THEATRE WORLD

October-December 2012TW-04

MINDSHARETW EDITORIAL

Sandeep MittalEditor / Publisher

Technology adoptionSigns that Asia is no slouch when itcomes to adopting cutting edgetechnologies comes from South Indiathat has been traditionally at theforefront in such aspects and at parwith Hong Kong. Yes, its not famousBollywood that the world knows sowell but South India’s regional moviecentres like Chennai and Hyderabadthat lead on technology adoption.

At Chennai, lead actor Kamal Haasanrecently announced the release of hismagnum opus, ‘Vishwaroopam’, inAuro 3D sound for the first time inIndia. And at Hyderabad, directorGunasekhar announced the launch of‘Rudramadevi’ to be shot with 3Dcameras, a la Avatar, as the firsthistorical stereoscopic 3D. ‘Haunted’has been the first horror 3D and allothers like Ra.One, Don2 etc werederived from original 2D.

Whatever the accuracy of theirclaims, the point is moviemakers, thatat best represent regional cinema ofIndia, are increasingly accepting newplatforms on both the sound and thepicture sides in their quest tomesmerize audiences and ensuresuccess to their business. This has aripple effect as cinemas in TamilNadu grapple with audio upgrades toAuro 3D and those in AndhraPradesh with screen and projectionfor 3D. So its not the tier1 only butalso the tier2 and tier3 cities that areleading the change

Though this imposes an immediateburden on the exhibitor it augurs welloverall for the industry since what isgood for the audience is good for thebusiness.

Festival timeThe festive season is increasinglybecoming more competitive bringingout the good, the bad and the uglyside of the business. Whether itsChristmas for Hollywood, ChineseNew Year for Hong Kong or Diwalifor Bollywood, the story is the same.

The good is that exhibitors make awindfall during such festivals, asdoes the entire ecosystem from studiosto services, since patrons throng thecinemas in great numbers and makethe cash registers ring.

The bad is that a slew of releases arecarefully timed for the same day-dateleading to cannabalisation of eyeballsand mercilessly killing movie talentthat could have otherwise come good.Sometimes the promos and mediahype end up confusing the customermaking it difficult to cut through theclutter and make sense of it all.

The ugly is a legal faceoff as ithappened in India’s Bollywoodbetween Ajay Devgn’s ‘Son ofSardaar’ and Yash Raj Films’ ‘JabTak Hai Jaan’. Ajay Devgn’s teamalleged that the opposite side hadcornered a larger number of screensdue to industry muscle and also wereemotionally exploiting the saddemise of Yash Raj Chopra.Thankfully it got resolved just beforeDiwali for both movies to be releasedsimultaneously.

RIP Yash Raj ChopraYash Raj Chopra straddled theHindi movie industry like no otherfor half of a century. As a director,Yash Raj brought refreshingchanges to the way Hindi movieswere made notably picturesque Swisslocales and chiffon-clad heroines, as

a producer and later as studio bossYash Raj helped professionalise anunorganised industry, as Bollywoodidealogue Yash Raj lobbied withinsensitive governments to recognisethe rightful merits of a beleagueredindustry, as a repeat award winnerYash Raj inspired many to strivetowards the exacting standards setby him, as Indian spokesperson YashRaj took India’s soft power to allcorners of the global.

TheatreWorld’s brush with YashRaj was in 2004 at Bangkok whenCineAsia honoured him with‘Lifetime Achievement Award.

Anniversary EditionAs every year, bringing out ourAnniversary edition is always a greatpleasure. Since 1999, for fourteeencontinuous years, TheatreWorld hasbrought to you the best from behindthe screens. We have had our ups anddowns but have largely survived totell you a tale and more!

We pledge to not only continue whathas become a journalistic tradition forour industry but to better it and thegood news is that from 2013TheatreWorld goes bi-monthly as sixeditions in a year instead of four.Added bonus is a makeover. Staytuned!

Value - 150 (US$ 15)

Issue # 55October-December 2012

TWTheatreWorld

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

Clancy D'souza - Marketing+91 98925 04871 [email protected]

Raghavendra T - Marketing+91 99801 36233 [email protected]

Sandeep Mittal - Editorial

Yashodhara S - Design & Layout

Naga Bhanu M - Online

Kavitha K - Sales Co-ordinator

Published by Sandeep Mittal on behalf ofSandy Media

32/2, Sonnenahalli Industrial Layout,Off Whitefield Road, Mahadevpura,

Bengaluru 560 048, IndiaPhone +9180 4115 0982

[email protected] www.sandy.in

Regional OfficesD-414 Floral Deck Plaza,

Central MIDC Road, Andheri (E),Mumbai 400 093

Phone +9122 2838 8475/76Telefax +9122 2838 8470

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

PrintingRamya Reprographic, Bengaluru

RNI # KARENG02795/10/1/2002-TC

contentsThis issue of TW has two sets of page numbers - International pages TW-1 to TW-52 for TW, andIndia pages TM-1 to TM-36 for TM. TM is inserted between pages TW-46 and TW-47 of TW.

TMTheatreMagic

TWTheatreWorld

TW-8

TW-22

INSTALLSTW-24 Newark Debuts

All-digital CityPlex 12

TW-25 Doremi Digital Cinema Servers at

Mall of America

TW-26 MTE sets

Kometa at Chita City

TW-27 Meyer Sound Cinema System for

Korea's New M2 Premium Screen

TECHNOLOGYTW-28 Osram Lights Up Digital Cinema

TW-30 Bright Sparks and Craftsmanship

From Philips

CINEMA SYSTEMSTW-38 Projection Series-XXXV

Health and Safety in Cinemas

FIRST PERSONTW-40 Small Chip. Big Ideas.

TRADESHOWSTW-42 Review -

TW-45 Preview -

TW-47

TM-4

INSTALLSTM-11 Galalite Prism 3D Screen Shines Bright

TM-12 Technical Excellenceat Mumbai Film Festival

TM-20 Fun on the Move!!!With Ranchi and Coimbatore

TM-23 SPI Cinemas -

Complete Entertainment Destination

TM-30 Experiencing Cinema at its Best!

SPECIAL FEATURETM-14 Driving Forces

in Cinema Exhibition Industry for India

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

Contributing WriterJim Slater, Cinema Technology, UK


The Light Cinemas, have rolled out

an EPoS solution from specialists Vista

Entertainment Solutions and its

hardware partner J2 Retail Systems in

a second venue.

The Light Cinemas already use Vista

for all their european cinemas and

now the combined J2 and Vista

solution is running at Neustadt

Centrum, in Halle, Germany and in

New Brighton on the Wirral

Peninsula. Each of these venues has 8

screens, equipped with state of the

art digital picture and sound. The

cinema at New Brighton is part of a

major urban regeneration programme

that also includes a casino,

restaurants, bars, retail and a hotel.

The Light Cinemas are using the J2

630 PC-based touchscreen EPoS

terminal. Explains Keith Pullinger,

Managing Director: "We use both

our ticket offices and our concession

counters to sell tickets. We like being

able to pole-mount the J2 630s so we

can swivel the screens round to let

customers select their seats."

Adds Vista's Phil Meredith: "Vista and

J2 work together across hundreds of

venues for clients such as Vue,

Cineworld, Everyman and Apollo.

Installing J2s is smooth and fast,

which helps new venues come on

stream quickly and efficiently. We

find the J2 630 a particularly good

machine. It's highly reliable, which

enables clients to dispense with fixed

maintenance contracts, adding up to

a high level of satisfaction and a low

cost of ownership."

The Light Cinemas was established to

capture a growing element of the UK

and European cinema-going market.

It targets all socio-economic

categories but puts particular

emphasis on the A, B and C

demographics, families and the

mature market. The Light Cinemas'

first opening was in the Liberty

Vista and J2 Retail Systems at The Light Cinemas

Centre in Bucharest, Romania. Early

2013 will see it open a fourth cinema

in Wisbech, Cambridgeshire.

Continues Keith Pullinger: "We aim

to make our cinemas a social hub for

the whole community and opt for

city-centre locations that are easy for

drivers and safe for pedestrians to

reach. At New Brighton, The Light

has quickly become the cinema of

choice for people on the Wirral with

admissions and turnover 30% above

our initial expectations and further

growth occurring as the scheme

matures."

With digital technology, The Light

can show the newest on-screen

content including broadcasts of live

arts and sports programmes as well as

blockbusters, independent and

international films. It provides a

quality food and drink experience

that appeals to cinema-goers turned

off by the predominantly youth

targeted 'popcorn and cola'

multiplexes.

USL Surpasses Audio Systems Milestone

Ultra Stereo Labs announced that

over 6,000 JSD-100 digital cinema

processors and ECI-60 electronic

cinema interfaces have been shipped

worldwide. This milestone

demonstrates the continued industry

demand for USL's innovative audio

products. The JSD-100 and ECI-60

were launched in coordination with

the global digital cinema rollout and

have been selected by exhibitors

throughout the world.

The JSD-100 processor is specially

designed for digital cinema

applications. In addition to eight

standard formats, the processor offers

two fully configurable formats to

address such details as audio level

changes and 3 or 5 stage channels.

The ECI-60 comes with an internal

universal power supply and is an

affordable interface to adapt

electronic cinema sources to older


Cinedigm Digital Cinema Corp

announced a long term VPF

deployment agreement with

Metropolitan Theatres Corporation

("Metropolitan").

CinedigmAnnouncesDigitalDeployment Pactwith MetropolitanTheatres

This Cinedigm financed conversion

will deploy 82 Cinedigm certified

screens, with installation expected to

be completed later in the fall.

Metropolitan will utilize systems

from Barco. Metropolitan currently

operates 16 theatres in California,

Colorado, Idaho, Utah and British

Columbia.

The transition from 35mm film

projection, which has been used for

110 years, to digital projection

systems is a worldwide motion

picture industry effort and the costs

to deploy this new technology are

covered primarily through the

payment of Virtual Print Fees (VPF)

from studios to implementation

companies. Cinedigm's digital

cinema division facilitates funding,

installation and operations support,

along with ongoing VPF

administration, for the company's

digital cinema rollout plans.

Cinedigm has signed long-term VPF

agreements with all the major

studios and interim agreements with

over one hundred independent

distributors.

"Metropolitan has been very

diligent in evaluating their

conversion options and we are

thrilled they have chosen to work

with us," said Gary Loffredo,

Cinedigm's President of Digital

Cinema Services. "We know David

and his team will immediately

benefit from the many

enhancements digital cinema offers,

both from the operational side as

well as the consumer viewing

experience."

Metropolitan's President, David

Corwin, stated, "We are excited to

complete our transition to digital

cinema with the support of

experienced industry leaders

Cinedigm and Barco. They will be

great partners in the continuously

changing landscape of theatrical

exhibition and the many new

opportunities presented."

GDC Technology announced that

their new Integrated Media Block

(IMB) with digital cinema servers

including SX-3000A, SX-2000AR and

SX-2000TR models are now

compliant with the Digital Cinema

Initiatives, LLC (DCI) digital cinema

system specifications, pursuant to

compliance testing as conducted by

Keio University, an entity licensed

for compliance testing by DCI.

GDC Tech's groundbreaking SX-

3000A and SX-2000AR/TR IMBs

support high frame rate (HFR)

playback in both 2D and 3D (at 48

and 60 frames per second per eye),

as well as 2K and 4K resolution. In

addition, they also feature Intopix

decoding technology capable of

playing compression bit rates of up

to 500 Mb/s for all color

GDC Technology'sNew IMBAchieves DCICompliance

components, and delivers second to

none playback quality for HFR 3D

content. They also support built-in

digital connectivity for alternative

content. Furthermore, they feature

long distance content streaming and

remote access via gigabit Ethernet,

which can significantly simplify

cinema multiplex operations with

standalone architecture.

"We are extremely pleased to

confirm that our new IMB has passed

all applicable CTP requirements for

DCI compliance," said Dr. Man-Nang

Chong, founder and CEO of GDC

Tech. "As an accredited and trusted

global digital cinema service provider

with over 20,000 servers installed

worldwide, we are determined to

offer exhibitors the most cutting

edge and reliable technology. Thanks

to GDC Tech's feature rich products

and track record of earning customer

trust over the years, GDC Tech has

received orders of approximately

3,000 units of DCI-compliant new

IMBs to be delivered over the next 12

months. We are confident that we

will continue to contribute to the

industry with premium quality digital

cinema solutions."

cinema processors. Exhibitors have

the benefit of two excellent, low

cost, options for upgrading their

existing cinema sound systems.

"We are very pleased by the

continued demand for our digital

cinema technology products. The

JSD-100 processors and ECI-60

electronic interfaces continue to lead

the way and are being shipped and

successfully installed in cinemas

worldwide," commented Jack Cashin,

President, Chief Designer and

Founder of USL. "As the digital

cinema rollout continues at an

astounding pace, our team of

designers and engineers are

constantly designing innovative new

products that exceed our customers'

expectations." Cashin added, "We

have some exciting new products

with additional technological

advancements that we'll be

introducing to the industry in the

months ahead."


Dutch Cinemas Become 100% DigitalEvery Dutch film theatre and cinema

has been equipped with digital

projection equipment. Out of the

789 screens in the Netherlands, 506

were converted to accommodate

digital projection by Cinema Digitaal,

in conjunction with integrator Arts

Alliance Media; theatre chains Pathé,

Utopolis, Euroscoop and a few

independent theatres implemented

the conversion independently.

Cinema Digitaal is a unique public-

private digitisation project initiated

by the Nederlandse Vereniging van

Bioscoopexploitanten (NVB - the

Dutch Cinema Exhibitors'

Association), the Nederlandse

Vereniging van Filmdistributeurs

(NVF - the Dutch Film Distributors'

Association) and EYE Film Institute

Netherlands.

The collaborative Cinema Digitaal

project made a collective transition

possible all throughout the

Netherlands and prevented the

compulsory closing of small film

theatres and cinemas. This

technological conversion in the

cinema business demanded a high

investment that would have been

financially unfeasible for many

exhibitors without the support of

Cinema Digitaal. The large scale

digitisation project is based on the

principle of solidarity: commercial

cinemas cooperated together with

film theatres and, by doing so, the

existing culturally diverse and close

knit exhibition network was able to

be maintained and film continues to

be accessible in all of the

Netherlands. The coordinated

transition from analogue to digital

was realised over a very short time,

which meant the costs of running a

dual system (distributing analogue

and digital film) were limited. The

first installation took place on 20 July

2011, and the transition was

completed in just 14 months.

In total, the Cinema Digitaal project

cost 39 million. The biggest share of

the project (70%) was paid for by the

film distribution companies that are

active in the Netherlands: 20

independents and 6 major American

studios, under a Virtual Print Fee

(VPF) model, implemented by Arts

Alliance Media. Distributors were

willing to invest in the one-time

replacement of 35mm projectors,

because of the savings that will be

made now the production of

celluloid film prints will disappear.

Cinema Digitaal was co-financed by

the Ministry of Economic Affairs,

Agriculture and Innovation (3 million

from the Implementation

Programme Agenda ICT Policy /

PRIMA) and the Netherlands Film

Fund (2 million). As a whole, the film

sector in the Netherlands invested

around 55 million in the digitisation.

With the digitisation of the Dutch

cinema exhibition business, celluloid

film (35mm film) has nearly

disappeared from the cinemas.

There are innumerable advantages to

digital projection: wider distribution

of films, more flexible programming,

and improved image and sound

quality. Films can be screened more

quickly throughout the entire

country. Digitisation also creates new

possibilities for distribution via

satellite and fibre optics.

Additionally, every exhibitor now has

the option to expand what they

offer to include (live) concerts, opera,

theatre productions or sporting

events.

Ron Sterk of the NVB and a driving

force behind Cinema Digitaal: 'The

year 2012 will bring the end of more

than 100 years of screening analogue

film. With the digitisation of cinemas,

our business is undergoing

tremendous innovation. Digitisation

provides better quality, more

efficiency, offers countless new

possibilities for exhibitors and a

wider availability of films for Dutch

audiences'.

CinecAward 2012for Volfoni'sSmartCrystal Pro

At a glamourous reception at an

historic Munich residence, the

Bavarian State Minister Martin Zeil

recognized the innovation in the

technical progress of the cinema

industry by awarding the prestigious

CinecAwards.

Volfoni has received the award for

its SmartCrystal Pro, as a unique

facilitator for 3D projection in the

postproduction process, by turning

active 3D projectors of any type

(DLP, DILA, SXDR, LCD) into passive

3D projectors. It's a unique

possibility to use for example

highend JVC Projectors for color-

grading in an extremely simple

passive 3D setup.

"We are extremely happy to see our

R&D work recognized, especially in

this very demanding industry,"noted

Thierry Henkinet, CEO of Volfoni

SAS.

The CinecAward covers 8 categories,

with over 60 high-tech novelties in

competition. Other price winners

include industry flag-ships such as

ARRI, COOK Optics or Thales

Angenieux.


Barco achieves DCI Certification forCineStore SoloG3

Barco has announced that its

CineStore SoloG3 digital cinema

server has passed the Compliance Test

Plan (CTP) for the DCI Digital Cinema

System Specification (DCSS). Since

June, Barco has been providing its

customers with a software only and

fully automated update package to

upgrade the CineStore SoloG3 server

to a DCI compliant version. This

upgrade process is near to

completion.

"I congratulate the team on passing

the compliance test plan," says Wim

Buyens, Senior Vice President of

Barco's Entertainment Division. "We

are very pleased that the CineStore

SoloG3 has achieved DCI compliance.

This again proves our commitment to

offering the digital cinema industry

high class technology. As DCI

compliance is mandatory for all

digital cinema manufacturers, we

now guarantee our customers that

they can meet the VPF obligations

with their DCI compliant server."

Digital Cinema Initiatives, LLC (DCI) is

the originator and administrator of

the Compliance Test Plan (CTP),

created to provide a uniform testing

procedure for demonstrating

compliance with the DCSS. The DCSS

is intended to promote the

widespread deployment of high

quality digital cinema equipment

that is interoperable and provides

rigorous content security.

Manufacturers may demonstrate

compliance by developing

equipment in accordance with the

DCSS and its referenced SMPTE, ISO

and FIPS standards, and then

submitting the equipment for testing

to a third party entity licensed by DCI

to administer the CTP.

The CineStore SoloG3 digital cinema

server receives content via a standard

mobile hard drive connected

through e-SATA or USB 2.0, as well as

via CRU media drive. The server can

play out any DCI compliant digital

cinema content, both in the DCI

SMPTE format and in the MXF

Interop JPEG 2000 or MPEG-2 format.

Featuring a large internal storage

capacity (redundant), the CineStore

SoloG3 can hold at least 20 hours of

high-quality content formats, title

versions, languages and subtitling.

Christie SponsorsProjection atVancouverInternational FilmFestival

Christie is proud to again sponsor the

Vancouver International Film Festival,

for which Christie provided digital

cinema projectors from its Christie

solaria series, as well as Cine-IPM 2K

image processors. The festival, one of

North America's leading cinema

events, brought hundreds of new

films to the city September 27 to

October 14.

"It is only through the support of

Christie that we are able to maintain

the standards of excellence that

filmmakers expect and deserve," said

Alan Franey, Festival Director & CEO,

Vancouver International Film Festival.

The projectors and equipment,

installed and managed by Christie

partner ZOOM Audio Visual Networks,

ensured that festival goers enjoy their

cinematic selections in the crisp colors,

brilliant image quality and 3D

possibilities available only through

state-of-the-art digital projection.

"Christie's technology and support

have made it possible to transform

many of the Festival's screens to

digital," said Michael Stewart,

president of ZOOM. "Their

exceptional image quality and

expert service help make the festival

a big success for exhibitors and

patrons alike."

Dave Muscat, Christie's senior director

of sales for Canada said "Our

participation in major film festivals is

part of our commitment to the

Canadian and international film

industries. Our network of highly

skilled and dedicated integration

partners helps us make it happen,

and ZOOM's work on VIFF is

indicative of that commitment."

In terms of admissions and number

of films screened (about 150,000

attendees and almost 380 films),

VIFF is among the five largest film

festivals in North America. The

international lineup included

selections from the world's top film

festivals as well as numerous titles

from smaller studios and providers.

VIFF screens the largest selection of

East Asian films outside of that

region, is one of the biggest

showcases of Canadian film in the

world (with 80 Canadian titles this

year alone being screened) and

includes a large and significant non-

fiction program.

Kathryn Cress, vice president, global

and corporate marketing at Christie,

notes that Christie's digital solutions

are helping festivals as well as the

industry in general with the

transition to digital projection.

"Christie's state-of-the-art projection

technologies and skilled business

partners make our firm the preferred

choice for film festivals across the

globe. And the arrangement with

the Vancouver festival has a strong

Canadian component, as Christie is

the only provider of high

performance digital cinema

projectors with its main engineering

and major manufacturing site

located in Kitchener, Ontario."


Arts AllianceMedia and NevaFilm Partner forSales in Russia

Arts Alliance Media and Neva Film,

announced a partnership to sell

AAM's digital cinema software to

exhibitors across Russia. The

agreement was announced at the

Kino Expo conference in St

Petersburg, where Neva Film

demonstrated AAM's theatre

management system to attendees.

Arts Alliance Media's software

offering includes Screenwriter, the

leading Theatre Management System

(TMS) currently deployed on over

12,000 screens worldwide to provide

automated content, playlist,

scheduling and reports management

to digital cinemas; Producer, an

enterprise TMS designed to monitor

Harkness Screens Lights up Hugo 3DLaser Demonstration at IBC 2012

Harkness Screens, manufacturer of

projection screens for cinema and

events applications, assisted Christie

Digital and Xpand in achieving an

industry first, showing a full-length

feature film in 3D at 14fL, the DCI

specification for 2D presentation

using Laser projection.

The showing of Martin Scorsese's

Hugo in 3D held in the 'IBC Big

Screen' theatre at RAI Amsterdam

utilised a 16.7m x 7m Harkness

Spectral 240 3D silver screen along

with Christie Digital's first prototype

laser projector and Xpand's active 3D

system.

"The industry is extremely aware of

the brightness level issues involved

with 3D digital cinema. This

demonstration provided a glimpse

into the not too distant future at

what might be achievable and also

highlighted that whilst our Spectral

3D surfaces are usually deployed in

passive 3D systems, the high gain

properties can make it suitable for

active systems. The screening was

simply stunning and showed just

how impressive 3D content can look

with correct brightness levels, says

Tony Dilley, Head of International

Sales at Harkness Screens.

Harkness Spectral 240 3D silver

screens are considered by cinema

exhibitors and special venue

operators worldwide to be the

optimum 3D projection surface for

3D systems using polarised light.

Spectral 240 is a high brightness silver

screen that gives excellent

performance with "passive" 3D

applications using polarised light

such as RealD. It also performs well

under 2D conditions. The aluminium

flake based coating applied to the

unique base material provides high

gain characteristics, strong signal-to-

noise ratios, generous viewing angles

and excellent colour temperature.

and direct an entire cinema circuit

from a single application in one

location; and AdFuser, advanced

software providing integrated ad

campaign management for cinemas

and media agencies.

Oleg Berezin, Managing Director of

Neva Film, said of the partnership

"We're excited to be announcing this

deal with Arts Alliance Media. We

have had a good relationship with

them for several years and look

forward to bringing their industry

leading software to our exhibition

partners in Russia."

Eric Stevens, Commercial Director of

Arts Alliance Media, added "We're

delighted to have Neva Film as our

partner in Russia. Their 20 year

history in the Russian film business

and expertise across all aspects of the

cinema industry means that they are

the perfect partner for us as we

expand into this fast moving and

exciting territory."

Dolby IntegratedMedia BlockAchieves DCICompliance

Dolby Laboratories announced that

the Dolby Integrated Media Block

(IMB) is now compliant with the

Digital Cinema Initiatives (DCI) Digital

Cinema System Specification, as

conducted by Aegisolve, Inc.

The Dolby IMB is compatible with all

series 2 projectors and offers built in

support for high frame rate 3D (48

and 60 frames per second) as well as

2K and 4K playback, all at a single

price, combining compatibility, lasting

value, and cost-effectiveness.

"Last year, Dolby conducted the

industry's first demonstration of high

frame rate 3D with a single projector.

Using Dolby's IMB and cinema server

with Dolby 3D, we showed the

audience the state of the art for 3D

movies in both 48 and 60 frames per

second," said Doug Darrow, Senior


Sichuan New Times Digital FilmDevelopment Selects Christie Digital

Sichuan New Times Digital Film

Development Co. Ltd. (SNTDFD)

realizes quality digital cinema

projection for the millions of

audience in western China as it

adopts the state of the art digital

cinema technology of Christie, a

global leader in digital cinema

projection. Under an agreement

sealed between Christie and SNTDFD,

Christie will deploy 100 of its

signature Solaria series of digital

cinema projectors Christie CP2210,

Christie CP2220 and Christie CP2230

for SNTDFD's newly built cinemas

across the western Chinese province

of Sichuan.

Lead by the Sichuan Broadcast &

Film authority, the Sichuan New

Times Digital Film Development Co.

Ltd. was founded in January 2011 for

the film distribution, cinema

operations and sales and

maintenance of cinema equipment

within Sichuan province. Currently, it

has three operational cineplexes and

23 cinema chains under its wing. The

company is expanding its business to

be a one-stop film production,

distribution and projection company

to promote film culture in China.

"To offer the most enjoyable

cinematic experience for our

audiences, we aim to be on par with

the technology applied in the

cinemas worldwide," mentioned Xin

Gao, General Manager of Sichuan

New Times Digital Film Development

Co. Ltd. "As we keep abreast of the

technological advancement in

cinema technology, Christie, a total

cinema technology solutions

provider, provides us the technical

expertise in digital cinema projectors.

We are particularly impressed with

Christie's latest development of laser

projection and Solaria One

projectors. Through this agreement,

we hope to further our collaboration

with Christie to enhance the quality

of projection for our cinemas and

reward our audiences with superb

cinematic experience."

"Christie is honored to realize the

digitalization of cinemas in Sichuan

which is at the heart of this country,"

said Lin Yu, vice president, Christie

Asia Pacific. "As our new exhibitor

client in Sichuan, the deployment of

100 digital cinema projectors clearly

illustrates the confidence Sichuan

New Times Digital Film Development

Co. Ltd. has in our products and

service. With our relentless effort to

revolutionize the cinemas

worldwide, we hope to reward the

exhibitors and the audiences with

superior cinema projection through

the development and the eventual

introduction of new technologies

such as those deployed for high

frame rate and laser projection."

Blitz-CineStar toBuild 18 ScreenMultiplex inBelgrade

Delta real estate reached an

agreement with Blitz-CineStar, the

leading theatrical exhibitor in the

Balkan region, on the lease of space

for CineStar Planet, an 18 screen

multiplex, including an IMAX theatre

and gold class theatres, within the

delta planet shopping mall to be

built in Belgrade, Serbia. The

opening is scheduled for autumn

2014.

CineStar Planet will be a fully digital

megaplex with a total seating

capacity of 3,300, the largest cinema

in the region. In addition to films,

visitors will have an opportunity to

enjoy alternative content such as live

transmissions of concerts, operas,

ballets and sports events, presented

under the name "Spectacles at

CineStar." No less than 10 screens will

be equipped with 3D digital

technology, while two CineStar

eXtreme theatres will utilize the Auro

11.1 immersive sound system.

CineStar Planet will have two

luxurious gold class theatres

separated from the rest of the

multiplex, with their own box office,

a spacious lobby and a cloakroom.

Each theatre will boast 58

electronically adjustable chairs with a

compartment for personal items next

to the armrest. The seats will be

placed in pairs with a small table

between them. Each chair will be

equipped with a waiter call button,

and visitors can order food from a

custom menu as well as a wide range

of soft or alcoholic drinks.

Vice President, Cinema, Dolby

Laboratories. "DCI compliance is

another milestone toward enabling

our customers to offer their audiences

premium quality 3D playback that

filmmakers like James Cameron and

Peter Jackson are advocating."

October-December 2012 TW-17

Qube CinemaBrings SingleServer 4K 3D toGiant Screens

Giant Screen theatres are rapidly

converting to digital cinema and at

the GSCA conference later this month

in Sacramento, CA visitors can see the

latest technology from Qube Cinema.

The Qube XP-I server will stream a

single high bit rate 4K 3D DCP

through two Qube Xi 4K Integrated

Media Blocks (IMBs) in two Barco

DP4K-23B projectors. This high bit

rate, 4K 3D projection from a single

DCP through a single server greatly

simplifies exhibition for Giant Screen

theatres.

The Qube system has already been

installed in the Houston museum of

natural science's Giant Screen theatre,

which was converted to digital in

march 2012 when they installed a

Qube XP-I server and two Xi 4K IMBs.

"Our conversion from 70mm film to

digital cinema couldn't have been

smoother," said Charlotte Brohi, VP

giant screen operations and film

production at the HMNS. "The

projectionists found the move to

Christie Powers "Big Green Screen"at the Tom Ridge Environmental Center

The Big Green Screen Theatre

located in the Tom Ridge

Environmental Center (TREC) at

Presque Isle state park has made the

move to digital cinema technology.

The announcement was made by

Pennsylvania Department of

Conservation and Natural Resources

(DCNR) Secretary Richard J. Allan at

the Sunset Celebration.

This event, hosted by the friends of

The Tom Ridge Environmental

Center, also included the

presentation of the 2012 John C.

Oliver Environmental Leadership

Awards. This special recognition was

presented to the award recipients by

Governor Tom Ridge.

The Big Green Screen Theatre is

owned and operated by DCNR and

offers various educational films for

school groups, families and other

users of the park. It is the only large

format theatre in northwest

Pennsylvania with its 4-story high,

45-foot wide screen. R&R technical

services, a full service cinema supply

company and Christie partner,

installed the Christie Solaria series

CP2230 projector. It will replace an 8/

70.5/70, 4/35 Kinoton Projector,

which will, however, remain in

operation, for occasional use to

show film when a movie title is not

yet available in a digital format.

"Presque Isle, with its beautiful

coastline and many recreational

opportunities, is one of the most-

visited state parks in our system,

however a lot of that visitation

occurs during the warm months,"

Allan said. "The Big Screen Theater

plays a big role in creating a

destination during the off-season at

the Tom Ridge Center. That's why we

did not want to skip a beat as the

industry transitions from film to a

digital format."

"The Christie CP2230 was chosen

because of its superior image quality

and reliability, and the full backup

services provided by Christie's

Network Operation Center and

service team," said Bob Ray of R & R

Technical Services. "With our

colleagues at TREC and Poggi

Designs, we developed a design and

layout of the digital system that

accommodates both the Christie 4500

watt Xenon lamp-based projector

and the Kinoton. We could see that

Christie would produce the best

image quality for this large format

screen, compared to other brands.

"It was challenging to keep the

Kinoton projector fully operational

and in the same place, alongside the

digital projector, since the front wall

of the projection booth was double

8-inch cement block with

reinforcement. But after a short

closure for upgrades and the

installation of a new port opening,

we are now able to switch between

the film projector and Christie's in a

matter of minutes," said Mr. Ray.

The agreement with Christie also

includes Service Plus, a warranty

program that offers next-day parts

delivery and complete remote

monitoring to minimize down time

from Christie's Network Operations

Center (NOC), ensuring fast and

reliable technical support and

maintenance for the environmental

center. Through remote monitoring,

Christie technicians make sure that

tens of thousands of displays across

the U.S. and Canada are running

smoothly, getting timely

maintenance and receiving software

upgrades.

Sean James, vice president of

Christie Managed Services, noted

that the Tom Ridge Environment

Center chose Christie's Service Plus

plan, selecting from a menu of

services that provides 24/7 remote

monitoring of the Christie projectors

and connected devices. Through this

service, the Center gained access to a

local network of technicians for

rapid response to technical issues,

software upgrades and

troubleshooting, as well as repair

and replacement of parts for the

next 10 years.


digital seamless and, because of the

decrease in troubleshooting that

comes with digital."

The HMNS, which could only have

three films at a time on its schedule

prior to the conversion, intends to

launch a film festival later this year

with five or six movies.

"Audiences are still getting the

pristine, immersive experience they

were used to and, although

attendance is stable, our net revenue

has increased because of the lower

operating costs," said Brohi. "We also

plan to convert our library of self

produced films to digital so we can

continue to offer them to other

Giant Screen theatres."

At the GSCA conference, the Qube

XP-I server will be paired with two 4K

Xi IMBs installed in two Barco DP4K-

23B projectors. The XP-I server is

capable of synchronizing the IMBs

and can stream up to 1 GB of data or

500 Mbps per projector through a

dual gigabit ethernet interface,

supporting dual projectors at up to

60 fps for 4K projection and up to

240 fps for 2K content.

"This Qube system is ready to ship to

other giant screen venues around the

world," said Eric Bergez, Qube

Cinema's director of sales and

marketing for the Americas. "As

digital conversions sweep the

industry, our advanced technology

couldn't have come at a better time."

Hallett CinemasSelects Barco forDigital CinemaDeployment

Barco is supplying its DLP Cinema

projectors for 100 percent of Hallett's

42 screen circuit, with sites located

across Washington and Idaho.

Widely recognized for its high

quality cinema entertainment, Hallett

is electing to double stack many of its

new Barco projectors to offer patrons

a 3D movie experience two times

consider the total cost of a product

over its life cycle, not merely a low

initial purchase price. I'm pleased my

investigation has confirmed that

Barco's DP2K-23b is a winner in both.

We're optimizing the projectors to

take full advantage of their

modularity and energy efficiency to

generate a quick payback, like

retrofitting them with projector

mounted exhaust fans and utilizing

the less expensive/longer life lower-

wattage lamps."

Hallett Cinemas' new 100 percent

Barco digital cinema footprint

features 40 percent 3D and 60

Percent 2D auditoriums, which can

be easily configured for giant screens

as well as cost-effectively upgraded

to 4K resolution with a simple

retrofit.

"Hallett Cinemas is the perfect Barco

client in that they share our passion

for stellar-quality movie

presentation, and are willing to

invest in the best tools to achieve it,"

commented Scott Freidberg, VP Sales

Digital Cinema for Barco North

America. "Mr. Hallett is a savvy

exhibitor who knows how to

leverage the latest technology to

create the optimum viewing

experience, while maximizing Barco's

low total cost of ownership."

brighter than industry standards.

In addition, by purchasing the same

model (DP2K-23B) for every

auditorium, Hallett Cinemas will reap

the full benefits of Barco's platform

efficiencies to simplify maintenance

and related costs, build flexibility

into its theatre operations, and show

both 2D and 3D movies on any size

screen, from its largest to smallest.

"We want to offer our loyal patrons

the best cinema entertainment

available," commented Ray Hallett,

GM/Owner of Hallett Cinemas, LLC.

"After touring the Barco factory in

Belgium, I was very impressed with

the quality and care Barco invests in

both the design and manufacturing

of their projectors. With Barco, we're

taking show quality to the highest

levels, in our double-stack 3D

auditoriums. We're achieving 3D

images averaging 10 foot lamberts

per eye, to deliver amazingly bright,

crystal clear 3D movies, plus

averaging 16-18 foot lamberts on

every 2D screen, using lower wattage

lamps."

As a business owner, Hallett also

appreciates the positive ROI

associated with owning and

operating Barco's digital cinema

projectors. "We're a 'value-based'

company that believes it's essential to


Sony Digital Cinema and Dcinex Join toDeliver Sony 4K Across Europe

Sony Digital Cinema announced that

it has entered into a mutually

beneficial partnership with one of

Europe's leading digital cinema

companies, dcinex, to become a

"Dcinex preferred supplier" of digital

cinema projection equipment.

Dcinex's cinema exhibitor customers

will now be able to enjoy the

industry leading projection

resolution from every seat in the

cinema, "easy on the eye" immersive

dual lens 3D and high contrast ratios

delivered by Sony's leading market

share digital cinema 4K projection

systems.

Dcinex have recently committed to

purchase a large quantity of Sony's

new SRX-R515 ultra high quality 4K

digital cinema projection systems,

designed for small and medium sized

screens, which delivers an

revolutionary improvement in

screen image quality. The ongoing

transition from 35mm to 4K digital

screens, in particular with

independent cinemas, will enable

Dcinex to offer greater choice to its

customers and their audiences, not

only on the most talked about films

but also on the expanding range of

live and recorded 3D and 2D content.

Beyond its superior 4K resolution,

Sony's new 4K projector includes an

outstanding contrast ratio of over

8000:1 and multiple high pressure

mercury lamps, a first for the cinema

industry which ensures there are no

more lost shows from lamp failure

and allow easy lamp change without

the need for trained staff. The SRX-

515 represents the next stage in the

evolution of digital cinema, enabling

smaller exhibitors to deliver a

superior viewing experience at lower

lifetime cost, for their customers.

Oliver Pasch, Sales Director, Sony

Digital Cinema said "This deal and

the launch of our new projection

system emphasises Sony's long term

commitment to the exhibition

industry and desire to partner with

the leading European cinema

integrator. We appreciate that

dcinex has taken the opportunity to

focus the future of its business on

preferred partnerships with the

leading manufacturers in the

industry. We are proud that Dcinex

has chosen Sony's 4K Projection

System. "

Till Cussmann, Vice-President,

Exhibitor Services of Dcinex said "It's

important that we offer our customers

the latest digital cinema technology.

Sony's new projector is full of

technological innovations like 4K

resolution, outstanding contrast ratio

and new lamp systems that deliver a

truly superior viewing experience to

our customers. This joint venture with

Sony Digital Cinema will further

increase Dcinex's expertise in

NATO's CBG SignsIndependentScreens for DigitalConversion

The National Association of Theatre

Owners' Cinema Buying Group has

announced that it has now signed

over 3,000 independent CBG screens

for conversion to digital cinema.

Cinedigm is the digital cinema

integrator partner for the CBG, a

buying program for NATO's

independent theatre operators in the

United States and Canada and is

responsible for deploying nearly 40

percent of all digital cinema screens in

North America.

"NATO and the CBG congratulate

Cinedigm on the momentous 3,000

screen milestone," said NATO

president John Fithian. "Cinedigm's

efforts and leadership have brought

all the benefits of digital cinema to

the local communities these theatres

serve and we are tremendously proud

of the outcome."

"When we implemented the virtual

print fee program nearly eight years

ago, our goal was to help convert as

many theatres as possible, both large

and small to digital cinema. We are

so proud that Cinedigm has delivered

on that promise and is without

question the number one choice for

exhibitors to entrust with their digital

cinema program," said Gary Loffredo,

president of digital cinema & general

counsel, Cinedigm.

The Elkader Cinema, a historic movie

theatre in a town of less than 1,500

people, is a perfect example of a

theatre not left behind by Cinedigm.

Built in 1941, closed down in 1993

and vacant for 10 years, the Elkader

Cinema's present owners Lee and

Diane Akin, refurbished it, complete

emerging formats such as 4K, and it

will strengthen our position as a

major player serving distributors and

exhibitors across Europe."


with original marquee, with a volunteer group and some

community grants. Cinedigm helped the Akins, self-

financiers and CBG members to keep the theatre open as

the industry transformed to digital.

Star Cinema Grill Enhanceswith Addition of Sony 4K

Star Cinema Grill is adding a new dimension to its full service

movie theatre concept with Sony 4K Digital Cinema

technology. The Houston based, family owned and operated

exhibitor recently equipped all 21 screens across its three

Texas locations with 4K projection, now providing their

customers the highest quality movie viewing experience.

Star Cinema offers their guests an extensive dining menu and

full service bar with a wide selection of beer, wine and spirits.

Now, the theatres digital conversion allows them to offer

"the best of both worlds," according to owner Omar Khan.

"We want to make sure our customers have the best meal

they've had in a long time," Khan said. "But it's equally

important to us that they also have the best movie watching

experience, with the best projection and sound system. "So

when it came to making the switch from 35mm to digital,

there was no question that we would go with Sony 4K."

Khan's movie theatre experience spans more than 20 years. A

second generation owner and operator, his parents were

among the first to bring the Bollywood movie concept to the

United States.

Star Cinema's attention to detail covers all aspects from the

menu to the auditorium, and is evident in the management's

approach to every aspect of the business.

"We're totally focused on the 'premium' experience," said

Gustavo Vazquez, Star Cinema Grill's Vice President of

Operations and a former restaurateur. "The bread for our

restaurant is delivered daily from local bakeries. We have

craft beers on tap, and local farm items on the menu, all

delivered to the seats. We even have a wireless paging system

so guests can alert us when they're ready to order. This

conversion to Sony 4K just completes the whole picture for

our operation."

To make the conversion to 4K as seamless and cost effective as

possible, Star Cinema worked with Sony to take advantage of

its flexible and customizable Virtual Print Fee (VPF) financing

options.

"With our extensive leasing options, theater owners can

differentiate themselves with the highest resolution digital

projection available. We're thrilled Star Cinema Grill selected

Sony as a long term partner to help enhance their premium

experience that their customers have come to expect," said

Christopher Simpson, national account manager for Sony

Electronics' Digital Cinema Solutions Group.


Barco's 0.69" Projector for Smaller ScreensFirst to Achieve DCI Compliance

Barco has announced that its DP2K-

10S digital cinema projector has

passed the Compliance Test Plan

(CTP) for the DCI Digital Cinema

System Specification (DCSS).

Designed from the ground up

around Texas Instruments' S2K

chipset, the brand-new DP2K-10S

projector is ideally suited for smaller

theatres with screens up to 10 meters

(33 feet) wide. The brightest

projector in its category, the DP2K-

10S is the first digital cinema

projector featuring Texas

Instruments' new 0.69" DLP Cinema

chip to achieve DCI compliance.

"I wish to congratulate the team on

their tremendous achievement of

being the first to pass the

Compliance Test Plan with a

projector designed around the new

0.69" DLP Cinema chip," says Wim

Buyens, Senior Vice President of

Barco's Entertainment Division. "We

are very pleased that the latest

addition to our digital cinema

projector family has now also

achieved DCI compliance. As a

global digital cinema technology

leader, we are proud to offer the

most complete range of DCI-

compliant digital cinema projectors

in the industry. From the compact

DP2K-10S to our top-of-the-line

DP4K-32B, we offer a perfect match

for every cinema screen."

"We have newly designed our DP2K-

10S projector from the ground up,

to ensure maximum performance

out of Texas Instruments' 0.69" DLP

Cinema chip and made no

compromises in bringing the same

superior image quality as offered by

the other Barco digital cinema

projectors to theatres with smaller

screens," comments Theodore

Marescaux, Product Manager at

Barco. "Thanks to the DP2K-10S

digital cinema projector, smaller

exhibitors can also enchant

moviegoers with first-class movie

experiences with consistent picture

brightness, vibrant and stable colors.

As the DP2K-10S has been designed

with the specific needs of smaller

exhibitors in mind featuring our

latest intuitive projector user

interface that further simplifies

operation and ensures low

operating costs, it guarantees worry

free DCI compliance when going

digital."

Thanks to its superior optical

efficiency, DMD cooling system and

patented sealed engine, the DP2K-

10S projector achieves exceptional

brightness levels. It generates crisp

images with vibrant colors that are

stable over time due to its standard

Xenon lamp and the acclaimed

manual color convergence

mechanism of Barco's larger digital

cinema projectors. And as it's

equipped with motorized lenses, a

perfect image ratio is guaranteed in

every setup. The projector's

operating cost is minimized through

the use of energy-efficient Xenon

lamps, a standby eco-mode, reusable

air filters and the commonality of

components with the other Barco

digital cinema projectors. The DP2K-

10S comes with integrated handles,

user-friendly software tools and a

smart modular architecture for easy

transport, installation and service.

These features make it ideally suited

for outdoor and mobile cinemas

alike.

Digital Cinema Initiatives, LLC (DCI)

is the originator and administrator

of the Compliance Test Plan (CTP),

which was created to provide a

uniform testing procedure for

demonstrating compliance with the

DCSS. The DCSS is intended to

promote the widespread

deployment of high-quality digital

cinema equipment that is

interoperable and provides rigorous

content security. Manufacturers may

demonstrate compliance by

developing equipment in

accordance with the DCSS and its

referenced SMPTE, ISO and FIPS

standards, and then submitting the

equipment for testing to a third-

party entity licensed by DCI to

administer the CTP.

Volfoni's Passive3D Solution -SmartCrystalCinema

Volfoni's passive theatre system is

poised to be a game changer in the

world of 3D cinema. The system

consists of a liquid crystal based

polarization modulator, easy to set

up with any DCI-compliant DLP

projector with projector lamps up to

7kW. SmartCrystal Cinema boasts one

of the largest polarization windows

currently on the market, a whopping

264x143mm (10.4" x 5.6"), making it

suitable for all types of projector

lenses, and offering excellent image

quality with one of the highest

optical efficiencies of all polarization

modulators available. The

SmartCrystal Cinema polarization

modulator uses a proprietary

"surface-switching" technology to

deliver high performance on screens

with widths up to 59 feet.

SmartCrystal Cinema utilizes ultra-


MasterImage 3D Expands Suite of 3DDigital Cinema Systems

Continuing its commitment for all 3D

movies to be enjoyed in the best

available 3D image presentation,

MasterImage 3D broadened its

product portfolio to satisfy the

contemporary business decisions

made by theatrical exhibitors around

the world. The 3D system suite now

includes five models, each designed

for unique screen sizes and booth-

types. The MI-CLARITY3D line comes

in three versions, specified to varying

types of projection configurations.

The new 3D product introductions,

MI-WAVE3D and MI-DUAL3D, address

exhibitors' desires to equip big and

small screens with the highest quality

presentation at competitive price-

points.

MasterImage 3D systems enable

premium 3D image quality with

improved lighting efficiency, precise

color accuracy and fidelity. Each

model offers high frame rate

compatibility, full system automation

(2D/3D and start/stop) and a license

free ownership business model.

"Cinema exhibitors around the world

continue to tell us they want

premium presentation quality

without being limited by a one-size-

fits-all solution," said Sean Lohan,

Senior Vice President of Digital

Cinema at MasterImage 3D. "Our new

product suite gives customers greater

choice in addition to the superior

image quality and business terms they

expect from MasterImage 3D."

The MI-CLARITY3D product suite

includes the patented Circular

Polarized Filter Disc, providing a

perfect balance of clarity and

brightness with 3D filtering precision

that is unequalled in the

marketplace. Three MasterImage 3D

models provide for the range of

projection booth needs. The models

are MI-CLARITY3D SA, MI-CLARITY3D

MX and MI-CLARITY3D RH.

New product entrants provide

fast switching of the liquid crystal

next to the alignment surfaces of an

LCD, providing both fast switching as

well as excellent optical performance.

And the high-quality anti-reflection

surfaces ensure that a superior optical

efficiency is achieved, for amazing

image clarity together with colors

that pop.

The SmartCrystal Cinema

polarization modulator, with two

models of brackets, is also very

practical for integrators, allowing

quick and easy installation in any

projection situation. The model A

with casters is easy to move from one

projection booth to another. A high-

tech electronic module is integrated,

allowing the user to switch from 2D

to 3D, settle the 3D images, and

control the systems with indicators.

External controls can also be used,

for automation, for controlling the

system via a network, or for

unlocking the entire system. It is also

very easy to adjust the window size.

For even more flexibility, another

bracket, the model B (fixed bracket),

is in development.

MasterImage 3D technologies and

full system automation for 2D/3D and

start/stop. Designed for customized

solutions, applicable to a variety of

screen sizes and budgets, big and

small. The models are MI-WAVE3D

and MI-DUAL3D.


The city of Newark, NJ, celebrated

the opening of the new CityPlex 12

theatre, an all-digital, stadium-

seating multiplex on september 14.

Co-owned by Boraie Development,

LLC, and Newark native and NBA

legend Shaquille O'Neal, the new

theatre is on the site of the former six

screen Loews Newark Metroplex and

Newark screens theatre.

Mayor Cory A. Booker, O'Neal,

members of the Newark municipal

council, deputy mayor of economic

and housing development Adam

Zipkin, brick city development corp.

CEO Lyneir Richardson, Goldman

Sachs managing director Alicia Glen,

New Jersey community capital

president Wayne Meyer and other

dignitaries were on hand to cut the

ribbon to officially open the CityPlex

12 in Newark's central ward.

"The redevelopment and expansion

of the newark screens to the

CityPlex12 Newark is overall an urban

success story. CityPlex12 Newark has

advanced the revitalization of the

central ward and become both an

attraction as well as a community

asset," said Richardson.

Mayor Booker declared, "CityPlex12

is the best place to watch a movie in

New Jersey. This movie theatre is in

the heart of the central ward, so

newarkers from all five wards can

stay in our city to see the latest

movies from Madea to Men in

Black."

Deputy Mayor Zipkin added, "at the

beginning of this administration,

newark's only movie theatre was

struggling to survive. But with

decisive action from Mayor Booker

and local partners, we were able to

stabilize the movie theatre and put it

in the capable hands of Boraie

development and Shaquille O'Neal.

This state of the art theatre is an

important community hub of

entertainment and employment

opportunities for our citizens."

Financing for the project was

provided by Goldman Sachs Urban

Investment Group in partnership with

New Jersey Community Capital and

Brick City Development Corp.

Amenities include Barco 4K digital

projection in all 12 theatres, Dolby 7.1

digital sound, RealD 3D and a new

concession stand. The theatre's

premier auditorium is the SHAQ-DX,

"a bigger than life digital

experience." This 300 seat stadium

style auditorium features high back

leather rockers and a 47 foot wide

screen. In conjunction with the new

party room and expansive lobby, the

CityPlex12 was designed to host

events, screenings and birthday

parties.

The theatre celebrated its grand

opening by launching "30 Days of

Shaqness" on september 15, with a

cookout featuring entertainment,

food and select $1 movies all day.

• I N S T A L L S •Newark Debuts

All-digital CityPlex 12


The nation's largest retail and

entertainment complex, Mall of

America has selected Doremi Cinema

to complete the digital conversion of

nine more of its theatres. The unique

complex features 2,259 seats

throughout 14 theatres with digital

sound, image with 3D capabilities, D-

Box seating and a VIP theatre.

Each of the theatres will be fitted

with the DCP-2000 cinema server, the

first commercially available server

capable of playing JPEG2000 digital

movies conforming to DCI

specifications. It is the most installed

cinema server worldwide. Included in

the expansion is the installation of a

Doremi IMB-4K. The IMB (Integrated

Media Block) utilizes Doremi's

patented 4K media block technology

and ensures that the theater is

prepared for the future of digital

entertainment.

"Theatres at Mall of America aims to

give guests the best theatre going

experience possible," said Jill

Renslow, Vice President of Business

Development and Marketing.

"Partnering with Doremi on the

digital conversion of our screens will

take the experience to new levels."

Theatres at Mall of America has also

chosen to feature the Fidelio, a

Doremi Cinema audio delivery

system that provides narration for

the visually impaired as well as

assisted listening for those hard of

hearing. The CaptiView closed

caption viewing system for hearing

impaired guests is being deployed in

each of the theatres.

• I N S T A L L S •Doremi Digital Cinema Servers at

Mall of America

Magna Tech Electronic (MTE)

recently offered total planning,

development and operations

consultation to "Kometa" LLC, a

company with the main activity in

organization and staging of theatre

and opera shows, concerts and other

stage shows to open a Cinema hall

naming it "Kometa" Theatre in Chita

city, which is situated in East Siberia.

MTE an academy award winning

company offering total planning,

development and operations

consultation to open a cinema

anywhere in the world also helps

and invites clients to choose from

the world's largest selection of new

and pre-owned professional cinema

equipment, furnishings, and

accessories. MTE and its affiliates

represent most major makers of

Cinema Equipment including Barco,

Dolby, QSC, JBL, Osram, Harkness,

Ushio.

Being in the motion picture theatre

equipment business since 1975, they

supply turnkey service or individual

items relating to projection, sound,

seating, aisle lights, screens and

front ends, wall covering,

concession, lobby and box-office.

MTE sets

Kometa at Chita City

• I N S T A L L S •

They supply all major brands of

theatre equipment and also offer

the choice for a new, rebuilt, used or

any combination service.

A term used by MTE," Give us four

walls and we'll give you a theater"!

And this project completed by MTE

Russia proves it very well.

"Kometa" LLC, contacted MTE

without even having an imagination

as how to organise and set up a

cinema. All they had at that

moment were only 4 walls and MTE

using its expertise over the years

made all necessary measurements

and offered them custom-designed

project.

MTE did a great job of design,

equipment selection, and

installation and in commissioning

the cinema. The whole set up was

done by high professional

engineers. In this cinema, two similar

cinema rooms were created using

7m screen, 50 seats, Projector - Barco

DP2K-12C, Server - Dolby DSS200

and processor Dolby CP750. All

equipment used is of very high

quality and has proven itself in

many cinemas. Active system Li-Tek

(Hi-Shock) was chosen as 3D system.

It was best solution for the

combination of price and quality.

Kometa LLC was completely satisfied

with the work and equipment and

now it can proudly say that the

people in Chita city can enjoy

watching movies in a new cinema.

In the pictures below you can see

how step by step their cinema hall

was set up.

The screen frame Set Combed claw teeth (block terminal) is ready Speakers and seats set

Screen is ready The equipment is mounted and installed Training of projectionists by our engineer


Meyer Sound Cinema System for

Korea's New M2 Premium ScreenSouth Korea's Megabox chain of

movie theatres has selected Meyer

Sound's cinema loudspeaker system

for its newly enhanced "M2"

premium screen concept. At the

Megabox COEX, the largest multiplex

in Korea with 16 screens, powerful,

low-distortion sound now

accompanies upgrades to projection

and patron amenities.

The "M2" screen is now operating in

5.1 and 7.1 surround modes, and

when the renovation is complete,

this room is set to become Asia's first

Atmos compliant cinema to be

equipped with a Meyer Sound

cinema system. All "B chain"

elements are in place, including the

extensive complement of side, rear,

and overhead loudspeakers.

"There has been a lot of competition

among the new 3D immersive sound

formats," observes Youlgoo Lee, the

chief technical manager for

Megabox. "But Meyer Sound

convinced us that any new format

requires high quality speakers to

present clear and powerful sound to

the audience. We have already

experienced the difference Meyer

Sound makes at our other

installation, so we decided to install

Meyer Sound systems whenever we

get the chance."

The new system at Megabox COEX

includes Acheron 80 and Acheron LF

screen channel loudspeakers, X-800C

cinema subwoofers, HMS-10 cinema

surround loudspeakers, MPS-488HP

remote power supplies, and a Galileo

loudspeaker management system.

"Even though the full Atmos

experience has yet to arrive, we're

already having a very good response

from the audiences," reports Lee.

"They say they feel the difference

compared to regular cinema sound,

so we're excited about what we will

experience with the completion of

the system."

The new Meyer Sound system was

provided by Kinoton Korea, the

company that installed Asia's first

Meyer Sound cinema system at

Megabox KINTEX near Seoul in 2011.

Kinoton Korea provides conventional

and digital cinema projection

systems, as well as advanced sound

solutions, to commercial cinemas,

broadcasters and film/video

production facilities, both within

Korea and elsewhere in Asia.

• I N S T A L L S •

The cinema has been exciting

audience members worldwide for

more than 100 years. Only when

animated pictures are put on screen,

they become blockbusters, which

occasionally go down in the history

of motion pictures. While at the

beginning of the motion picture

theatre only short films could be

projected, we now have a new

digital era. Now large data bundles,

compressed on small hard drives are

delivered to the cinemas that are

only decoded and converted into

pictures once they are inside the

projector. Screening in high-

definition requires one thing in

particular: High-performance light.

The XBO cinema lamp from Osram,

the leading light supplier to the

movie industry, has been writing film

history for over 50 years and still is in

demand for digital projection. They

combine a high luminosity with a

long service life and thus are an

economical solution for cinema

operators that are converting their

cinemas for the digital era.

The history of cinemas has been

accompanied by the light of XBO for

more than five decades. In 1983,Osram even received an Oscar for the

outstanding light output of its

cinema lamp. The company produces

the XBO in its factory in Eichstätt as

the only manufacturer using fully

automated production. In

comparison to handmade cinema

lamps, the tolerance values are very

low, so that customers all around the

world can profit from the consistent

high quality of the lamps. As a result

of the dependable high quality

standard, the XBO is now used in

every second cinema worldwide.

Nowadays more and more cinema

operators are opting for digital

projection. This makes sense not only

because of the sharp details and

colour rendering, but also since the

OsramLights UpDigital Cinema

Automated electrode assembly

Milestones of the XBOcinema lamp

• 1949 Start of XBO development

• 1952 XBO 1,000 W lamps for 35

mm projection

• 1954 First commercial film

projection

• 1970 XBO lamps for horizontal

operation

• 1980 Introduction of ozone-

free quartz glass

• 1983 XBO awarded an Oscar

• 1998 XBO used for digital

video projectors

• 2001 Extended durability and

guarantee

• 2006 XBO series for every

manufacturer of digital cinema

projectors

• 2009 Robust coil spring design

• 2010 Start of fully automated

production

• 2012 Especially long lasting

XBO lamps used for digital

cinema

• T E C H N O L O G Y •


majority of films nowadays are

produced digitally.

Economical high performance - In

general, cinema projection lamps

need a compact design, must possess

a high light density and convince

through a long service life. Light

output requirements have increased

with digital projection.

A particular bright lamp is necessary

to ensure a brilliant reproduction of

clear images that illuminate the

whole screen. Cinema operators

therefore demand a high

performance and economical

solution.

The XBO fulfils these requirements. It

is a short arc xenon lamp which

generates lots of light in a small area

through gas discharge, and therefore

has a particularly high luminance. The

arc tube in which the gas discharge

takes place after lighting, is

positioned between two Tungsten

electrodes. Made from high

temperature resistant quartz glass, it is

resilient against extreme temperature

changes and high pressure. The XBO

also proves robust against vibration:

the capillaries i.e. the finely elongated

case at the side of the arc tube is

protected by a coil spring. In the case

of a fall, this cushions the delicate

lamp. The cinema lamp impresses with

its long life of many thousand hours.

Its daylight similar light of 6,200 K

remains constant over the entire

lifespan, so that maintenance costs for

cinema operators are greatly reduced.

The companion in the digital age,

Both sides benefit from digital

cinema projection with the help of

the XBO. Audiences are delighted

with the clear, vibrant pictures.

Thanks to the interaction of

consistently high quality, luminance

and service life, cinema operators can

keep their expenses under control.

Osram is constantly developing its

cinema lamps in co-operation with

projection manufacturers, so that it

can remain the reliable companion in

the digital age.

XBO laser processing

Mechanised assembly

Manual spot check



In the beginning …

With such a biblical sub-heading

preceding an article about xenon

lamps my journalistic instincts cried

out for the words 'let there be light'

to follow, but my more careful

engineering head knew that the

actual creation of light wouldn't be

appropriate until much later on!

The beginnings we are talking about

concern the factory that began life as

LTI (Lighting Technologies

International) in 1999, when a group

of just seven people, all of whom

had varied backgrounds in different

areas of lamp manufacture, and had

worked with well known optical

companies including ORC (Optical

Radiation Corporation) and Perkin-

Elmer, decided that there would be a

good market for high quality xenon

lamps made in North America for the

expanding cinema business. Up until

that time most cinema xenons used

in the US had been imported, and

there were good reasons for being

able to provide locally sourced lamps

in the US.

LTI grew and expanded, exporting its

lamps worldwide, and I noted from

the Cinema Technology magazine

index that Australian BKSTS Member

Daryl Binning had written a CT article

about the LTI factory in March 2006,

describing it as "a modern,

progressive specialist lamp

production facility equipped with

the latest research and

manufacturing equipment, and

staffed by some of the most

experienced people in the Xenon

lamp business."

So successful was the plant that in

2007 the Philips company showed an

interest and decided to purchase the

company outright. It is now part of

the Entertainment segment of Philips

Special Lighting. Many of the

original founders of the company

remain today, and I was privileged to

Jim Slater visited thePhilips xenon factory inLos Angeles and sawhow some of the highesttechnology products arethe result of theapplication of hands-oncraftsmanship. L-R: Ana Simonian, Dave Beaulé,

Tom Hardenburger, Linda Roesch -HR Manager, Curt Glover, Michelle Wei -

Logistics Manager and Alan Luttio

Bright Sparks andCraftsmanshipFrom Philips

By Jim Slater



meet the current management team.

Tom Hardenburger, Global Product

Manager, Alan Luttio, Engineering

Manager, Curt Glover, Plant Director,

Ana Simonian, who is in charge of

global sales, and Dave Beaulé,

Quality Manager. Between them, and

with the help of other colleagues

they explained the history of the

company, and we had some

interesting discussions about the

past, present, and what they are

convinced is the very positive future

of the xenon lamp in the cinema

business.

Number 1, Number 3 …

With typical US panache I was told

that Philips is number one company

in the world in lighting, involved in

everything from entertainment,

through education, to street lighting

and even providing the searchlights

that reach high into the sky at the

Ground Zero memorial in New York.

In Paris the giant searchlight on the

top of the Eiffel tower was specially

designed as a 'one off' lamp that has

become almost as famous as the

monument on which it stands.

Although the Baldwin Park factory,

on the outskirts of Los Angeles, has a

history of building many types of

lamp from metal halide to ceramic to

mercury arc lamps, in recent times it

has concentrated entirely on cinema

xenons. In this very specialised area

of lighting, Philips admits to

currently being number three in the

world, behind Osram and Ushio,

although it soon became clear that

they are not remaining content with

this position, and are working hard

to improve their position, primarily

aiming to do this by focusing

unreservedly on quality and

customer service. Philips are currently

number two in the North American

cinema lamp market. Xenon lamps

are manufactured with powers of

from 700 to 10,000 watts, but most of

the production typically ranges from

2000 to 6000 watts.

The factory, dedicated completely to

cinema xenons, currently employs an

ethnically diverse workforce of some

300 people, reflecting the population

of greater LA, and it serves the global

market. The feisty Ana Simonian told

me proudly that a Philips customer

anywhere in the world can expect a

speedy response to a sales or service

query 24 hours a day, challenging me

to be able to say the same of her

competitors!

Tom Hardenburger was keen to tell

me that Philips really takes its '100%'

lamp warranties seriously - if a lamp

fails after 99% of its rated hours it

will be replaced with a new one,

provided that there hasn't been any

damage caused by the customer, and

Tom said that this another USP for

the Philips brand. I was interested to

learn that the output of the factory

really does reflect the fact that the

transition to digital cinema is

reaching completion - Tom told me

that some 85% of the output is lamps

for digital cinema, with Philips lamps

being officially certified for use in

Barco, NEC and Sony projectors, with

a majority of the Sony projectors

worldwide using their lamps,

primarily, I guess because of the huge

market represented by AMC and

Regal cinemas. I remarked on the

one projector manufacturer missing

from that list - it seems that Christie

have their own reasons (Ushio?!) for

not wanting to certify other

manufacturers' xenons! Nevertheless.

the Philips sales material says that

they have cinema xenons designed

for use in Christie digital cinema

projectors.

The digital questions …

I was told that Philips makes four

ranges of cinema xenons, each

designed to provide the ultimate

total cost of ownership for different

market sectors. In addition to its

Standard range it offers Helios lamps

that provide greater brightness and

efficiency at a higher price, along

with growing quantities of the

Digital range, lamps which have

been specially designed to provide

optimum performance from today's

digital projection equipment. There

is also a range of Digital Helios lamps,

based on film lamp technology but

adapted for digital applications;

these are intended for smaller digital

screens and offer a lower total cost of

ownership.

Since one of the few disadvantages

of going digital for the cinema

operator is that the lamp prices are

generally higher and the lifetimes

lower than for the original 'film'

lamps, I really did try to find out on

behalf of our readers just why this

should be. But I am afraid that even

after watching how the lamps are



constructed I wasn't initially

convinced that the sometimes

significant cost differences are

justified, which led to some

interesting discussions with Curt and

the team - they obviously felt

passionately that I should be able to

understand that digital lamps really

do require something extra in the

manufacturing process, and that this

is what requires such lamps to be

more expensive.

The accepted technical explanation,

which I am quite happy with, is that

the TI DLP based projectors require a

very small aperture for the light to

illuminate the micromirror devices,

which means that lamps have to

have shorter arcs, providing a smaller,

denser light source. Whilst being able

to accept that these more compact

lamps will have to deal with more

concentrated heat in a smaller

volume, and therefore it might be

reasonable to expect a shorter

lifetime, my factory tour hadn't

highlighted any great differences

between the manufacture of the

different types of lamp, and I hadn't

at that point really seen any

convincing evidence that it is more

complex to manufacture the

requisite short arc digital lamps.

It is always good to talk, of course,

and in subsequent discussions with

Curt he told me that because of the

concentrated heat generated in a

smaller volume, special electrode

processing is needed to achieve the

required lifetime, and this extra

processing adds to the cost of

making the digital lamps. Philips uses

special proprietary manufacturing

processes on its digital lamps to

achieve this, but Curt admitted that

they deliberately hadn't shown me

this part of the process during my

tour, since it was regarded as too

business-sensitive to reveal all their

technical secrets to competing lamp

manufacturers - you can be sure that

these will soon be busy dissecting this

piece!

We had, though, during the tour,

discussed how the 'dark arts' of

electrode shaping and various special

coatings are the features that

distinguish one manufacturer's

product from another, so I have no

problem in accepting that the extra

electrode processing required by

digital lamps will lead to their

necessarily being more expensive - it

seems that you really aren't being

'ripped-off'!

As explained in the 'training' section,

later in this article, new staff are

trained to work on smaller 35mm

lamps and only progress to the

digital models as they become more

experienced, and their pay increases

as they develop their skills to work

on the more expensive lamps. When

discussing the increased costs of

digital lamps Curt said that only the

best operators are qualified to

produce digital lamps with the

required short arc gap specifications.

Even these highly trained operators

need more time to build these lamps,

which adds additional labour costs

relative to film lamps.

One thing that was made clear,

however, as I pressed the team for

information about whether we

might expect better, more efficient

and perhaps even cheaper lamps in

the future, was that, in spite of

decades of development, the design

and manufacture of xenon lamps is

far from mature - the research

engineers are constantly coming up

Just part of the massive manufacturing and production area. Notice the multiple workstations with extensive fume extraction equipmentand ducting, used to remove the heat from the glassworking operations, always ensuring that the atmosphere is clean, safe,

and comfortable for the operators to work in.



with new ideas to improve light

output and efficiency, with reducing

the total cost of ownership being a

constantly moving target for the

Philips engineers.

The factory tour …

Plant Director Curt Glover spent

several hours taking me on a

conducted tour of the factory. He had

been involved since its inception, and

was therefore responsible for much of

its design, both originally and as it has

moved forward and been updated to

provide the best possible

environment for the manufacture of

the latest generations of xenon lamps.

Everywhere I looked there was

evidence that existing equipment

was being replaced with new and

being updated with new functions

and capabilities. Many of the precise

measuring techniques that had been

traditionally been carried out using

mechanical calipers (and it was

interesting to see this still happening)

are being replaced or supplemented

by carefully calibrated 'vision

systems' which allow the operator to

see a much magnified video image

of the electrodes or glass seals being

worked on, making it easier to

achieve consistent accuracy every

time. These can be seen in some of

the photographs of the

manufacturing process.

I spoke with Dave Beaulé, Quality

Manager, and it was interesting to

learn that he is constantly making

checks on all aspects of the

production, and has the right to stop

production at any time if he is not

happy with any aspect of the work -

fortunately, he wasn't able to

remember the last time that this had

actually proved necessary, since it is

usually possible to spot potentially

harmful problems before they

actually affect lamp production in

any significant way. Curt took me

through all the individual steps in

the production of a xenon lamp,

from the inspection of the original

quartz tubing (bought in various

lengths and diameters from a

specialist company, with some of that

company's stocks being stored on

site), through each of the production

processes, right through testing,

packaging and dispatch. The

photographs and their captions

explain the procedures in detail.

Craftsmanship in glass …

I have to say that I was totally

surprised by much of what I came

across in the Philips factory. I had,

quite wrongly, expected to find that

complete glass bulb assemblies would

be bought in from outside ready to

be fitted automatically with the

various electrode assemblies by

complex automated machinery which

would align and adjust everything to

suit. Imagine, then, my surprise, to

come across dozens of individual

work stations fitted with complex

glass-working machinery - as you can

see from the pictures each work

station is effectively a rotating lathe

fitted with a series of moveable gas

jets and mechanical tools made from

carbon, which are used to shape the

glass. My only previous experience of

glass-making, apart from making

pipettes in chemistry lessons using a

Bunsen burner, came from a visit to

the Pilkington'sglass factory in St.

Helens in the UK and from watching

artists create fantastic glass sculptures

in a studio, so it was surprising and

amazing for me to watch these Philips

craftsmen at work.

Beginning from tubes of highest

quality quartz the operators carefully

apply heat from various types of gas

burners and then gently blow the

molten tubing to form a bulb in the

What it is all about - schematic diagram of a typical cinema xenon lamp showing the essential parts and assemblies described in the article

Above: The lamp building process begins bytaking pre-cut lengths of high-qualityquartz tubing, mounting them in the

lathes, and gently heating with various gasflames until the material begins to soften.The burners use pure hydrogen and oxygen

to reach the temperatures required tomelt quartz glass.

Below: Envelope forming. In this process,quartz glass tubing is joined together andan envelope is “blown” in the center. The

shape of the envelope is controlled throughthe use of a graphite template. It takes

months of training under close supervisionto be able to make large envelopes for

high wattage xenon lamps.



centre of the tube, all the time

carefully shaping the bulb and the

ends of the tubes using carbon tools,

whilst constantly checking that the

measurements of each part of the

bulb and its associated tubing are

within carefully defined parameters,

with no bubbles and no air pockets.

Not surprisingly, each bulb is slightly

different from any other, and I was

fascinated to learn that although

each bulb looks the same to an

untrained eye, and is, of course,

within the tightly specified

tolerances, an operator can tell you

which bulbs he or she has made.

Inspections are made at each stage of

the process, and it was interesting to

see that each different glass bulb

could be traced back to its particular

producer, allowing any possible

problems such as air bubbles to be

spotted early on and for corrective

measures to be taken.

And some careful

metalwork...

After the envelope (bulb) is complete

and has been scrupulously inspected,

including measuring wall thickness at

various points, the electrode shafts

are coated with different layers of

special glasses designed to cope with

the very different coefficients of

expansion of the metals and the

quartz, and it was fascinating to see

the care with which the lathe

operator was adding the different

layers, and how the visual inspection

equipment enabled constant

checking.

The electrodes require high-purity

tungsten, which can be extremely

difficult to machine and require

diamond tools to work them. The

seal is created by wrapping different

types of glass around the electrodes

to form a graded seal that can

compensate for differences in

thermal expansion between the

quartz and the metal shafts of the

electrodes. As the electrode

assemblies are inserted into the ends

of the envelope, again by hand, and

Lamp sealing process. The electrodeassemblies are inserted into the lamp

envelope and the quartz material is fusedtogether to provide a strong, gas-tight seal.

Building lamp seal assembly. Multiple layersof glass with different expansion

coefficients are built up under visionsystem guidance, to allow the seal to

compensate for the difference in expansionrates between quartz and tungsten.

Operator sealing a xenon lamp. Most lampmanufacturing operations are performed on

specialized glassworking lathes.

In another part of the factory Electrodeassemblies being spot welded. These

assemblies are put together by hand toexact specification.

Overview of lamp sealing operation,showing vision systems which provide realtime feedback to the operator of arc gap

and electrode concentricity.

The thickness of the electrode glass sealassemblies are 100% inspected using a

high accuracy digital microscope, to ensureall assemblies are built within

specification.

Lamp sealling process. The quartz glass isheated red hot during an annealing step to

remove stress.

Installation of metal fittings on the end ofthe lamp. The metal fittings are unique toeach model of digital and film projector

and are held in place by compression rings.The dimension from the cathode end baseand cathode tip is carefully controlled to

ensure the cathode tip is in the focal pointof the reflectors inside the projector.



again with extreme care, with various

different gas flames playing over the

different parts of the graded seals,

the final positioning of the

electrodes and the gap, which has to

be accurate to within one tenth of a

millimetre, is carried out using the

vision inspection system, and the

seals are then made and the

complete glass assembly is annealed

to remove any potential stresses

before being allowed to cool.

The metal fittings are then installed

on each end of the lamp, being held

in place by compression rings. The

fittings are unique to each model of

digital and film projector and the

dimension from the cathode end

base and cathode tip is carefully

controlled to ensure the cathode tip

is at the focal point of the reflectors

inside the projector.

As the lamp is being assembled, with

the various electrodes and

connections and the clever sealing

technologies incorporated, ten to

twelve people will have been

involved in the manufacture of a

typical lamp, and each of the

individual contributions is logged

and recorded and each lamp is given

a distinct serial number.

Filling with xenon …

The process of filling the assembled

lamp with gas is complex, dramatic,

with liquid nitrogen vapour

splashing about, and very

interesting. All the existing gas is

extracted from the bulb under high

vacuum in order to remove all traces

of contaminants, and then pure

xenon gas is backfilled to a precisely

controlled pressure. The lamps are

then cooled with liquid nitrogen to

freeze and compress the xenon,

allowing the operator to seal the

lamp without the xenon gas

escaping.

Testing every one…

After the final inspection each lamp

is individually tested in a series of

special lamp houses - blue in the

photograph below left to check that

it ignites properly and that its

electrical characteristics meet the

specifications. I guess that now is the

time to use the phrase I wanted right

from the beginning of this piece -

'and there was light!'

Packing carefully

Almost immediately afterwards the

lamps are packed ready for despatch.

This is a process that is, not

surprisingly, carried out with extreme

care, using specially designed double-

walled cardboard boxes within which

the lamps are suspended in their own

individual boxes.

Curt told me that they hardly ever

receive reports of lamps that are

damaged when they arrive at the

customer. The factory despatches

lamps in small quantities to individual

cinemas as well as in quantities of

hundreds to installation companies,

and they pride themselves on being

able to manufacture and supply

special orders rapidly. The factory

currently works a three shift system

over 24 hours, but closes from Friday

evening to Sunday evening, giving

most staff every weekend off.

Planning ahead

The business takes great care to make

forecasts of anticipated requirements

over a period six months ahead, and,

based on these forecasts a materials

requirement plan is drawn up and

discussed with their key suppliers. It

isn't a 'just in time' delivery system,

but modest stocks of the various

component parts are kept in racks

around the factory, and 'pulled' from

the holding stocks as required. I

gathered that it typically takes a

couple of days for a lamp to be

manufactured from the 'raw' quartz

tubing before it is ready to be

despatched, but because the factory

prides itself on being flexible, if a

customer has a really urgent need for

a particular lamp they can often turn

it around within the working day.

Curt said that this type of service

really is one of the Unique Selling

Points of the Philips xenon operation,

something that their customers really

do appreciate. The lathes and the

optical test equipment are all US

made, so that spare parts and any

necessary servicing requirements are

Close up of lamp xenon gas filling process.

Xenon lamps are 100% tested



readily available, eliminating fears of

production downtime due to

equipment problems.

Training - the Quartz

University

I asked how on earth these people

can be trained to produce such

consistently high quality products,

and Curt was delighted to tell me

how new recruits, often taken from

craft and technical colleges but

sometimes brought in on the

recommendations of existing staff,

are taken through a six-month

apprenticeship which provides them

with a complete knowledge of the

various properties of quartz and how

to deal with it - after the first six

months the operators are considered

proficient, and they then start on the

longer term tasks of continuously

improving their skills, starting on

35mm lamps and eventually

graduating to the digital ones as

their skills improve. I was interested

to see that each bulb is individually

identified and coded, so that any

problems can be traced back to the

operator concerned, not just to point

the finger of blame, but to identify

where further training might be

beneficial. Training continues

throughout the operator's career,

and they move up in pay grade as

their skills develop.

I was interested to learn that staff

turnover is very low, with most of the

people having been with the

company for many years. I gather

that the pay and the conditions of

service that a big company like

Philips can offer are attractive

compared to the limited number of

other opportunities in

manufacturing in the region, which

obviously helps with staff retention,

and there is also a certain pride in

being able to tell your neighbours

that you work for Philips.

I was interested to learn that

specialists in glass manufacturing and

engineering from other parts of the

Philips empire often contribute their

expertise to the training programme.

Ongoing training isn't restricted to

the manufacturing staff - one of the

afternoons when I was on site I

noticed most of the top

management were attending an

interactive management training

seminar aimed at improving their

'people' skills over a wide range of

areas.

I jokingly suggested that this might

just be a 'big company' way of

scoring brownie points for their

training policies, but two of those

who had taken part in the course

assured me that it had been useful

and had genuinely made them think

of new ways of going about the

business.

Engineering and R&D

From my extensive discussions with

the management team it became

apparent that the business takes

future developments very seriously,

and I was taken upstairs to the

extensive engineering development

and research areas. It was stressed

that although I would be seeing

some of the R&D work being carried

on at the factory, this isn't done on a

completely standalone basis, and that

one of the major benefits of being

part of a larger enterprise is that the

factory is always able to take

advantage of the global R&D

resources within the Philips

organisation.

I was greeted by a collection of

projectors from the major

manufacturers all of which were

ready for immediate use in testing,

and saw a Sony digital projector set

up in the specialist test area where

projector brightness and uniformity

can be tested with different lamps

and lamp conditions.

I was surprised to see dozens of

'Strong' projector lamp houses

mounted in racks, and was shown

how these are used for long term

testing of lamps under all sorts of

realistic usage conditions, as well as

for trying out new designs.

I was interested to discuss future

developments with the team - how

could I resist suggesting that it might

not be too long before laser light

units eliminate the need for their

core product?! Unsurprisingly they

were fully up to the minute with all

that is happening in that field - Tom

was even off to a laser discussion at

NAB in Las Vegas the following

weekend- and we had some useful

discussions about the progress that

different manufacturers are making,

but didn't do any better than any of

the other pundits as to knowing

whether laser light sources for

cinemas are two or five years away.



Looking to the future

The whole team was, however, totally

confident that there is a market for

their specialist xenon lamps for cinemas

for many years ahead, and they said

that all their research indicates that the

development of xenon lamps hasn't yet

reached maturity. There are still many

areas in which xenons are capable of

being improved to provide better

efficiencies, lifetimes and TCO. When I

asked how, and why they were so

confident, there was the natural

reluctance of R&D people to divulge

the secrets on which their future

prosperity might depend, but I

gathered that there is still much work to

be done on the careful shaping of

electrodes, and that significant

improvements in performance can be

expected from more exotic material

being used to coat the electrodes. It will

be interesting to see how these

developments turn out in the years to

come.

It is always interesting to visit

factories, and I particularly enjoyed

my visit to Philips as I found so much

skilled craftsmanship in use, rather

than the extensive mass-production

that I would have expected. I had

often wondered why a single xenon

bulb for a cinema projector can cost

£1000 - surely the most expensive

lamps in the world? Now that I have

seen everything that goes into the

making of a lamp, I will perhaps find

it easier to explain to colleagues in

the projection room just why such

prices may be justified! I did ask the

Philips guys whether mass-

production techniques might take

over in the near future, and we

discussed some areas of manufacture

where new techniques are already

coming into use (vision systems for

accurate measuring, for example). I

also asked whether they felt that a

competing Japanese manufacturer,

for example, might be able to invest

in mass-production technology that

could seriously reduce prices, but

Tom, Curt and their colleagues

genuinely believe that to produce a

high-quality product there is no

substitute for the craftsmanship that

goes into every Philips xenon lamp.

(The author Jim Slater is the Editor of

Cinema Technology magazine, the

specialist publication for cinema

professionals. He can be reached at

[email protected])


As well as observing the health and

safety policies of your cinema along

with everyone else, as supervising

projectionists you often have special

responsibilities, mainly to do with

ensuring the health and safety of the

working environment, by co-

ordinating risk assessment. This

means that:

• Responsibility for risk assessments

is allocated to competent

personnel

• Arrangements for assessments

provide for all hazards to be

monitored and assessed

• The roles and tasks of those

responsible for risk assessment are

clarified and agreed, summarised

accurately and communicated

clearly to all those who need to

know

• The sequencing and timing of

assessments are summarised

accurately and explained clearly

to all those affected by them

• Timescales and resources

available for completion of risk

assessments are sufficient for the

scale of the task and the degree

of risk involved

Projection Series-XXXV

Health & Safetyin Cinemas

• Health and safety precautions are

evaluated against risk and cost,

and the level of precautions

identified is consistent with the

risk assessment

• Assessment records are clear,

accurate, meet statutory

requirements and are made

available to those who have a

right to them

In order to coordinate the control of

risks, the supervising projectionist

should be able to satisfy the

following performance criteria:

• Safety and protective equipment

provided are fit for purpose, meet

approved standards, are properly

maintained and are accompanied

by clear instruction

• Reliable systems are implemented

to assure the safety of materials

and equipment introduced to the

work place

• Individuals and groups are

informed clearly and accurately

of the risks identified by the

assessment

• Agreed preventative and

protective measures and

procedures are implemented

• Responsibility for emergency

procedures is allocated to

competent personnel

• Safety procedures are monitored

and reviewed at all times, and

updated when there are changes

in circumstances

• Implementation of precautions

specified in the assessment is

monitored for their effectiveness.

Supervising projectionists and

technicians often have special

responsibilities regarding fire

hazards, in addition to those which

apply to all cinema staff. Usually the

role of the supervisor is to ensure

that all projection staff are

thoroughly familiar with fire hazards

and health and safety policies

relating to fire, and that they are

able to behave correctly in the event

of a fire warning.

Individual cinema and cinema chain

policies may vary slightly, as may the

requirements of cinema licences, as

laid down by the local authority. In

general, the duties of a supervisor

may include:

• C I N E M A S Y S T E M S •


• Organising and implementing

fire drills to management

specification

• Monitoring staff behaviour

during fire drills

• Reporting to management on fire

drills

• Correcting staff behaviour

following fire drills

• Ensuring all policies relating to

fire hazards are implemented at

all times

• Supervising staff during fire drills

and fire outbreaks

• Ensuring that all fire appliances

are fit for use at all times

• Liaising with fire appliance

suppliers and contractors

• Liaising with local fire

department officials

• Facilitating fire fighting access inemergencies and drills

• Ensuring that all fire notices are

displayed correctly and are up to

date

• Maintaining calm during fire

emergencies

Supervising technicians should be

completely familiar with the correct

use of each different type of

appliance in the cinema. It is also

useful to understand how each type

works.

HOW to understand fire extinguishers

If you do not have notices like these,

why not try to get some from your

appliance contractor?

• C I N E M A S Y S T E M S •


TW – How does it feel to haveover 98% market share of DLPcinema in Indian Digital cinema?How's been your journey over thepast 26 years that you've beenwith TI?

DD – It feels wonderful. We have 763D-Cinema projectors and somewherenear 5500 or 6000 E- Cinemaprojectors that have been installed inIndia. We are quite happy with theprogress made so far with D-Cinemaand E-cinema installation in India,and the big news for us at theCinema India Expo is the release ofour new small S2K chipset.

Yes, it's been 26 years and thejourney has been ever so lovely. I'vecome a long way wherein I've heldmanagement positions in operations,product marketing, and businessdevelopment in TI's Defense Systemsand Semiconductor divisions.

TW – Tell us about the new DLPCinema S2K Chipset which waslaunched recently?

DD – Featuring the same core,award-winning technology thatpowers DLP's 2K and 4K chipsets, theS2K chip has been engineered forsmall screens and meets DCIspecifications for image quality, color,and security, allowing for greaterversatility, including 3D and highframe rate capabilities. Everythingscales suitably - the optics, the lens,the mechanical box and theelectronics.

All the early digital screens wererather large, but we knew that there

Small Chip. Big Ideas.TheatreWorld team, Clancy and Raghav caught up with Dave Duncan, DLP Cinema BusinessHead, Texas Instruments (TI) and Tony Adamson, Manager, Worldwide Marketing, DLPCinema, TI to learn and discuss about the new DLP Cinema S2K Chipset and the future ofCinema Exhibition in India at the Hollywood and Bollywood Conference - Cinema India Expo2012 - held at the Renaissance Convention Centre in Mumbai

were a lot of medium-sized screens,so we did our 0.98 inch chip, andthen we did our 4K chip, which wasbigger. Eight out of ten screens whichare converting to digital have usedone of these three chips and thesechips have served us well and nowwe have 66, 000 screens installedworldwide.

Our 2K, 4K and new S2K chipsetsprove our continued dedication toexhibitors and with select VPF modelsexpiring soon the S2K chip will offeran affordable solution for smallscreens to resourcefully switch todigital cinema in every corner of theworld. The advantage of this chip ismore affordable projectors fortheatres all around the world who tilldate haven't been converted.

With The S2K chipset we've gone to aplatform that's more integrated, it'ssmaller, less bright and it's aimed atthe emerging markets like China andIndia. While in China many theatresare coming up, in India, one-screen

theatres are refurbishing into two orthree screens.

TW – How is S2K taken up by DLPCinema's OEM licensees, BARCO,Christie and NEC?

DD – All three of DLP Cinema's OEMlicensees - BARCO, Christie and NEChave agreed to develop projectormodels utilizing the S2K chip design,which will integrate eachmanufacturer's pre-existing DLPCinema 4K and 2K powered productlines. Pre-production versions of theS2K chipset have already beendelivered to each licensee forproduct research and development,with production-ready chipsetscurrently scheduled for delivery laterthis year; S2K powered projectors canbe expected to become available toexhibitors for ordering andinstallation soon after.

TW – What was the thoughtbehind making S2K when youalready had 2K in the market?


DD – Well, it was a pretty easychoice; the fundamental advantagewe have in DLP is once you have thepixels, the underlying structure thatis inside these chips and the coretechnology behind these chips, then,we only have to decide what sizeand resolution we want and take thespecifications to the designer and tellhim what we need. The S2K has thesame performance as far as 2D, 3D,high frame rate, color, reliability,contrast, DCI compliance areconcerned - it's just a smaller packageand that's the only difference.

We do a lot of market research, talkto exhibitors at Trade Shows andother events and our market researchtold us that exhibitors are looking atprojectors with a price range. Theprice range is not yet established, butwill soon be.

After going through the designeffort we spoke to our friends RealImage and Scrabble and we knewwhat our targets were and workingwith our customers BARCO, Christieand NEC, we designed the productkeeping the targets in mind whichwas challenging. But it's acollaborative effort with ourcustomers and we know that themarket needs something like that.

TW – What are the plans for Indiawith this new S2K chipset andhow is it going be beneficial tocinemas across India?

DD – This is my first time in India,and our team is present here. Weknow that it is an important marketfor Texas Instruments and DLP. As Iwas visiting a lot of theatres in southMumbai during this trip, what Ifound out was that some of thescreens are still large in India, some ofthem going up to 33 feet, but thereare unique opportunities for smallerscreens as well. We are working withour customers, exhibitors and SystemIntegrators in India to figure outwhich product will be more suitablefor the market.

The good thing about DLP is that wehave many options, and evenbeyond that, we have E- Cinema

options. The main purpose for beinghere is to educate the exhibitorsabout the choices they have oncethey decide to go from film todigital. Then they have to decidewhether they want to move to D-cinema or E-cinema and if they aremoving to D-cinema, then there areoptions each one of them has toconsider based on their requirement.Having a portfolio of products likethis makes it easier in the marketplace because everyone has differentrequirements.

With the new S2K design, motionpicture exhibitors from small townsand villages to large metropolitancities will have access to DLP Cinema'scomplete portfolio of cutting-edgeprojection technologies, eachtailored to help ensure an optimalviewing experience with every 2Dand 3D showing, regardless of thescreen size.

TW – Is there any particularstrategy from DLP Cinema topromote S2K in small cities ofIndia?

TA – One of the reasons we are hereis to better understand the market.Yes, we understand the larger citiesand we have been speaking to largermultiplex exhibitors. We haven'tspent a lot of time with independentcinema owners and associations.Getting information from theassociations is quite different in Indiaand thus we need to move aroundhere and get to know the owners ofmultiple theatres that exist.

Our strategy for the Indian market isbasically to go out first into theMumbai market and probably nextyear go to the different markets. TheIndian market is unique and ourstrategy is to go to the cinemaowners and exhibitors. We will beworking with our customers todevelop our strategy and take theproduct to the end user with thehelp of our team here in India. Wealso plan to work with theIntegrators.

TW – What would be theapproximate investment for S2K

for a small player?

DD – It really depends. As Tony herementioned, that the Indian market isquiet unique. If they have a rental,then it is not so important to knowwhat the initial price of the projectoris. It becomes their monthlyoperating spend, when theinvestment is done upfront as capitalexpenditure.

The key thing is to enable ourcustomers to manufacture affordableprojectors. Our customers BARCO,Christie and NEC are very sensitive tothe market needs and requirementsand they will be quite competitivewhile pricing the product. It alldepends on the Exhibitors and thepricing of the tickets. Well, formultiplexes the return on investmentis quick.

TA – It is the overall investment thanjust the projector when youtransition to Digital Cinema. Youhave to potentially consider a wholenew set up, a new screen, certain DCIstandards. You have to meet digitalcinema's uncompressed sound, etc.

TW – What is the future plan forDLP 4K Enhanced?

DD – If the customer wants 4k wehave it and this is the largest chip wemake and is an expensive one. Itdepends on the demand for 4K. If 4kbecomes more popular acrosstheatres then yes, we will look atmaking more affordable 4k chips.

TW – How do you see the futureof cinema exhibition in India?

DD – I hope to see more digitalsystems installed in India using DLPtechnology. The chips are robust toany weather conditions which is animportant need. And then of coursewe would like to see the marketgrow. Based on some database wegot to know that India can havethree times more of the big screensand for this reason we want to helpour customers, help their customersto grow the market to that extent,offer solutions to them and makesure that it is as affordable aspossible.


ShowEast Expo which took place

from 5 to 8 November at Westin

Diplomat Hotel, Miami, Florida

witnessed a huge crowd and the

many new products and technology

that came in.

Being a major convention and

trade show for the cinema

exhibition and distribution

community on the East Coast,

Cinema Exhibition professionals

came to ShowEast for exciting film

screenings of major studio and

independent feature films slated

for holiday release as well as

product reel presentations,

exciting special events with

Hollywood's hottest stars,

educational seminars and to find

the latest products, services and

technologies at the trade show.

Highlights and showcases ofthis year's show:

• Dolby showcased the Atmos

cinema processor CP850 Pre-

sale, Dolby IMB with High

Frame Rate, and Dolby digital

cinema solutions while it raised

the standard of the

entertainment experience

• Lightspeed Design displayed

the unprecedented speed,

clarity of DepthQ 3D

• Barco described their CineCare

REVIEW

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

offering at ShowEast 2012

• Sony focused on Digital Cinema

conversion - It continued to offer

Virtual Print Fee deals, previewed

a new 4K projector designed for

small to mid-sized theaters, and

demoed high frame rate support

• Master Image featured four new

3D polarized projection options

• Qube Cinema demoed its Qube

Touch software to manage the

Integrated Media Block. Qube

Cinema showcased its cinema

sever, integrated media block and

new software tool, called Qube

Touch, that allows operators to

easily ingest, schedule, manage

and monitor the content either at

the projector or using an app that

allows a smartphone to

interface with the software for

remote control

• Doremi illustrated their new

Integrated Media Server. The

new Internal Media server

sometimes is called an

Integrated Media Server

(IMS). The IMS integrates the

Integrated Media Block along


with a processor and storage

and is built into the digital

cinema projector to provide

decryption and playback of

DCI compliant content

• The Dolby Atmos sound

processing solution was

explained at ShowEast 2012 -

Dolby's new sound solution

called Atmos that the

company hopes will become

the next standard for sound

mixing in the cinema industry.

At the expo it set up a small

area with 12 speakers and a

processor board to explain and

demonstrate the incredible

capabilities of this new

solution

• NEC unveiled the new dual

lamp digital cinema projector

• MiT showcased their Cinema

Integration Services. At

ShowEast 2012, they profiled

their services and demonstrated

a new actuator for moving the

RealD XL polarization switch

for 3D movies

• Christie Digital unveiled its

newest digital cinema

projector, the Solaria one,

which features an smaller 0.67-

inch DLP chip set, 2K

resolution and an integrated

media block

• GDC Showcased their new

Integrated Media Server that

can be plugged into digital

cinema projectors. At

ShowEast 2012, the company

described its features

• Lamp, LED and laser maker

Osram showed its projection

lamps as well as a new LED

backlight unit for digital

signage in the cinema lobbies

• Barco explained about digital

signage for cinema lobbies at

ShowEast 2012

• Christie Digital used ShowEast

2012 to showcase its Duo

digital cinema projector

solution which features two

projectors and a mirror system

to create well-aligned, brighter

3D images

• Sony demonstrated closed

caption glasses at ShowEast

2012. Sony has developed

glass for the hearing impaired

that presents closed captions as

a virtual image in a pair of

glasses the patron dons. At

ShowEast 2012, Sony gave a

demonstration of these and

explained how they work

EVENT CALENDERWINTER 2012

11-13 DECEMBERCINEASIA,

HONG KONGwww.cineasia.com

SPRING 2013

12-14 MARCHFRAMES,

MUMBAI, INDIAwww.ficci-frames.com

15-18 APRILCINEMACON,

LAS VEGAS, USAwww.cinemacon.com

SUMMER 2013

24-27 JUNECINEEUROPE

BARCELONA, SPAINwww.cinemaexpo.com

SUMMER 2013

JULYCINEMA INDIA,MUMBAI, INDIA

www.cinemaindiaexpo.com

26-28 JULYCINEMA TODAY,

CHENNAI, INDIAwww.cinematoday.in

AUTUMN 2013

SEPTEMBERKINO EXPO,

ST. PETERSBURG, RUSSIAwww.kinoexpo.ru

13-17 OCTOBERAUSTRALIAN INTERNATIONAL

MOVIE CONVENTIONGOLD COAST, AUSTRALIA

www.movieconvention.com.au

NOVEMBERSHOWEAST,

FLORIDA, USAwww.showeast.com


CineAsia is a unique event that

brings together Asia-Pacific

cinema exhibition professionals

with companies from all over the

world that sell their products and

services to movie theatres.

CineAsia, this year will be held on

11-13 December 2012 at the Hong

Kong Convention & Exhibition

Centre, Hong Kong.

CineAsia is the only international

convention dedicated to the Asian

cinema exhibition and

distribution community. CineAsia

is the only pan-Asian event of its

kind. As the sister event to

ShowEast and CineEurope,

CineAsia maintains the same

11 - 13 December 2012Hong Kong Convention & Exhibition Centre, Hong Kong

PREVIEW

Hollywood films and offers

educational programs specifically

geared toward the needs of the

Asian cinema exhibition

community.

At CineAsia, you will learn about

the latest technological advances

and the newest trends in cinema,

Find out how to make your

theatre more profitable, Gain

insight into the issues facing the

industry, See upcoming major

Hollywood film releases and

product presentations to enable

you to make smart programming

decisions, Network with industry

peers to form lasting business

relationships, Find new content,

standards of programming, seminars,

special events and suppliers. CineAsia

also screens major Asian and


Anhui Star Screen ........................ 606

Ballantyne Strong ....................... 101

Barco ............................................ 301

Beijing Aigexinda ........................ 605

Beijing Multiricher Film & TV .... 502

Beijing Quinette

Great Wall Seats ......................... 615

Beijing Zhongju International

Trading ........................................ 617

Caiz Optronics ............................ 501

Changzhou Plusrite

Specialty Lighting ...................... 601

Christie Digital Systems ............. 201

D-box Technologies ................... 108

Depthq 3d /

Lightspeed Design ..................... 316

Dolby Laboratories .................... 205

Doremi Cinema .......................... 305

Easi Ticketing .............................. 815

Eyes Triple Shut SA .................... 812

First Audio Manufacturing ....... 600

Focux Technology ..................... 810

Future Cinema Equipment ....... 601

GDC Technology .......................... 311

GetD .............................................. 504

GXM .............................................. 514

Gold Medal Products ................... 104

Golden Link .................................. 116

Guangzhou Rio Tech Optics ....... 515

Harkness Screens .......................... 214

Integ Process Group .................... 515

Jack Roe ........................................ 803

JBL Professional / Crown ............. 315

Kinoton Gmbh ............................. 405

Klipsch Group .............................. 807

Kwan Cheong Ho Company

(Ferco Seating) ........................... 805

Leonis Cinema (Beijing) .............. 511

Masterimage 3D .......................... 411

Maxwell Technology ................... 814

NCR ............................................... 416

Newvos SDN BHD ......................... 808

Osram Asia Pacific ....................... 304

Plusrite Electric (China) ............... 601

Preferred Popcorn ....................... 216

Qingdao Fuyi Acoustics Products

Design & Development ............. 611

Qsc Audio Products ................... 100

Qube Cinema ............................. 401

Schneider Optics ........................ 217

Shenzhen Xshock

3D Glasses .................................... 603

Screen Solution .......................... 811

Shanghai Diewei

Image Technology ..................... 505

Share Dimension B.V. ................ 415

Shenzhen Hengchuangbaolai

Technology ................................. 414

Shenzhen Xshock

3D Glasses .................................... 603

Sony Corp (Hong Kong) ........... 211

Spectro Screen ............................ 117

Star Screen .................................. 606

Taiwan Smile Food .................... 816

TK Architects ................................ 804

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

Tokiwa ......................................... 500

Universal Cinema Service ......... 813

UshiO ........................................... 107

USL ............................................... 206

Vista Entertainment ................... 115

Volfoni ......................................... 802

Volfoni-rio Asia Company ........ 515

X6D ............................................... 115

Yuyu Electric

Light Appliance ........................... 507

Exhibitorsproducts, services and technologies

at the trade show to enhance the

theatre-going experience

Show Features

• Major Hollywood film

screenings

• Product Presentations of

upcoming films

• Award Presentations

• Educational Seminars and

Special Events geared toward

the Asian market

• Networking Events

• Trade Show

Educational Seminars

• Increasing Revenue Streams

• In-Theatre Marketing

• Cinema Design

• Best Practices from Leading

Exhibitors

• Piracy

• Digital Cinema and much

more

Trade Show

Find the products and services you

need from hundreds of suppliers

to the movie theatre industry.

Screenings & Product Reels

See Hollywood and major Asian

films before they are released and

find out what the movie studios

and distributors have in store so

you can make informed

programming decisions.


ProductionFocus Feature

DirectorRoger Michell

StarringBill Murray,Laura Linney,

GenreBiography, Drama

Hyde Park on Hudson

ProductionFilmDistrict

DirectorGabriele Muccino

StarringGerard Butler,Jessica Biel

GenreComedy, Romance

Playing for Keeps

ProductionNew Line Cinema

DirectorPeter Jackson

StarringIan McKellen,Martin Freeman,

GenreAdventure, Fantasy

The Hobbit: AnUnexpected Journey

ProductionSpiderwood Studios

DirectorMatthew Spradlin

StarringAmanda Alch,Marc Donato

GenreComedy, Mystery

Bad Kids Go to Hell

ProductionMagnolia Pictures

DirectorStefan Ruzowitzky

StarringEric Bana,Olivia Wilde

GenreDrama

Deadfall

ProductionClarius Entertain.

DirectorYoon-Suk Choi

StarringRob Schneider,Jane Lynch

GenreAdventure

Dino Time

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


ProductionTribeca Film

DirectorEdward Burns

StarringKerry Bishé,Connie Britton

GenreComedy, Drama

The FitzgeraldFamily Christmas

ProductionParamount

DirectorAnne Fletcher

StarringBarbra Streisand,Seth Rogen

GenreComedy

The Guilt Trip

ProductionRADiUS-TWC

DirectorStephen Frears

StarringBruce Willis,Vince Vaughn

GenreComedy

Lay the FavoriteProductionDisney Pixar

DirectorPete Docter

StarringBilly Crystal,John Goodman

GenreAnimation, Family

Monsters, Inc. 3D

ProductionSamuel Goldwyn

DirectorJacob Rosenberg

StarringDanny Way,Travis Pastrana

GenreDocumentary

Waiting for LightningProductionParamount

DirectorAndrew Adamson

StarringErica Linz,Igor Zaripov

GenreAdventure, Family

Cirque du Soleil:Worlds Away 3D

ProductionIFC Films

DirectorMichael Mohan

StarringLizzy Caplan,Alison Brie

GenreComedy, Romance

ProductionParamount

DirectorChristopher

StarringTom Cruise,Rosamund Pike

GenreThriller

Jack Reacher


Save the Date



ProductionParamount

DirectorDavid Chase

StarringJohn Magaro,Jack Huston

GenreMusical

Not Fade Away

ProductionSundance Selects

DirectorWalter Salles

StarringGarrett Hedlund,Sam Riley

GenreDrama

On the Road

ProductionUniversal Pictures

DirectorJudd Apatow

StarringPaul Rudd,Leslie Mann,

GenreComedy

This Is 40

ProductionThe Weinstein

DirectorQuentin Tarantino

StarringLeonardo DiCaprio,Jamie Foxx

GenreAction, Western

Django Unchained

ProductionUniversal Pictures

DirectorTom Hooper

StarringHugh Jackman,Russell Crowe

GenreMusical Epic

Les Miserables

Production20th Century Fox

DirectorAndy Fickman

StarringBilly Crystal,Bette Midler

GenreComedy

Parental Guidance

ProductionSony Pictures

DirectorAmy Berg

StarringDamien Echols,Lorri Davis

GenreDocumentary

West of Memphis

ProductionXLrator Media

DirectorMichael Connors

StarringShad “Bow Wow”Moss, Seth Gabel

GenreThriller

Allegiance



ProductionExcel Entertainment

DirectorReema Kagti

StarringAamir Khan,Kareena Kapoor

GenreSuspense,Thriller

TalaashProductionAK Production

DirectorArbaaz Khan

StarringSalman Khan,Sonakshi Sinha

GenreAction, Social

Dabangg 2

ProductionEros International

DirectorAshish R Mohan

StarringAkshay Kumar,Asin

GenreComedy,Action

Khiladi 786ProductionPVP Cinema

DirectorKamal Haasan

StarringKamal Haasan,Pooja Kumar

GenreThriller, Action

Vishwaroopam

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

Amar AV TM-35 Screens [email protected] www.amarscreens.com

Anutone TM-8 Acoustics [email protected] www.anutone.com

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

Christie TW-11 Projectors [email protected] www.christiedigital.com

CineAsia TW-2 Tradeshow [email protected] www.cineasia.com

CinemaToday TM-36 Tradeshow [email protected] www.cinematoday.in

DLP TW-13 Digital Cinema [email protected] www.dlpcinema.com

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

FICCI Frames TW-43 Tradeshow [email protected] www.ficci.com

Galalite TM-5 Screens [email protected] www.galalitescreens.com

Harkness TW-25,27 Screens [email protected] www.harkness-screens.com

Harman TW-51 Sound [email protected] www.harman.in

Kinoton TW-21 Projectors [email protected] www.kinoton.com

Osram TM-2 Projection Lamps [email protected] www.osram.com

QSC TW-7 Sound [email protected] www.qsccinema.com

R&S India TM-7 Sound [email protected] www.rns.co.in

Scrabble TW-52 Digital Cinema [email protected] www.scrabbleentertainment.com

USL TW-9 Sound [email protected] www.uslinc.com

Vista TW-37 Ticketing [email protected] www.vista.co.nz

Volfoni TW-5 3D [email protected] www.volfoni.com


THEATRE WORLD

Documents

Transcript of THEATRE WORLD