature Polaroid Eyewear’s unique 3D

formed lenses, differentiating the

product from standard 3D cinema

glasses provided at theatres and similar

products currently available on the

market. The product is also fully UV-

protective so that a consumer can

RealD, Polaroid in Pact forPremium 3D Eyewear

MasterImage 3D announced the

availability of its smaller kid-sized 3D

glasses designed to give children the

best possible 3D experience in

MasterImage 3D-equipped theaters.

The company’s new kid-sized 3D

glasses began shipping worldwide

recently, just in time for the wide slate

of family-friendly 3D movies opening

during the holiday season — from

Legend of the Guardians: The Owls of

Ga’Hoole to Tangled, The Chronicles

of Narnia, The Nutcracker in 3D,

Megamind, and Gulliver’s Travels.

Designed to sit securely on children’s

smaller faces, the kid-sized

MasterImage 3D glasses are fitted with

the same advanced, circular polarized

lenses as the company’s full-sized

glasses. With this new offering,

MasterImage 3D now provides theaters

with three 3D glasses options: single-

use and reusable adult-sized glasses,

and single-use kid-sized glasses.

MasterImage 3DDelivers Kid-Sized3D Glasses

Just in time for summer movie season,

RealD Inc. announced that kid-sized

RealD 3D glasses were made available

nationwide in the USA and Canada at

theatres showing Disney-PIXAR’s Toy

Story 3.

Sealed in individual packaging to

ensure they are sanitary and quality

assured, kid-sized RealD 3D glasses are

smaller versions of standard RealD 3D

cinema glasses and designed to fit

children eight years of age and under.

Kid-sized RealD 3D glasses are already

available in select international markets.

“The little ones will be able to

comfortably enjoy the great summer

movies coming out in RealD 3D wearing

glasses designed just for them,” said

Joseph Peixoto, President of Worldwide

Cinema at RealD. “Kid-sized RealD 3D

glasses are made to the same high-

quality standards as adult size RealD

glasses with each individually packaged

in sealed bags ensuring they are clean

and fresh for every moviegoer.”

RealD IntroducesKid-Sized 3DGlasses

choose to wear the product outdoors

without risk of UV damage.

“We are a brand that is all about

technical innovation, style and great

value for the money” said Andy Suszko,

President of Polaroid Eyewear. “This

endorsement from RealD recognizes the

high quality of our 3D lenses, made

possible only by our unique, patented

ThermoFusion Technology, the same

technology used to make our linear

polarized lenses for the highly successful

sunglass collections we sell worldwide.

We are delighted to be associated with

RealD and look forward to working

closely with them and their other

technology partners as 3D pushes into

the consumer electronics mainstream.”

“With so many 3D features aimed at

families, the overall 3D theater

experience has to be enjoyable for

everyone,” said MasterImage 3D CEO

and Chairman, Younghoon Lee.

“MasterImage’s kid-sized glasses are

light and right-sized, so they don’t slip

off and pull kids — and parents — out

of the story. Our goal is to help

everyone enjoy the experience of 3D.”


DLP Cinema Delivers Enhanced 4KTexas Instruments (TI)’ DLP

announced it has started shipping

DLP Cinema Enhanced 4K chips to its

licensees, Barco, Christie Digital and

NEC. Projectors with the DLP Cinema

4K chip are expected to be installed

in Q1 2011 and several industry

demos are anticipated between now

and then by DLP Cinema licensees.

With the availability of this chip,

DLP Cinema offers exhibitors the

widest variety of stable resolution

options to suit their needs at any

screen size.

“Regardless of resolution option or

screen size, exhibitors can count on

DLP Cinema’s award winning

technology to deliver all the light,

to all the pixels, all the time,” said

Dave Duncan, business manager for

Texas Instruments, DLP Cinema

Products.

DLP Cinema’s 4K chip will enable its

licensees to manufacture the

brightest and most energy efficient

digital cinema projectors in the

world. In addition, all projectors

utilizing the new 4K chip will be

designed to meet the Digital Cinema

System Specifications developed by

DCI, LLC for established image

quality and security. Currently, all

DLP Cinema 2K projector models

with the next generation DLP

Cinema electronics platform are DCI

compliant.

Exhibitors will likely install the DLP

Cinema 4K solution to light up

theatre screens as wide as 100 feet

and 3D screens as wide as 75 feet,

which has been a challenge for

competing technologies. All DLP

Cinema projectors, regardless of the

resolution, have the leading

attributes for which DLP Cinema

products are known, including

precise DCI compliant colors,

superior contrast ratios including

greater than 2500:1 and light output

necessary to illuminate the largest

auditoriums.

“DLP Cinema remains dedicated to

providing the cinema industry with

diverse platforms in both 2K and 4K

solutions,” said Kent Novak, senior

vice president and general manager

for DLP Products. “Texas

Instruments will continue to

innovate and further the

development of its DLP Cinema 2K

chips which are indisputably the

industry standard, including the

capability of upgrading the newest

2K projectors to 4K.”

World’s First Demo of DLP in4K:

Christie presented a pre-launch

demo of its new Solaria Series 4K

DLP Cinema projector line for digital

cinema at the recently held IBC 2010

in Amsterdam. Taking the lead with

the world’s first demo of a DLP

Cinema solution in 4K, the new

Christie CP4230 features the

enhanced 4K DLP Cinema chip and

is designed to be compliant with the

Digital Cinema Initiatives (DCI)

specification. It is the

most robust and cost-

effective 4K solution

available today, based on

time-tested, highly

reliable DLP Cinema

technology.

The projectors are the

only DLP Cinema solution

with the Christie 4K+4

advantage, which includes: Christie

Brilliant3D technology for high

performance 3D, Christie Pixel Track

technology for perfect image

quality, simple maintenance

procedures, and the lowest cost of

operation in the industry. For those

looking to upgrade their existing

systems, Christie also offers more

options than any other

manufacturer for fast conversion

including the “15 minutes to 4K”

upgrade process.

“Christie is continuously investing in

new product innovations to offer

our customers the widest possible

choice for their audiences,”

comments Craig Sholder, Vice-

President, Entertainment Solutions,

Christie. “We understand how

important it is for exhibitors to

safeguard their long-term

technology investment, particularly

as more 4K content comes on the

market. Our experience with the

1.2” DLP Cinema chip has given us

an advantage over the competition

on developing premium 2K and 4K

technology to keep pace with the

digital cinema rollout.”

Christie is scheduled to launch the

Christie 4K Solaria Series this fall

with shipments beginning in early

2011. Pricing for Christie 4K digital

cinema projectors is anticipated to

be 35 per cent above 2K projector

pricing. Development of Christie 4K

solutions for markets beyond

cinema will be based on market

demand.


Christie First to AchieveFull DCI Compliance

Christie, the leader in digital cinema

projection technologies, announced

that it is the first digital cinema

projector manufacturer to pass the full

range of tests required by the

Compliance Test Plan (CTP) for the DCI

Digital Cinema System Specification

(DCSS), including all procedural and

design review aspects. The tests were

completed by CineCert, LLC, a

technology development and

consulting firm that is the only

organization in North America

licensed by Digital Cinema Initiatives,

LLC (DCI) to administer the CTP.

“We are very pleased to confirm that

the Christie CP2220, featuring Texas

Instruments’ Series 2 DLP Cinema

technology, has passed all the

requirements of the CTP,” said John

Hurst, CTO of CineCert. “We are

dedicated to helping the exhibition

community understand all of the

technical requirements for passing the

CTP and helping manufacturers get

through the testing process quickly

and efficiently.”

Hollywood studios require exhibitors

worldwide to install DCI compliant

projectors in their theaters; and

passing the CTP is the only approved

path to DCI compliance. Christie’s

latest generation projector, the Christie

CP2220 – from the Christie Solaria

Series of 4K-ready projectors – was

tested by CineCert, and their tests

confirmed that the projector meets the

highest level of technical performance,

interoperability, and rigorous content

security requirements as specified by

DCI’s Compliance Test Plan.

“With over 12,000 digital cinema

projectors installed worldwide, Christie

helps set the standards for quality,

reliability and performance,” said

Brian Claypool, Senior Product

Manager, Entertainment Solutions.

“Now that CineCert has confirmed the

Christie CP2220 meets the CTP’s

requirements, exhibitors have another

level of assurance about our

commitment to providing them with

industry-leading products and

services.”

Recognized as “the future of 4K,”

the Christie CP2220 projector is built

on the proven, highly reliable 1.2"

DLP Cinema chip, the only one to

offer a 4K upgrade path using

Christie’s easy “15 minutes to 4K”

process. Smaller than other 1.2" DLP

Cinema-based projectors, the Christie

CP2220 provides exceptional

installation flexibility with a

motorized lens option that is the

fastest and most accurate available.

With more light output than any mid

power projector on the market, the

CP2220 also offers the lowest cost of

operation.

“With more than 80 years in the

industry, Christie has earned the trust

of the exhibition community by

consistently providing products of

the highest quality and reliability.

This new digital cinema landmark –

meeting the strictest requirements

for DCI compliance – is further proof

of Christie’s commitment to the

market,” said Craig Sholder, Vice

President of Entertainment Solutions

at Christie.

Barco TreatsCinemark to FirstLive Demo of DLPEnhanced 4K

Barco, one of the three DLP Cinema

licensees, recently treated Cinemark,

world’s second largest motion picture

exhibitor, to enhanced 4K demo.

During a visit to its facility,

attendants were shown a live

screening of native 4K content.

Walter Hebert, Senior Vice-President

for Cinemark commented: “we were

the first to commit to DLP Cinema

Enhanced 4K technology to provide

our customers with the most

unforgettable movie experience.

What we have seen from Barco

during their 4K live demo last week

definitely fits the bill.”

According to him, the images

projected by Barco’s DP4K-32B are

the sharpest and brightest 4K images.

“It confirms once again that we

made the right choice when we

decided to put our trust in Barco for

our global digital cinema roll out,”

he said. “We are excited to be

offering this DLP Enhanced 4K

experience to our worldwide

customers in the very near future.”

Wim Buyens, Vice-President, Digital

Cinema at Barco, says: “exhibitors are

offering moviegoers the premium

digital cinema experience with

Barco. Our overwhelming success in

the market shows that customers

have embraced our DP2K family as

the most complete range of DCI

certified digital cinema projectors,

offering the perfect match for every

screen. The addition of Barco’s DLP

Cinema Enhanced 4K projectors to

the family will strengthen this even

further.”

“While we remain fully committed to

our DP2K platform and 2K as the

industry standard, our upcoming

DP4K projectors will allow us to also

serve the Enhanced 4K segment,

which will mainly focus on premium

cinema screens.”

Barco plans to lift the veil on its

DP4K range at ShowEast in Orlando

in October. Shipments are expected

to begin in early 2011, as production

will ramp up in line with the

availability of 4K DMD chips from

Texas Instruments.


Doremi Equips Empire Theatres

Doremi Cinema, the leader in digital

cinema technology, announced an

exclusive agreement with Empire

Theatres Limited of Canada to install

Doremi Cinema Servers on over 300

Empire screens. The installations will

include Doremi’s DCP-2000 and

Integrated Media Block (IMB) with

Doremi’s ShowVault. Burbank

California based Doremi manufactures

the industry’s most popular digital

cinema servers with more than 15,570

units shipped worldwide.

Empire Theatres is Canada’s second

largest exhibition company with

headquarters in Stellarton, Nova

Scotia. Empire Theatres operates 50

theatres throughout Canada, with 380

screens, and employing more than

2,500 employees.

“We began our relationship with

Doremi last year when we installed 63

screens with Doremi’s DCP-2000 cinema

servers,”

commented

Valerie Ryan, VP

Real Estate &

Development

for Empire

Theatres. “Given

that initial

success, and the

additional field

testing we

conducted in

conjunction with Series II projectors,

Doremi servers were the clear choice for

going forward.”

“We selected both the Doremi DCP-

2000 and IMB with ShowVault because

we wanted to future proof our circuit

for 4K,” commented Ryan. “Both

models provide outstanding 2K

playback for 2D and 3D, but knowing

that Doremi’s IMB is the only 4K IMB

readily available today which can

easily be upgraded to 4K playback

with a simple firmware upgrade gives

us the flexibility to control how we roll

out our 4K screens.”

Empire Theatres’ choice of Doremi

exemplifies their commitment to

providing movie audiences

throughout Canada with the most

advanced technology in support of

Hollywood’s 2D and 3D blockbusters.

“Empire Theatres is a truly innovative

exhibitor with an outstanding

reputation for quality and guest

satisfaction.” Michael Archer, VP of

Doremi Cinema comments. “Their

selection of Doremi as their exclusive

digital cinema server provider

illustrates their in-depth

understanding of digital cinema

technology and where the future of

exhibition is headed. We are thrilled

to undertake this long-term

partnership and look forward to

supporting Empire Theatres as they

take their theaters to the next level.”

Kinoton ExpandsD-Cinema Range

Kinoton has expanded its range of

premium D-Cinema accessories by

two high-performance Digital

Cinema Scalers optimized for use

with DCP Digital Cinema Projectors.

Both models provide powerful high-

quality scaling, making sure that

alternative content from sources like

HDTV, satellite receivers or PC are

projected with optimum picture

quality. This helps theatres to build

additional revenue by including

special shows featuring operas or

sporting events, video gaming,

arthouse movies or business

presentations to their program.

The new DMS DC1 Digital Cinema

Scaler noticeably improves the

detail and clarity of video signals

from consumer and semi-

professional sources. An HDMI input

enables the projection of HDCP-

protected digital input signals, e.g.

from Blu-ray players or HD set-top

boxes.

Kinoton’s second Digital Cinema

Scaler DMS DC2 PRO is a high-end

switcher and router for image and

audio. It features a professional

audio delay function and

postproduction-grade image

processing with frame rate

conversion and a 24p output mode

providing film-like motion

characteristics. A large variety of

inputs, including HD-SDI and HDMI

with full HDCP support, make it

possible to connect virtually any

professional and consumer HD and

SD content source.


Dickinson in Pact with Cinedigm Digital

Cinedigm Digital Cinema Corp., the

global leader in digital cinema,

announced that its Phase 2 digital

cinema deployment program

Exhibitor-Buyer financing option will

be used by Dickinson Theatres to

commence installations of 250 digital

cinema systems at 25 sites

immediately. One-half of the

installations are anticipated to be

complete in the next 12 months.

Dickinson was one of the first

exhibitors to commit to Cinedigm’s

Phase 2 program though was not

included in Cinedigm’s backlog until

today given the undetermined

financing. With this updated

agreement and Dickinson’s exhibitor

self-financing plan, Dickinson will

complete the digital conversion of all

their theatres. Dickinson will

celebrate its 90th anniversary in

November 2010 with its first digital

cinema screens up and running.

These newly transitioned screens will

allow Dickinson to bring 3D movie

extravaganzas, live sports

programming, 3D concert films,

event programming and much more

to the audiences it serves across ten

states.

“We have been looking forward to

working with Cinedigm on our

digital cinema program and are

excited to be moving forward,” said

John Hartley, President and CEO of

Dickinson Theatres. “Not only do

they provide the best transitional

services, but their leadership

bringing high quality alternative

content and live 2D and 3D events to

theatres confirms that we’ll be

bringing the best to our audiences.”

“We are delighted to reaffirm our

partnership with Dickinson

Theatres,” said Chuck Goldwater,

President, Cinedigm Media Services

Group. “They bring a personal touch

to their dedication to their customers

combined with an excellence in

operations that has earned them an

outstanding reputation in the

markets they serve. With digital

cinema they will extend that

dedication even further with a

greater variety of exciting

programming options for their

customers.”

Cinedigm’s Phase 2 plan will bring

up to 10,000 additional screens to

the global roster of fully digital

theaters. Such theaters are fully

networked, turnkey systems that are

simple and cost-efficient to operate.

These screens will join the growing

number of fully digital Cinedigm-

Certified screens around the world.

Cinedigm’s Digital Cinema division

is the industry-leading deployment

program for Digital Cinema. It

facilitates the funding, installation

support and administration for the

company’s studio-supported Digital

Cinema rollout plans. Cinedigm is

also the digital cinema integrator of

choice for the CBG, a buying

program of the National Association

of Theatre Owners (NATO) for small

and independent theatre operators

in United States and Canada.

NEC Achieves DCICompliance

NEC Display Solutions of America, a

leading provider of commercial LCD

display and projector solutions,

announced that its entire line

(NC1200C, NC2000C and NC3200S) of

digital cinema projectors are the first in

the industry to reach full Digital

Cinema Initiatives (DCI) Compliance.

The new projectors include the

NC1200C at 9,000 lumens of brightness

for screen sizes of up to 46-feet wide,

the NC2000C at 17,000 lumens for

screens up to 65-feet wide and the ultra-

bright NC3200S at 31,000 lumens for

screens up to 105-feet wide.

The tests were completed by the

Research Institute for Digital Media and

Content at Keio University (hereafter,

DMC) in Japan, which is one of three

entities licensed by Digital Cinema

Initiatives, LLC to perform the CTP tests.

NEC’s digital cinema projectors were

certified in:

“We are beyond proud to be the first

digital cinema manufacturer to have

achieved this significant

accomplishment,” said Pierre Richer,

President and COO of NEC Display

Solutions. “To have a full product line

that meets the needs of today’s

exhibitors is not only essential, but

expected. NEC continually proves its

place in the industry by capitalizing on

stringent standards and providing

innovative programs to enhance our

products.”

“We are very pleased to confirm that all

the NEC digital cinema projectors

(NC1200C, NC2000C and NC3200S),

featuring Texas Instruments’ Series 2 DLP

Cinema technology have passed all the

requirements of the CTP,” said Kunitake

Kaneko, assistant professor of DMC.

NEC’s DCI Compliance allows exhibitors

to capitalize on current and future

growth opportunities.

Strong AcquiresJoliette, Expandsin Size and Reach

Ballantyne Strong, Inc. announced

that it has completed the acquisition

of the Joliette, Quebec (Canada)

facility that houses its Strong/MDI

cinema screen manufacturing

operations, as well as an adjacent

parcel of land. Strong/MDI previously

leased the facility.

The acquisition will enable

Ballantyne to significantly expand its

cinema screen production facility

and related capacity to meet rapidly

growing global demand for

conventional, large-format, ‘gain,’

‘silver’ and other specialized screens.

Ballantyne estimates the capital

investment in the building, land and


facility expansion will approximate

$6 million, with completion targeted

for year-end 2010.

The expansion plan involves adding

more than 26,000 square feet of

production space and related state-

of-the-art systems and equipment in

Strong/MDI’s ISO 9001 screen

operations. This expansion of

approximately 35% over the existing

structure will substantially increase

key production areas including the

painting towers, PVC welding, rolling

and drying areas to support a

growing base of global business

domestically and internationally.

Regal Entertainment Group Senior

Vice-President and Chief Purchasing

Officer Rob Del Moro, stated,

“Strong/MDI has been integral in

providing Regal with state-of-the-art

silver screens as we transform our

circuit to support 3D digital cinema.

This relationship builds on a decades-

long partnership with Ballantyne

Strong that now also encompasses

their skilled team of technicians who

are overseeing the turnkey

installation and integration of

thousands of digital projection

systems at Regal theaters across the

country.”

Chris Stark, Senior VP and Chief

Operating Officer of Ballantyne,

commented, “Strong/MDI’s screen

backlog has been steadily growing as

we have been operating at peak

capacity in Joliette for several

months now. With the global digital

cinema transformation picking up

momentum and straining our ability

to meet demand, it became clear

that we needed to invest in

expanding Ballantyne’s production

capabilities to better meet global

sales opportunities. After much

review, we determined that

expanding our current plant was the

best path forward, but that required

us to purchase both our building

and adjacent land to provide

sufficient space for this expansion.

When complete, our Joliette facility

will have a total of approximately

75,000 square feet of production

area, making it one of the largest

such facilities in the world.”

Barco’s Projectorswith IntegratedCineCanvasSubtitling

Barco Digital Cinema announced that

its DP2K family of digital cinema

projectors is now available with

integrated CineCanvas subtitling

support. The new functionality can be

installed via a simple firmware

upgrade. Barco is the first digital

Strong Powers Peruand Chile Circuits

Ballantyne Strong, Inc. announced that

it will provide NEC Digital Cinema

projection systems and Ballantyne’s

MDI/Strong cinema screens to outfit an

additional 14 auditoriums, 12 for Cine

Planet, Peru’s leading motion picture

exhibitor, and two for its Chilean

subsidiary, Cines Movieland.

Ballantyne Strong has previously

installed 23 NEC Digital Cinema

projection systems for these customers,

19 in Peru and 4 in Chile.

Fernando Soriano, Director General of

Cine Planet, stated, “we have worked

with Ballantyne Strong since our entry

into the cinema business approximately

ten years ago and have always relied

on both the quality of their products

and the excellent customer service they

provide. As we enter the exciting new

era of digital cinema it is natural that

we will continue to rely on Ballantyne

to expand our digital and 3D footprint

and bring the latest movies and

alternative content to our patrons.”

John P. Wilmers, Ballantyne’s CEO,

commented, “Cine Planet and Cines

Movieland have both achieved

noteworthy growth and success as

leading exhibitors in their markets. As

with many other parts of the globe,

South America is undergoing a rapid

transformation from analog to digital

cinema. Under Fernando’s leadership

his Company is on the cutting-edge of

technological change and we are

delighted to play an integral role in

their digital deployment by supplying

state-of-the-art NEC projectors and our

high quality screens.”

projector manufacturer to offer this

feature. Furthermore, Barco revealed

that it has obtained full DCI-

compliance for its complete line of

DP2K ‘C’ projectors.

Developed by Texas Instruments,

CineCanvas technology eliminates the

need for distributors to make a special

print for each language version, which

significantly lowers the cost of

distribution for digital releases.

Another plus is that it gives exhibitors

access to a broader range of content

and that it presents them with a much

wider choice of server options.

“Up to now, Series 2 digital projectors

depended on the cinema server to

render movie subtitles. In practice, this

meant that subtitles sometimes had to

be “burned” into each release and for

each individual language version. It

goes without saying that this process is

not only very costly, but also forms a

potential source of readability and

uniformity issues,” explains Barco’s

Digital Cinema Product Manager

Theodore Marescaux.

By integrating CineCanvas subtitling

support into its latest digital cinema

projectors, Barco managed to eliminate

these shortcomings. “Subtitling overlay

can now be done inside the projector

itself, thereby eliminating

interoperability issues and providing a

uniform look across all theater screens,”

says Theodore Marescaux.

Barco’s latest firmware upgrade with

CineCanvas support is immediately

available. It can be downloaded from

Barco’s online customer portal at https:/

/my.barco.com.

Fully DCI certified

Following an earlier announcement

made at ShoWest Convention in

March, Barco also revealed that its full

series of DP2K ‘C’ digital projectors has

been listed on the DCI website,

formally confirming their compliance

in accordance with the DCI

Specification. All three models (DP2K-

12C, DP2K-15C and DP2K-20C) have

successfully completed the DCI testing

procedures carried out by testing

agency CineCert. An official

communication to this effect, however,

is yet to come.


The Spud Drive In Cinema, located at

Driggs in Idaho, is a unique

entertainment fare. Situated at the

footrange of the majestic Grand Teton

Mountains amidst scenic natural

settings, and spread over 7.5 acre open

space, the drive-in embodies 1950s-

stylised nostalgia. However, the 57-

year-old drive-in continues the same

charm to this day, though

transforming its technology systems in

tune with the time, offering all that

moviegoers expected from it.

In addition to showcasing first run

movies, Spud provides a venue for

large-scale video presentations for

wedding receptions, club, sporting

and community events, concerts, and

more. When the cinema management

recently decided to convert into 3D

digital with a view to making its movie

fare up-to-date with global

technology traits it had its task clear.

While other outdoor theatres have

utilized digital projectors to show

DVDs to large outdoor audiences,

Spud decided to deploy digital cinema

projection and surround sound audio,

with 3D technology. It looked upto

the solution providers, and Barco

Digital Cinema stepped in, though in

company with others.

The timing was of critical essence.

Since the drive-in movie season is

relatively short in Idaho, it was

important to get a projector online

quickly for the June opening. Barco

A Record of Sorts

Digital Cinema‘Drives-in’ to TheatresWhile digital cinema in 3D had been an indisputable drivingfactor for cinematic entertainment worldwide, particularly inthe recent past, the Drive-In cinemas had been a specialityentertainment fare, through depending on movies as theiroffering central. Now a new era appears to be setting inbringing together both the formats. The honour of achievingthis unique feat is taken by the Driggs, Idaho-basedSpud Drive-In cinema while the credit of powering thedrive-in is taken by Barco Digital Cinema.

was able to provide a projector within

a few weeks.

“We looked at a lot of options, but

the Barco projector was the ideal fit

for the drive-in movie environment

because of its low power

requirements, liquid cooling, and of

course, incredible image quality and

reputation for reliability,” commented

Spud’s Chief Operating Officer, Keith

Zednik. “It’s just amazing – like

nothing I’ve ever seen before! With

the Barco projector, we’ll be able to

continue for another 50 years, not

only as a movie exhibitor, but as a

total entertainment provider”

continued Zednik.

Spud now plans to offer alternative

content packages to customers,

including wedding receptions, non-

profit, club and community functions,

and even live simulcast sports events

and concerts.

The exhibitor launched its digital

premiere with a double feature on

July 9th, showing Despicable Me and

Robin Hood. Attracting hundreds of

moviegoers from around the county,

Spud enjoyed its largest crowd of the

season, breaking records for its

Monday night “$15 per car”

promotion. “The image quality was

picture perfect, and it was so easy to

S P E C I A L F E AT U R E


use – no technical problems at all. The

Barco has made my life a million times

easier,” commented Zednik.

The cinema projection and sound

systems were installed and integrated

by the Council Bluffs, Iowa-based

cinema services major Heartland

Theatre Services.

Says Roger Bockert, owner of

Heartland Theatre Services: “If anyone

out there is still uncertain about

putting digital in a drive-in, Spud’s

experience will put their mind at ease.

The results have been even better than

expected as far as picture quality, light

output, and reliable image.”

In business for more than 20 years,

Bockert has installed hundreds of

digital projectors throughout the

Midwest in traditional theatres, and

looks forward to additional business in

the drive-in market based on the

success of Spud’s deployment.

John Fithian, President of the National

Association of Theatre Owners,

commented, “Drive-ins are an

important part of the theater business.

At NATO, we are pleased to see Barco

providing a digital projector solution

capable of illuminating drive-in

screens. We are confident that drive-

ins will continue to flourish in the

digital age and congratulate the Spud

on being the first of many drive-ins to

offer their customers the digital

experience.”

United Drive-In Theatre Owners

Association (UDITOA) President Paul F.

Geissinger stated, “we congratulate

the Spud Drive In and their digital

partner Barco in providing their

patrons and the motion picture

industry with the first digital

projection system at a traditional

drive-in theatre. This is an historic

event for drive-in theatres, a true icon

of Americana, which we view as only

the beginning of what will be a huge

transition to the digital age by drive-in

motion picture theatres.”

The Spud Drive-In Theater is one of the last American drive-in theaters, and one

heck of a roadside attraction. It is most famous for Old Murphy, a 1946 Chevy cab-

over truck that carries a 2 ton potato. Old Murphy sits in front of the screen and has

been photographed by travelers from all over the world. Of course, the always

delicious Gladys’ burger and family friendly films are also a local favorite.

The Spud was built in the spring of 1953 by Ace Wood and opened it’s doors July 3rd,

1953. It was a state-of-the-art facility back then, using mono-speakers that hung in

the windows to broadcast the audio and twin carbon ark real to real projectors.

Today, the audio is transmitted through FM stereo and each car can tune in with

great sound quality. Some things have been updated at the drive-in, but the spirit

remains the same.

The Barco projector utilizes Texas

Instruments’ DLP Cinema technology,

which produces higher contrast video,

deeper black levels and reduced

pixelation in a compact package. The

projector is able to utilize standard lenses

with no modifications to the electronics

or housing, and project a crystal clear,

precise image from a long distance.

“We’re honored to work with Spud

Drive In to pioneer the first true digital

cinema drive-in theatre. This

opportunity demonstrates the power

and versatility of Barco’s products. We

applaud Spud’s entrepreneurial spirit

and desire to extend their

entertainment options with alternative

content, which will showcase the Barco

projector’s features and delight patrons

for years to come,” said Todd Hoddick,

VP Digital Cinema North America.

S P E C I A L F E AT U R E


The prestigious dome theatre at

Madame Tussauds in London recently

turned into an incredibly awesome

movie watching setting with

superheroes coming alive in 4D-

thanks to the collective efforts of a

cinematic dream-team, Meyer Sound,

Kraftwerk Living Technologies

International, Threshold Animation

Studios, and Merlin Studios.

“We scored the film and created the

sound design like we were making a

blockbuster feature movie. Once

something sounded great, we turned

it up even more,” says Joshua Wexler,

president of Threshold Animation.

“The audio experience significantly

enhances all of our 3-D visuals and

drives the audience to scream, laugh,

jump and duck at all the right

moments.”

A discrete 7.1 Meyer Sound Cinema

Experience system was installed to

facilitate an immersive audio

experience for this dynamic

application. Kraftwerk’s CEO, Christian

Hofer explains: “When Meyer Sound

introduced the new Cinema

Experience product line, it was

immediately clear to us that by

installing this precision technology

into Madame Tussauds’ domed

theatre, we would be able to

accomplish unprecedented effects

while setting a new standard for

immersive audio experiences.”

Taking this from concept to reality

involved closely coordinated efforts

on the part of Kraftwerk’s team. The

results are a configuration, compatible

with Dolby Format 91 layout, that

comprises seven Acheron screen

channel loudspeakers, two 700-HP

subwoofers, and a Galileo loudspeaker

management system with two Galileo

408 processors. Sensations of wind,

water, quakes and more are made real

for the audience as a team of the

iconic super heroes spill off the screen

in a nine-minute adventure set in

London.

4D Cinema Alive at

Madame Tussauds“I have been impressed and

overwhelmed by the passion,

dedication and attention to detail that

makes this project a smashing success,”

says Paul Williams, creative director of

Merlin Studios, the creative hub for

Merlin Entertainments Group, which

oversees brands including Madame

Tussauds. “The audio is absolutely

mind-blowing, and the beautifully

crafted film is truly jaw-dropping and

hugely entertaining. All in all, this is an

amazing product which is being

incredibly well received by our guests.”

General manager of Madame Tussauds

London, Edward Fuller concurs: “Our

guests’ reactions to the immersive

experience are just outstanding. The

clarity of the audio, coupled with the

3D film and 4D effects allows

audiences to feel as if they are really

there with the super heroes.”

Meyer Sound’s senior cinema and live

sound design project manager Brian

Long, and John Pellowe, project

director for Constellation and former

sound engineer for the late Luciano

Pavarotti, mixed the audio content,

which combined over 200 tracks of

material and was mixed down into a

7.1 channel master for playback

utilizing two Avid Pro Tools HD

systems and ICON mixing surfaces

provided by Stronghire in the UK.

“Mixing in the actual exhibition space

enabled us to create maximum

impact,” says Pellowe. “With stunning

sound effects flying around the room

to match the action in the film, we

were able to deliver a rich tapestry of

immersive sound from the beautifully

crafted orchestral score.”

The new Cinema Experience from

Meyer Sound is a complete, integrated

line of cinema sound products and

digital solutions that provide engineers

with precise audio reproduction for

sound design and dubbing through to

exhibition. Neither a traditional cinema

nor typical content creation space,

Madame Tussauds London’s dome

theatre, is a unique model for next-

generation immersive media spaces.

Other facilities using Meyer Sound

Cinema Experience include Francis Ford

Coppola’s Zoetrope Studios,

ImageMovers Digital, Skywalker Sound,

University of Southern Calif.’s School of

Cinematic Arts, The Digital Cinema

Auditorium at UC San Diego, and a

multiplex cinema at the Solaris Cultural

and Leisure Centre in Tallinn, Estonia,

to name a few.

The 284-seat dome theatre thus

became the host for a never-before

movie watching experience.

Interestingly, it is said to be the first

digital movie screening at the theatre.

TECHNOLOGY


Further supporting the successful

launch of Technicolor 3D, the 35mm 3D

solution, Technicolor announced it has

installed its Technicolor 3D system on

over 250 screens in North America just

four months after its initial debut in

theatres. This milestone demonstrates

the continued industry demand for 3D

and exhibitor confidence in the

Technicolor 3D format as a high-

quality, affordable 3D solution.

Technicolor 3D was launched in theatres

on March 26 with How to Train Your

Dragon, followed by Clash of the Titans,

Shrek Forever After, The Last Airbender,

Despicable Me, and Cats & Dogs: The

Revenge of Kitty Galore. As a latest

follow up of these outings, Piranha 3D

from The Weinstein Company was

released in 35mm 3D on August 20.

“We’re thrilled to have surpassed 250

screens in just a few months,” said Joe

Berchtold, president of Technicolor’s

Creative Services division. “Exhibitor

feedback has been great from both a

theatre operations and audience

satisfaction perspective. We’re glad to

be able to provide a technology

solution that helps to bridge the gap

to solve the current shortage of digital

3D screens, and bring 3D to audiences

in markets of all sizes.”

“Technicolor 3D allows us to deliver

high quality 3D to a greater number of

A Technicolor Feat

250 Screens on Film 3D

How Technicolor 3D WorksTechnicolor 3D employs a proprietary production-to-projection system that

leverages 35mm film projectors, in use today by the majority of USA and

international theatres, to deliver a high-quality 3D presentation to moviegoers.

A patent-pending lens system splits the left and right eye images as the film

runs through the projector and delivers a 3D-ready image onto a silver screen.

The solution works with circular

polarized glasses—identical to

those used for digital cinema

3D—to translate the film’s

content into an image that is

perceived by the viewer as

being three-dimensional. The

silver screen can be used for the

projection of both Technicolor

3D as well as digital 3D content.

theatres and a wider audience,” said

Clyde Cornell, chief operating officer for

Portland-based Hollywood Theaters.

“The technology gives our patrons the

opportunity to view motion pictures as

never before, combining the highest

levels of resolution, contrast and image

quality to produce precise, life-like

images in vibrant colors.”

“We have installed Technicolor 3D on 14

screens to date, and plan to add

another six,” said Tom Hutchinson,

president of Edmonton, Alberta-based

Magic Lantern Theatres. ”Operation has

been trouble-free, our customers are

happy, and since the first picture, every

installation has made money for us.”

“Technicolor 3D has provided us with

an excellent, cost-effective 3D

solution, allowing us to remain

competitive in our markets while we

wait for an accessible digital plan to

develop,” said Bill Banowsky, owner of

Charlotte, North Carolina-based

Carolina Cinemas. ”We now have at

least one Technicolor 3D system at

each of our locations, and will likely

add more before the end of the year.”

“We are pleased with our decision to

utilize Technicolor 3D,” said Paul

Wenger, vice president, Flagship

Cinemas. “It’s is a high quality, cost-

effective product, which provides a

superior 3D presentation for our

audiences. Its affordability allows us

the power to enhance the movie-going

experience at our theatres and remain

competitive in this digital age”.

Technicolor 3D recently launched in

international territories with Shrek

Forever After from DreamWorks

Animation. Other studios indicating

support for the format internationally

include: Paramount Pictures, Universal

Pictures, The Weinstein Company and

Warner Bros. Countries included in the

international launch are the United

Kingdom, Spain, Italy and Germany

and Japan.

Technicolor 3D is available now in the

U.S., Canada, select European

countries, and Japan.

TECHNOLOGY


Maintenanceof XenonLamps,

Rectifiers

Projection Series-XXX

In Part One of Unit-VIII,

featured in the last issue

of Theatre World, we

discussed the techniques

of advanced

maintenance of the

equipment that go to

comprise a projection

booth. In Part Two, we

discuss the various

aspects that matter most

while maintaining xenon

lamps and rectifiers.

Though today's cinema

exhibition industry is

increasingly going

digital, that there is still

a huge community of

theatrical exhibition that

rely and believe in film-

based cinema systems, a

peep into maintenance

of those systems based

on xenon lamps is

relevant.

C I N E M A S Y S T E M S

All lamp manufacturers have

comprehensive guides on what to

look for when checking a lamp

and some provide informative

wall charts.

• Allow the old lamp to cool right down. This may take between 15and 20 minutes, so do not open the lamphouse door until then.

• Put on full protective clothing, including mask, goggles and gloves.

• Have the correct container ready to receive the old lamp andnecessary tools to hand.

• With gloved hands, remove the old lamp according to the maker'sinstructions, and place gently in its container.

• Take care not to knock the lamp with the spanner you use toremove connections and claps.

• Clean the parabolic mirror with soft clean duster

• Install the new lamp according to the maker's instructions, ensuringthat the correct polarity is observed, and that the connectors areclean and tight. Do not try to strike the lamp with the lamphousedoor still open.

• Ensure that the lamphouse ventilation is working

• Switch on the rectifier and press the "strike" button

• Check the current and adjust if necessary

• Check the screen illumination and evenness. Adjust the mirror ifnecessary, keeping the dowser open for a short time.

• Reset or make a note of the reading on the hours meter

• Complete the paperwork for the return of the old lamp and order anew one.

The projectionist needs to watch for

indicators of overheating on the DC

connections in lamphouses; check

that all nuts; clamps; leads etc. to the

lamp are tight every few weeks. One

indication of overheating is the state



of the lamp connectors. End caps take

on a blue colour when overheated,

instead of their normal bright chrome

appearance, and brass conductors

become blackened.

If not checked and rectified in time,

the lamp will fail to strike because the

cable contact may become too high-

resistance- or lamp could even

explode because the end seals

may have become overheated.

Overheating is a major problem

in lamp houses as the lamp must

not experience any undue

thermal stresses. The

projectionist must check that

there is a free flow of air by

ensuring that all the fans are

rotating and that the blades or

filters are not clogged with

dirt. Often a few minutes ever

week with a vacuum cleaner is

enough to keep the buildup

under control. The

projectionist must also

remember some lamp houses have

vane switches which sense the

air flow. Should this fall below a set

level, the rectifier will be switched off,

extinguishing the lamp.

The rectifier which supplies the

projector lamp requires very little

maintenance, but is potential weak

link in the chain, due to the high

currents involved. Each time the

projectionist replaces a lamp, he

should also check that the rectifier unit

consult the manufacturer’s instructions

is delivering the full required current,

and that in so doing it is not

overheating.

The projectionist also needs to check

that the rectifier's DC (direct current)

cable connections are tight. These can

become loose through vibration and

heat, in which case they may cause

localized overheating. If the


Find the manufacturer's instructions for lamp replacement. Note any special points, forfuture reference.

Take care when maintaining the rectifier unit. To smooth out the DC for the xenon lamp, inside the rectifier isa bank of high capacitance smoothing capacitors. These capacitors keep their charge for several minutes

after being disconnected from the supply and consequently can give you nasty burn as the amount of energystored in them is quite high. Most rectifiers have 'bleed resistors' fitted to dissipate the energy quickly, but it

is worth being cautions in case the resistor is missing or broken.

Remember that all xenon lamp houses have safety cutout switches fitted to their doors which must never beoverridden. They are there for your safety. If after closing all the doors the contractor in the rectifier does

not pull in when it is switched on, check that all the covers are on. Check also that the doors are firmly closedand that one of the corners is not twisted out of place and so not operating the micro- switch correctly.

(To be cont’d)


general procedure for changing a xenon lamp

xenon lamp in cradle

remove the old lamp

store the discarded lamp

install new lamp

the vane switch detects air flow

Exercise utmost cautionwhen making adjustments.Always treat the lamp withrespect whether hot or cold,

and always wear the protectiveclothing when handling a lamp,cleaning the mirror, or doing a

routine visual inspection

projectionist suspects that this is

happening, he has to switch off,

remove the nuts and then inspect the

lugs for evidence, such as discoloration

(oxidation) or pitting. If they are badly

affected, replacements may be

necessary. But if it is not required, they

may be cleaned up and firmly

reconnected. Fan- cooled

rectifiers also have vane switches

which switch off the supply should the

fan fail or not provide sufficient air

flow past the rectifier.


PREVIEW

11-14 OctoberOrlando World Center Marriott,Orlando, Florida2010

ShowEast 2010, the 23rd annualconvention and tradeshow for themotion picture exhibition anddistribution community in the EastCoast of the Americas will be heldfrom 11-14 October, 2010, at theMarriott Orlando World Center inOrlando, Florida. This year's eventassumes significance in that it seeks toexplore the furtherance of 3D digitaldomain, means and methods to curbpiracy, particularly online piracy, andmaximizing cinema revenues throughbetter interaction amongst exhibitorsand distributors, besides improvisingthe quality of exhibition services.

ShowEast, as it is, promises to providethe motion picture industry with theperfect place and opportunity to gather,and share ideas and information on thecurrent and future state of the industry.It also promises to be a platform for

distribution professionals to networkwith customers and all the major cinemaequipment and concessionsmanufacturers, suppliers anddistributors.

In line with its practice of over 23 yearssince its inception, the ShowEast eventfare, this time too, include:• Screenings of new movies• Product reel presentations of

upcoming movies• Sponsored food events• Technical sessions on issues

concerning issues• Networking Events• Product demonstration Suites• Tradeshow• Awards presentation

This year, the event will be preceded by a'bonus programming geared towardtheatre managers and projectionists.'Titled ICTA Technology 101: 'Keeping

Your Cinema Open on a Saturday Night,'the programme will be aimed at enablingthe cinema technical and managerialpersonnel learning how to keep yourtheatre running in the face of unforeseentechnical issues and how to get back ontrack quickly to keep your audience intheir seats. Running concurrently withInternational Day programming, thissession will throw light on topics such asan overview of digital projection, keepingthe show on the screen, keeping theaudio on the air, network operationscentre, and managing servers.

The actual event programming,however, will begin with a keynoteaddress by Frederick Huntsberry, ChiefOperating Officer, Paramount Pictures,who will speak on 'Geek to Sleek: TheSurprising Evolution of Online Piracy.'Aimed to be an overview of thecurrent state of online piracy, the talk

Floor Plan


Exhibitors List

Advanced Specialty Lighting .......... 809American Licorice ............................. 914Baja Innovations .............................. 805Ballantyne Strong, Inc. .................... 401Barco .................................................. 201Betson Enterprises ........................... 802C Cretors & Co ................................... 609Camatic Seating ............................... 800Christie Digital Systems .......... 613/718Cinedigm Digital Cinema Corp. ..... 705Cinema Concepts .............................. 404Cinema Equipment & Supplies Inc . 912Cinema Hosting ................................ 121Cinema Scene Marketing ................ 904Connie's / Nation Pizza ................... 721D-BOX Technologies Inc ................... 212Dolby LabsDolphin Seating ............................... 120Doremi Cinema ................................. 601Embedded Processor Designs, Inc .. 416Entertainment Transportation ....... 820Eomac Ltd .......................................... 307Franklin Designs ............................... 512GDC Technology of America LLC .... 419Gehl Foods ......................................... 217Gold Medal Products ....................... 908Harkness Screens .............................. 518

High Performance Stereo ............... 900Human Flight 3D .............................. 818Inorca Seating ................................... 621INTEG Process Group ....................... 817International Cinema Equipment . 216International Cinema Technology . 116Irwin Seating Company ................... 513Jack Roe USA ..................................... 514JBL / CROWN ..................................... 701Konica Minolta Sensing Americas . 317Marchon Eyewear ............................ 112Martek Contracts ............................. 309MasterImage 3D ............................... 218Mobiliario SA de CV ......................... 413Moving Image Technologies ........... 213NEC Display SolutionsNestle USA ......................................... 906Omniterm Data Technology ........... 406Osram Sylvania ................................. 400Panavision 3D System ....... 719/SUITE NParadigm Design .............................. 807Posiflex Business Machines ............. 319Preferred Popcorn ........................... 703Proctor Companies ........................... 902Professional Systems ....................... 616Promotion In Motion Companies ... 607ProSTAR Industries ........................... 821

QSC Audio Products ......................... 301Qube Cinema Inc. ............................. 618Radiant Systems ............................... 813RCM Media - Cinema Clips .............. 320Ready Theatre Systems ................... 219Retriever Software .......................... 417RGS // JOHO ....................................... 812Ricos Products Company .................. 509Schneider Optics ............................... 706Seating Concepts .............................. 207Simply Right ...................................... 117Sirius III CorporationSony Electronics ................. 100/101/ATLStadium Savers ................................. 316Technicolor 3D .................................. 801Tempo Industries .............................. 516The Coca-Cola Company .................. 501TheatreWorld - TW ................ Pub BinTherma-Stor ...................................... 418Titan Technology Group .................. 713Tivoli LLCTK Architects ..................................... 519Tootsie Roll Industries ..................... 520Ultra Stereo Labs ............................. 313Universal Cinema Services .............. 420VIP Cinema Seating ......................... 113Vista Entertainment Solutions ....... 608

will seek to demonstrate how onlinepiracy has evolved from complicatedtechnology to easy-to-use process,from dorm rooms to highly-profitablecommercial operations, from sharingto organized crime, from a 2-feetshow to a 10-feet experience. Thepresentation will identify tactics whichmust be deployed in this new erawhere any movie can be found onlinewith just four clicks and where stolencontent can easily be viewed on thetelevision in one's living room.

The other technical sessions include topicssuch as alternative content and deliverymethods, VIP cinemas and luxuryexperience for audiences, 3D made simpleand 3D digital for every exhibitor.

Movie screenings will includeLionsgate's The Next Three Days,Paramount Pictures' Morning Glory,and The Fighter, Warner Bros. Pictures'Due Date, and 20th Century Fox'sUnstoppable, besides a special showingof Walt Disney Pictures' TRON: Legacy.

Dubbed to be 'sister event' ofShoWest, ShowEast 2010 promises acontinuum in the momentum built upby ShoWest in March 2010 bycoordinating meetings with businessassociates, working with existingvendors and finding new ones at the

tradeshow and continuing industryeducation along with a host ofopportunities to enhance business.The event also boasts of facilitatingsmart purchasing and programmingdecisions for the participants to lastthe entire year.

An estimated 1200 professionals fromacross the industry spectra of theatreoperators/owners, movie buyers,distributors, concessionaires, theatredesign/construction professionals,equipment manufacturers, marketing/media professionals and advertisingagencies would participate inShowEast 2010.

The four-day event will be crested by agrand finale of awards ceremony thatrecognises and honours significantcontributions made by the industryprofessionals in various areas ofactivism. The awards include:• International Achievement Award

in Distribution• International Achievement Award

in Exhibition• MPA Anti-Piracy Award• Show "E" Award• Salah M. Hassanein Humanitarian

Award• The Kodak Award• Al Shapiro Distinguished Service

Award

This year, the 'Show 'E' Award' will beconferred upon Tom Stephenson, Jr.,President & CEO Rave Motion Pictures.The Award will be presented to him byChuck Viane, President, Distribution,Walt Disney Studios Motion Pictureson October 14 as part of the finalnight banquet and Awards Ceremony.

The ShowEast InternationalAchievement Award in Exhibition for2010 will be presented to FernandoSoriano, General Manager, CinePlanetwhile the International AchievementAward in Distribution will beconferred upon Mauricio Duran, Vice-President, Latin American DistributionSupervisor, Universal PicturesInternational.

The Anti-Piracy Latin AmericanGovernment Leadership Award thisyear will be presented to ArturoGerman Rangel, Deputy AttorneyGeneral for Federal CrimesInvestigation, Mexico.

The Salah M. Hassanein HumanitarianAward 2010, on the other hand, willbe conferred upon Todd Vradenburg,Executive Director, TheWill RogersMotion Picture Pioneers Foundation. Itwill be presented by Rory Bruer,President Worldwide Distribution,Sony Pictures Releasing.


The 2010 edition of Cinema Expo, thelargest convention of the Europeanmotion picture industry, was held atRAI, in Amsterdam, the Netherlandsfrom 21 to 24 June. Into its 19th yearin the running, the event assumedsignificance on two counts. One- itwas held at the most critical junctureof the industry, both in Europe as wellas the world at large, and two- at atime when digital stakes have beenflying higher than ever across thecontinent. The programming of thefour-day event was packed withsubjects that sought to address theindustry's most concerning issues: 3Ddigital transformation, alternativecontent, and challenges of piracy.

In line with the previous editions, thethree-day tradeshow was preceded bya day-long technical sessions hostedby International Cinema TechnologyAssociation (ICTA). The sessions -obviously dominated by D-Cinema -included topics such as 'screens in adigital world'; 'upgrading soundsystems for digital cinema'; 'operatingall-digital cinema multiplex'; 'how toclean 3D glasses,; and 'service modelsfor cinema industry. The day openedwith a session by International Unionof Cinemas (UNIC) a body focussed onEuropean cinema industry.

The ICTA technical sessions flowed intoday one of CinemaExpo with aseminar on 'distribution of alternativecontent through exhibition' hosted byThomas Ruettgers, Vice-President atICTA. The session deliberated on all theaspects of the value chain, viz,obtaining content, delivering theproduct, and experience at theexhibitor end. It also debated on theintriguing challenge before theindustry today: '3D (live) network foralternative content?'

The session was immediately followedby a digital cinema global update byDLP Cinema- 'Now Showing at aEuropean Cinema Near You.'Presented by Tony Adamson of DLPCinema, the session sought to infuse

deeper thoughts on 'the digitaladvantage, the record growth, andwhat's next.'

The day's programming also presentedthe delegates with a 'game change'session by Sony on 3D digital in 4k.

Day one had something for the 35mmfilm-based exhibition too, but in 3D.Technicolor, the film majorcampaigning for film-based 3D forover a year, sought to explain the cost-effective and more creative way ofbusiness with film-3D. It demonstratedtheir latest innovation allowingexhibitors and distributors tocapitalize on the extraordinary successof 3D movies. The system claimedproviding high quality and affordable3D projection using existing 35mmequipment. With state of the art opticsand a silver screen, this system alsoclaimed that it affords exhibitors thechance to reach the latent demand for3D without the heavy price tag of fullyconverting to digital.

Another important item on day onewas a debate on online piracy. Itprovided an overview of the currentstate of online piracy, demonstratinghow it has evolved from complicatedtechnology to easy-to-use technology,from dorm rooms to highly-profitablecommercial operations, from"sharing" to organized crime, from a2-feet show to a 10-feet experience.The presentation sought to identifytactics which need to be deployed inthis new era where any film can befound online with just four clicks andwhere stolen content can easily beviewed on the television in livingrooms.

Day two programming focused ondigital cinema roll out in Europe. Ithad an exclusive session on themeasures initiated by European Unionto support the cause of regionalcinema exhibition. Day three beganwith a tech session on how cinemascan improvise their revenues fromconcessions by innovative design

while day four had a session on'additional programming and newcinema going experience.'

The product reels from the studioswere predominantly in 3D digital.Dolby, RealD, Xpand, andMasterImage are giving exclusivepresentations on 3D digital.

The movie screenings this yearincluded:" 20th Century's Knight and Day

presented in 2k (Barco 32B 2ksystem)

" Universal Pictures' Despicable Mein RealD 3D format

" 20th Century's Money Never Sleepsin 2k

" Warner Bros.' Going the Distancein 3D (Dolby and Christie)

" Walt Disney's Toy Story 3D in 3D inmulti language channels (Christieand MasterImage 3D)

" Universal Pictures' Get Him to theGreek in 2k (Barco system)

" Warner Bros.; Inception in 35mm

Awards: At this year's CinemaExpo, ,Universal Pictures InternationalPresident David Kosse was honouredwith International Distributor of theYear award, while Pathé Theatres B.V.chief Lauge Nielsen conferred uponwith the International Exhibitor of theYear.

The Tradeshow: Tradeshow atCinemaExpo 2010 showcased a varietyof latest and hot selling cinemaequipment from across the world. Theshow included all the leading globaland regional brands in projection likeChristie, Barco, NEC-Strong, Sony,Kinoton and Cinemeccanica; audiobrands like Dolby, Datasat, Alcons,QSC; 3D solutions providers such asRealD, XpanD, MasterImage, serversolutions providers such as Doremi;Qube, network providers likeSmartJog, Arqiva, cinema equipmentdevelopers like Proyescon, USL, andseating solutions providers likeFigureas, Irwin Seating, SeatingConcepts, Leadcom etc. besidesHarkness Hall screens.

2010


The 2010 edition of Cinema India Expo

was held from 3-5 June, 2010 at the

Bombay Exhibition Centre, Mumbai.

This year marked the tenth anniversary

of the expo bringing together the

professionals from the movie making

industry. It covered areas like movie

production hardware, both in the film

and digital formats. Co-located with

the highly regarded PALM Expo and

Musician Expo, Cinema India Expo

2010 occupied nearly an area of 1500

square meters. The Expo also recorded

an increase of an approximate 28 per

cent in attendance to 11,533

attendees, out of which 2251 were

unique visitors to Cinema India Expo.

According to Anil Chopra, Managing

Director of Diversified

Communications India, the organizer

of Cinema India Expo, the Expo this

year touched new high. Cinema India

Expo 2010 strengthened the annual

convention bringing in a strong

participation of multiplex chains and

theatre owners. The dynamics of

digital projection with transition to 2K

attracted the industry. The Indian

cinema industry is maturing rapidly in

terms of revenue, technology and

investment.

"Cinema India 2010 presented a good

opportunity to explore the latest

technology and business initiatives.

The high profile networking of top

management from movie distributors,

multiplex chains and technology

companies proved productive for all

delegates and participants," said Anil

Chopra.

"It was evident that the annual

Cinema India Convention succeeded

in playing an important role in

providing a neutral platform that

welcomed all players developing and

investing in the Indian cinema

industry," he added.

Interestingly, Cinema India 2011 will

move to new location, the

Renaissance, the five-star convention

facility at Powai in Mumbai. The focus

is expected to be digital 3D.

CINEMA INDIA EXPO 20103-5 June 2010 at Mumbai, India

Focus on DCI-compliant digital

This year, the show focused on 2k

cinema delivery, distribution and

digital projection. Texas Instruments,

who had showed exemplary spirit of

participation in the past and supported

Cinema India Expo as a sponsor,

sponsored the show this year too.

Scrabble Entertainment, India's first

and only DCI-compliant Cinema

deployment entity and the distributor

of the blockbuster Avatar and other

Hollywood movies, set up a theatre -

the Scrabble Digital Initiative - for

conference and screening on digital

cinema. They also screened movies like

A-Team and Robin Hood. The initiative

was also supported by Christie and

Qube Cinema.

MASTERIMAGE 3D presented the

conference with its expertise in 3D

technologies and digital projection.

Doremi Labs presented a limited range

of video servers for digital cinema and

post production. Barco Electronic

Systems showcased the world's most

silent Three-Chip DLP Projector, RLM-

W6. Digital projectors by E-Cinema

Systems were missing from the show.

Also missing in action was NEC, the

third major supplier of 2k projectors.

Theatre Equipment on Show

Leading market players in the step

lighting, direction lighting and

ambience lighting based on the latest

LED technology segment displayed

their range of products. Shri

Krishnashray Pvt. Ltd., showcased their

product range that included step

lighting, LED signage, LED lighting,

fiber optic lighting etc. Penworkers,

leading manufacturer of seating

exhibited their seating solutions.

Leading audio major QSC marked its

presence by sponsoring at the Scrabble

Digital Initiative. The Expo also saw

participation from software solution

providers like Professional eSolutions

providing services to the film industry

with software modules on film

distribution, production and

exhibition.

HD Cinema

Cinema India 2010 did have its big

misses this time. Though the movie

REVIEW


making industry had been shifting its

focus to new-age High Definition

digital production, leading HD camera

manufacturers such as Red One range

of cameras from RED Digital Cinema,

F35 Cine Alta digital cinematography

cameras from Sony, HD VariCam

Cinematography Camcorders from

Panasonic, digital cinema cameras from

Silicon Imaging and motion picture

cameras from ARRI were conspicuous

by their absence.

However, the gap was partly filled by

JVC who showcased their latest GY HM

series Camcorders giving full HD,

seamless and tapeless workflow.

Mhatre Electronics Pvt. Ltd. who

represented JVC also showcased the

newly introduced pristine, full HD LCD

Monitors range, along with the first-

of-its-kind Professional Blu-ray and

HDD combo Deck Recorder with SD

card slot.

AJA Video, a leading manufacturer of

high-quality and cost-effective digital

video interface, conversion and

desktop solutions for professional

broadcast and post production

showcased products across their edit

and convert categories including

KONA³, KONA LHi, KUMO Compact SDI

routers and FiDO Fiber Optic / SDI Mini-

Converters. Another technological

innovation was seen in the workshop

on AJA Video Systems wherein

Autodesk's latest Smoke on Mac

machine was displayed.

Documentary film producers

representing Indian Documentary

Producers' Association (IDPA) and

Radio and TV Advertising Practitioners

Association of India Pvt. Ltd. (RAPA)

marked attendance in huge numbers.

Support from SMPTE

Society of Motion Picture and

Television Engineers (SMPTE), the apex

body for the motion imaging industry

supported the Cinema India Expo

along with Texas Instruments as one of

the title sponsors of Cinema India Expo

2010. SMPTE holds conferences and

meetings to bring together

stakeholders of the industry. Support

from SMPTE facilitated a useful

interaction and information exchange

between the Hollywood and

Bollywood industry.

Masterclass Workshops

The Cinema India Expo this year was

also marked by some very important

workshops debating topical issues. The

American Society of Cinematographers

(ASC) which has been supporting the

Cinema India Expo over the years joined

in organizing a workshop at the Cinema

India Expo this year on all the three

days. Noted Australian cinematographer

Donald McAlpine presented a

Masterclass that was aimed at bridging

between Hollywood and Bollywood,

besides serving as a forum for exchange

of ideas from either side. Kodak Team in

India showed an exemplary initiative in

sponsoring this Masterclass.

The McAlpine Masterclass at Cinema

India Expo 2010 began with filmography

of one of McAlpine's most famous works,

Romeo & Juliet on day one. He talked

about various aspects of new and

unusual elements of cinematography

which had been used during the making

of the film. He showed behind-the-scene

footages of the movie which generated

curiosity among the audience. On day

two and day three, McAlpine presented

visuals of his works, as part of his movie-

making journey.

"I feel the workshops at Mumbai were

truly rewarding for all of us. The local

film people seemed to be very

interested in what I had to say, and

attendance grew during each

workshop. The questions were probing

and each session ran over time. I truly

believe it was time well spent," said the

Academy Award nominated and BAFTA

and ASC winning cinematographer.

Keeping in view the increasing demand

for more focused programming and

participation, Cinema India Expo 2011

is expanding to a new venue with an

added zeal and more reasons to visit

and participate. The 2011 edition of

Cinema India Expo will be held at Hotel

Renaissance Powai, Mumbai from June

23 to 25, 2011.


EVENT CALENDER

AUTUMN 2010

OCTOBER 11-14

SHOWEAST,

FLORIDA, USA

www.showeast.com

WINTER 2010

DECEMBER 7-9

CINEASIA,

HONG KONG

www.cineasia.com

SPRING 2011

MARCH

SHOWEST / CINEMACON,

LAS VEGAS, USA

www.showest.com

MARCH 23-25

FRAMES,

MUMBAI, INDIA

www.ficci-frames.com

SUMMER 2011

JUNE 27-30

CINEMA EXPO

AMSTERDAM, HOLLAND

www.cinemaexpo.com

JULY 29-31

CINEMA TODAY,

CHENNAI, INDIA

www.cinematoday.in

AUGUST

AUSTRALIAN INTERNATIONAL

MOVIE CONVENTION

GOLD COAST, AUSTRALIA

www.movieconvention.com.au

AUGUST

BIRTV,

BEIJING, CHINA

www.birtv.com

SEPTEMBER

KINO EXPO,

ST. PETERSBURG, RUSSIA

www.kinoexpo.ru

Cinema Today - Pro Sound & Light

Expo 2010, the fourth edition of

India's entertainment industry

spectrum was held from 23-25 July at

the Chennai Trade Centre in Chennai.

South India's only trade expo aimed

at bringing onto common platform

the professional audio, light, music,

theatre, auditorium, broadcast, digital

cinema, media and entertainment

industries, the event sought to create

yet another confluence point for the

professional and user communities of

the country's bulging entertainment

industry.

The three-day event was largely

successful in providing a networking

platform wherein various segments

of the entertainment industry

interface their target groups not

only from South India but also from

nearby territories and neighbouring

Sri Lanka.

Some of the prominent and regular

exhibitors in the event included

ShowTex Middle East, Philips, Pope

Cinema Today,23-25 July, 2010 at Chennai, India

Professional, Rinbo, Crayz, Krishna

Quinette Seats, Nova Ausio,

SoundLand, Pro Musicals, MDR

Electronics, Silicon Radio House,

Baba&Sons, StereoVision and Harris

Corporation to mention a few.

The event is promoted by Buysell

Interactions Private Limited, one of

the leading entities in trade show

business. The company has

organized over 70 shows in various

cities in India abroad.

The event was originally scheduled to

be held in Hyderabad in February this

year. However, owing to the non-

conducive circumstances in the

Andhra Capital at the time, the event

had to be postponed and

rescheduled back to Chennai in July.

Hansa Cine Equipments Pro Musicals

Sonodyne

Visitors at Sandy Media Stall

Krish of BuySell presenting momento toTeam Sandy


entertainworld

Sangam and Indian cinema - an inextricable emotional bondage! A different genre altogether!

While the movie springs everlasting romantic thrills in the hearts of movie lovers of yore, the

movie house that came up, taking up its name, in the Indian movie capital had been an

equally enamoured fare with the patrons for over half-a-century. Having been an inspiring

manifestation of Indian moviefare for generations, the iconic symbol of cinematic

entertainment has come to relive a totally new genre, in sangam with modernity and

sophistication in expression, in multiple ways.

The beloved single-screen cinema recently had been given the new avatar of a 4-screen

multiplex to join the band of multiplexes in Mumbai's broadway of cinemas, Andheri. Aware

of the big league around, the new Sangam multiplex shaped itself in a uniquely cinematic

proposition that promises to safeguard its prestigious image among the moviegoers even as

it continues to play the modern cinematic thrills powered by design, technology, services and

management.

Entertain World, this time, brings you a pictorial fiesta of a Sangam that had been a great

exhibition script in itself. Feast your eyes and fill your hearts:

A New Cinematic

Sangam


entertainworld

Single-Screen Sangam

with Multiplex

Sangam theatre in Andheri-

Mumbai, named after Raj

Kapoor's iconic movie, opened

its doors to audiences in

Mumbai in 1968 and went on to

become one of the much loved

cinema halls in the movie

capital of India. Its very name

capturing the imagination of

movielovers' imagination from

time to time, it stood tall and

high all through the big times

of Bollywood. While the advent

of multiplexes have had a

bearing on the fortunes of the

cinema, its charm still continued

and enticed entrepreneurs to

revive its glory.

Enter Big Cinemas of Reliance

Anil Dhirubhai Ambani Group,

and Sangam had a union of

modernity and tradition. An

year of assiduous retrofitting

thereafter saw the large single-

screen Sangam taking a rebirth

as a state-of-the-art four-screen


entertainworld

multiplex that can give its

competitors a chase for their

money.

With state-of-the-art film and

digital projection and sound

systems taking a central role of

exhibition system, the 1276-seat

multiplex sports one of the most

luxurious offerings in the

industry today.

Sangam BIG Cinemas has been

done in the BIG brand's

signature brand colours with

unique movie-based pop art


entertainworld

graphics. The cinema now boasts

a bright and spacious pre-ticket

lobby at the ground floor Box

Office, a swanky inside lobby

that sports dynamic

contemporary design with a

futuristic feel, luxurious and

wide push-back seats and plush

sofas, an exclusive gaming

lounge with Nintendo WII

consoles and an Art Gallery. The

pop art imagery has been a

carefully evolved assimilation of

an collaboration with famous

pop artist - Jayesh Sachdev for

the pop art images used as the

design element in the cinema.


ProductionParamount Vantage

DirectorChristian Alvart

StarringRenée Zellweger,Jodelle Ferland

GenreHorror

Case 39

ProductionOverture Films

DirectorMatt Reeves

StarringKodi Smit-McPhee,Chloe Moretz

GenreHorror, Thriller

Let Me In

ProductionColumbia Pictures

DirectorDavid Fincher

StarringJesse Eisenberg,Justin Timberlake

GenreDrama

The Social Network

ProductionRogue Pictures

DirectorWes Craven

StarringMax ThieriotJohn Magaro

GenreSuspense Thriller

My Soul to Take

ProductionWarner Bros.

Director Greg Berlanti

StarringKatherine Heigl,Josh Duhamel

GenreComedy, Romance

Life As We Know It

ProductionThe Weinstein

DirectorSam Taylor-Wood

StarringAaron Johnson,Kristin Scott

GenreDrama, Musical

Nowhere Boy

A glimpse of movies coming to Asia this winter or later…

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


ProductionWalt Disney Pict.

DirectorRandall Wallace

StarringDiane Lane,John Malkovich

GenreDrama

SecretariatProductionLionsgate

DirectorKevin Greutert

StarringTobin Bell,Cary Elwes

GenreHorror, Thriller

Saw 3D

ProductionParamount Pictures

DirectorJeff Tremaine

StarringJohnny Knoxville,Bam Margera

GenreComedy

Jackass 3DProductionWarner Bros.

DirectorTodd Phillips

StarringRobert Downey Jr.,Zach Galifianakis

GenreComedy

Due Date

ProductionSummit Entert.

DirectorRobert Schwentke

StarringBruce Willis,Morgan Freeman

GenreAction, Comedy

RedProductionLionsgate

DirectorTyler Perry

StarringJanet Jackson,Loretta Devine

GenreComedy, Drama

For Colored Girls

ProductionSeven Arts Pic.

DirectorAdam Gierasch

StarringShannon Elizabeth,Monica Keena

GenreHorror

Night of the DemonsProduction Universal Pictures

DirectorGreg Strause

StarringEric Balfour,Donald Faison

GenreSci-Fi, Thriller

Skyline




ProductionDreamWorks

DirectorTom McGrath

StarringWill Ferrell,Brad Pitt, Tina Fey

GenreAnimation, Family

Megamind

ProductionWarner Bros.

DirectorDavid Yates

StarringDaniel Radcliffe,Rupert Grint

GenreFantasy

Harry Potter and the DeathlyHallows - Part 1

ProductionLionsgate

DirectorPaul Haggis

StarringRussell Crowe,Elizabeth Banks

GenreThriller

The Next Three Days

ProductionScreen Gems

DirectorSteven Antin

StarringCher, ChristinaAguilera

GenreDrama

Burlesque

ProductionCBS Films

DirectorGeorge Tillman Jr.

StarringDwayne Johnson,Billy Bob Thornton

GenreThriller

Faster

ProductionWalt Disney

DirectorByron Howard

StarringMandy Moore,Zachary Levi

GenreAnimation, Musical

Tangled

ProductionFox Walden

DirectorMichael Apted

StarringGeorgie Henley,Skandar Keynes

GenreAdventure, Fantasy

The Chronicles of Narnia:The Voyage of the Dawn Treader

ProductionWalt Disney

DirectorJoseph Kosinski

StarringJeff Bridges,Garrett Hedlund

GenreAction, Sci-Fi

TRON: Legacy



ProductionSun Pictures

DirectorS Shankar

Starring Rajinikanth,Aishwarya Rai

GenreSci-Fi / Romance

RobotProductionShree AshtavinayakCinevision Ltd

DirectorRohit Shetty

StarringAjay Devgn,Kareena Kapoor.

GenreComedy

Golmaal 3

ProductionUTV Motion

DirectorSanjay LeelaBhansali

StarringHrithik Roshan,Aishwarya Rai

GenreRomance

GuzaarishProductionBig Screen

DirectorPriyadarshan

StarringAjay Devgn,Akshaye Khanna

GenreAction / Thriller

Aakrosh

A D V E R T I S E R S ’ I N D E X

Company Name Page no. Product Email / Website

The next issue of TheatreWorld is our Winter Special. It will be promoted at CineAsia - Hong Kong.The last date for advertising orders is 10 November 2010. Email [email protected]

Amar AV TM-24 Screens [email protected]

Anutone TW-16 Walls & Ceilings [email protected] / www.anutone.com

Barco TM-3 Projectors [email protected] / www.barco.com

Blue Star TM-2 Cooling Systems [email protected] /www.bluestarindia.com

Christie Digital TW-5 Signages [email protected] / www.christiedigital.com

Cinema India TM-23 Tradeshow [email protected] / www.cinemaindiaexpo.com

Datasat Digital TW-2 Audio Processor [email protected] /www.datasatdigital.com

DLP TW-9 Digital Cinema [email protected] / www.dlpcinema.com

Doremi TW-3 Digital Cinema [email protected] / www.doremicinema.com

Galalite TM-19 Screens [email protected] / www.galalitescreens.com

Hitech Audio TW-43 Sound [email protected] /www.hitechaudiosystems.com

HDIL TM-5 Cinema [email protected] / www.hdilbroadway.in

Scrabble TW-44 3D [email protected] /www.scrabbleentertainment.com

USL TW-7 Sound [email protected] / www.uslinc.com

Vista TW-27 Ticketing [email protected] / www.vista.co.nz

Theatre World

Documents

Transcript of Theatre World