DIGITAL CINEMA: MANUFACTURERS ON THE CUTTING EDGE

DIGITAL CINEMA: MANUFACTURERS ON THE CUTTING EDGE by Bill Mead

August 21, 2007 The year 2007 has been a good one for many digital-cinema vendors, with a number of significant milestones reached. For the first time, all movies grossing over $100 million were released in the DCI-specified digital format. According to Texas Instruments (TI), the leading projection technology provider, many of these titles were released simultaneously to more than 1,000 theatres and projected using their DLP Cinema® technology. Such titles as Spider-Man 3, Meet the Robinsons in 3D, Pirates of the Caribbean: At World’s End, Shrek the Third, Ocean’s Thirteen, Fantastic Four: Rise of the Silver Surfer, Transformers and Harry Potter and the Order of the Phoenix are now thrilling audiences with full digital-cinema projection. By the summer of 2007, more than 4,300 theatres worldwide were equipped with projectors incorporating DLP Cinema technology. At ShoWest 2007, TI announced a significant cost-saving development, a smaller, easier-to-implement version of its original 2K display device. Known as the .98 chip, the new device offers the same high-quality image as the previous 2K DLP Cinema chip, but is housed in a smaller, more efficient package, thereby reducing the overall cost of the projectors. Texas Instruments licenses its DLP Cinema technology to Christie, Barco and NEC, and each has expanded their product lineup to accommodate a wider range of screen size, thereby better matching the projector to that particular cinema’s needs. The new .98 chip enables TI projector partners to become more competitive by providing a variety of projector options at lower cost. Barco Digital Cinema has already adopted the TI .98 smaller chip in its new DP-1500 and DP-2000 models. The DP-2000 is for large and mid-size venues, and is designed for screens up to 20m (65’) wide with a lumen output of 18,000. The DP-1500 is designed for screens up to 15m (49’) wide with a lumen output of 14,000. In particular, the DP-1500 is ideal for smaller projection booths that could not previously accommodate a full 2K system. Barco's new DP-3000 is the brightest “large-venue” digital-cinema projector in the industry, with an extremely high screen illumination of 30,000 lumens. The DP-3000, with a 2000:1 contrast ratio, new lenses, a new optical design and high-efficiency 6.5kW lamps, is designed for screens up to 30 meters (98’) wide. The DP3000 debuted at ShoWest and had its cinema introduction with the world premiere of Transformers in L.A. this summer. Christie Digital has also introduced a lower-cost version of its legendary CP2000 2K projector, which is now installed in over 3,000 cinemas. Christie’s new CP2000-ZX is intended for small to mid-sized screens, but is approximately 50% the size of the standard CP-2000. The CP200-ZX can accept a standard Christie bulb, which can be easily replaced at a cost similar to conventional 35mm bulbs. Brightness levels can be customized from 9,000 to 17,000 lumens, for screens up to 14 meters (45’). NEC also completed its DLP Cinema projector family lineup with the introduction of its mid-sized NC1600C projector. The NC1600C ensures that midsize theatres with screens from 26 to 49 feet wide have a cost-effective, high-quality projector with the latest technologies designed specifically for their requirements. NEC is also particularly proud to point out that Regal Cinemas installed over 100 of its large NC2500 projector for the 3D presentations of Meet the Robinsons in March 2007. The systems were installed and setup verified by Strong Digital, NEC’s master reseller and system-integration partner. NEC has also supplied Technicolor Digital Cinema (TDC) with over 120 NC2500 projectors for the ongoing deployment with National Amusements, Wehrenberg Theatres and Zyacorp. In the spring of 2007, the excitement surrounding 3D digital projection continued to grow with in anticipation of Disney’s Meet the Robinsons. This single title provided the impetus for exhibitors to increase the number of 3D cinemas to over 725 cinemas in time for the March 30 release. According to Real D, the leading provider of 3D equipment, 3D movies are a worthwhile investment for theatres because tickets are typically selling at three times the level as the same movie projected in regular 2D format. The next big 3D event will be the release of Beowulf in November; Real D already has commitments that will bring the total to over 1,000 3D screens. All new 3D projection systems start with a standard 2D DCI-specific digital-cinema system. The current resurgence of 3D titles is made possible by the sharp and stable image delivered by today’s digital projectors. The stability of digital eliminates the classic problems associated with older 35mm 3D equipment. One single 2K DLP Cinema-grade projector can be easily converted to 3D with the addition of outboard equipment. Sony continued its push for 4K with its SXRD™ technology with the release of Spider-Man 3 in 4K resolution at selected cinemas. Spider-Man 3 is the latest of a series of titles have been mastered and projected in full 4K resolution including Ocean’s Thirteen, The DaVinci Code and Poseidon. In March 2007, Sony announced that Muvico Theaters will be equipping the new Chicago Entertainment complex with its newly announced SXRD 220 series projectors as the first step in equipping the entire chain with Sony equipment. The new Muvico 18-screen facility, scheduled to open in August 2007 in the suburb of Rosemont, Illinois, will have all of its theatres equipped with SXRD projectors using a combination of the SRX-R210 unit, a 10,000-lumen model, and the SRX-R220 model, an 18,000-lumen unit, as well as its LMT-100 media block system. Sony has also been deploying trials installations of the SXRD 4K projectors with Cathay Cinemas in Singapore, with Odeon/UCI Cinemas at Guildford U.K., and also with the Norway Digital Interoperability in Cinemas (NORDIC) project. Dolby Laboratories, the well-known cinema technology leader, has developed a multi-faceted approach to digital cinema. Not only is it an equipment supplier with its Dolby Digital Cinema system, Dolby is developing what promises to be a more economical approach to 3D. Dolby Labs has been quietly beta-testing its Dolby Digital 3D system with Malco Theatres in Madison, Mississippi. The new Dolby Digital 3D system is also being tested in various European locations in association with the Kinepolis Group in Belgium. Dolby hopes to have its 3D system ready for initial deployments with the fall release of Beowulf. Currently, there are more than 400 Dolby Digital Cinema systems installed worldwide in 22 countries. Theatre chains such as National Amusements, Malco Theatres, Megaplex Theatres and Premiere Theaters have installed the Dolby Digital Cinema server in many of their primary locations. In addition, TDC has ordered 190 Dolby Digital Cinema servers for the North American digital-cinema beta test and for Belgium-based Kinepolis Group. To facilitate creating movies in the DCI-specified digital format, Dolby has developed its DCC-2000 Secure Content Creator, a scalable mastering solution for JPEG 2000 digital cinema compression, encoding, packaging and encryption. Recently, the China Research Institute of Film Science & Technology (CRIFST) selected the DCC-2000 for its facilities, and additional installations are scheduled for the U.S., U.K., Japan, the Netherlands and Belgium. Kodak has been busy deploying its JMN3000 Digital Cinema Content Player along with its new Kodak Theatre Management System with a number of key customers in Europe. Empire Cinemas, one of the U.K.’s largest privately owned cinema chains, has installed the Kodak JMN3000 along with the new Kodak Theatre Management System (TMS) for its six-screen multiplex in High Wycombe, Buckinghamshire, U.K. In addition, Kodak announced key installations with Supercinema Clarici in Foligno, Italy, and also with Village Cinemas in Greece. Doremi continues to lead in JPG2000 DCI server installations, with well over 3,000 cinemas equipped with its DCP-2000 server. In the U.S., their installations have been propelled by their strong relationship with AccessIT. Recently, TDC also purchased 150 Doremi DCP-2000s servers to be used in various installations. In Europe, Arts Alliance Media, the digital-cinema provider for the U.K. Film Council project, recently adopted the Doremi DCP-2000 for its 240 installations. Other recent European installations include the Odeon Surrey Quays complex and many of the systems deployed by XDC. In addition, Doremi has installed its DMS-2000 mastering system in post-production facilities in Norway and Russia, bringing their worldwide total of content-mastering facilities to over 25 locations. XDC of Belgium has announced the development of its CineStore® Solo G3 digital-cinema server. This hybrid JPEG2000/MPEG2 system supports the current DCI specifications and will be the central core of future XDC deployments in Europe. The XDC CineStore Solo G3 is the first commercial product to use the new intoPIX Field Programmable Gate Array, which integrates JPEG2000, MPEG decoding, DCI-specified security and a host of other features into one flexible and easy-to-upgrade module. XDC’s CineStore G3 playback server is part of a full family of XDC products that provide end-to-end content preparation, asset management, technical monitoring and theatre operations. DTS Digital Cinema announced in mid-2006 that they were entering the digital exhibition market by acquiring exclusive rights to the technologies and products from industry pioneer Avica Inc. Previously, DTS had also made a move into digital exhibition by announcing the purchase of a software company. The acquisition led to the launch of the DTS Digital Booking System that was quickly adopted by customers such as Cinépolis and Goodrich Quality Theaters. Building on Avica’s previous work in MPEG servers, DTS upgraded the original FilmStore® line to full DCP JPEG2000 capability and expanded the product line to include the FilmStore Content Management System designed to provide end–to-end solution for management of digital content within a multiplex. The system consists of three interrelated components: FilmStore Director content-management software, FilmStore Central ingest and storage system, and the FilmStore Digital Cinema Player, together providing a powerful digital-cinema management system. Another digital-cinema pioneer, QuVIS is still very much in the market and has been quietly testing a new server product with several exhibitors in the U.S. According to announcements made at ShoWest 2007, both QuVIS and Barco are working closely with DIGESERV, a new company offering a unique financial plan to assist exhibitors with the digital conversion. In Asia, server pioneer GDC of Singapore continues to lead with systems being installed in China and Korea. In March 2007, GDC announced the SA-2100 DSR™ Digital Film Server, which is 33% smaller in size and designed to meet DCI specifications such as Texas Instruments Cinelink™ 2, forensic watermarking, and FIPS-140 security features. GDC also announced the DCI-2000 Digital Cinema Integrated Projection System that conveniently combines the server and projector in one easy-to-deploy and operate package. In March 2007, both GDC and Barco announced a major commitment from China Film Group for the supply of 700 Barco 2K DP-1500 and DP2000 projectors along with GDC servers for cinemas in China. Qube Cinema has been active in expanding its European presence by supporting the recent Lisbon Village Film Festival with a number of digital screenings. Sathyam Cinemas has chosen to integrate the DCI-capable Qube XP-D digital-cinema server for all screens at its flagship multiplex at Chennai, India. The first digital cinemas being deployed in Kuwait are also using the Qube XP-D server. The Kuwait National Cinema Company (KNCC), one of the largest theatrical exhibition companies in the Middle East, and Qube Cinema, Inc. have partnered to bring the first digital cinema to the Middle East and Gulf Region. A pilot DCI quality digital cinema is under installation in KNCC’s theatre (Cinescape) in Kuwait City, using a Qube XP-D and a 2K Barco-based digital projector. Overall, digital cinema vendors should be pleased with the progress they have made in the past few years. The projector manufacturers have transitioned from basic designs to now having complete families of DCI-specified 2K projectors that address a wide range of screen sizes and operator needs at more reasonable price points. The server manufacturers also have done an extraordinary job keeping up with evolving requirements, moving their original products from incompatible MPEG formats to those now universally supporting the DCI-specified interoperable JPEG2000 format. While the equipment prices may still be higher than desired, we should keep in mind the significant R&D commitments made by these companies to bring us the products that now deliver the image quality and overall reliability required to move the cinema exhibition industry into the future.

http://www.filmjournal.com/filmjournal/features/article_display.jsp?vnu_content_id=1003628471&imw=Y

KINEPOLIS KUTTING EDGE - Belgium Circuit Unveils Latest Digitally Advanced Site

http://www.filmjournal.com/filmjournal/features/article_display.jsp?vnu_content_id=1003628494

Source: FilmJournal

Aug. 21, 2007

by Andreas Fuchs “Kinepolis Oostende is first and foremost designed for people, and offers an exceptionally high standard of comfort and convenience and a wide range of entertainment. It is also a multifunctional facility.” (Kinepolis press notes) One year to the day after Kinepolis Group (kinepolis.com) opened its 22nd cinema in Brugge (Bruges), the Belgium-based pan-European exhibitor launched its latest venue with a private party for over a thousand guests on July 7. Located in the coastal town of Oostende (Ostend), the newest and 11th Kinepolis complex in the country has eight stadium auditoria with 1,755 seats and 41 spaces to accommodate wheelchairs and 260 more for cars and bicycles. This being public-transportation-minded Europe, a dedicated stop on the coastal tram line was specifically added to what Kinepolis describes as “a unique, user-friendly location” near the Wellington Racetrack. After the success of its plexes in Ghent (1981), Brussels (1988), Antwerp (1993), Hasselt (1996), Liège (1997), Kortrijk (1997, currently being remodeled), Leuven (1997), Braine l'Alleud (2000) and Brugge (2006), Kinepolis has invested another 11 million euros (US$15.2 mil.) in Oostende. With an anticipated annual attendance of 350,000, corporate communications calls the cinema “promising” in that the “revolutionary concept” introduced in Brugge last year has not only been “tested and improved,” but is also “a conceptual reference for the other Kinepolis complexes and the international cinema market in general.” Among the “cutting-edge innovations” that Kinepolis implemented in Brugge (FJI September 2006) are the open foyer concept, where everyone can come and enjoy the offerings that include film and games corners and a lounge bar called “C and Sea.” The Kinepolis shop offers a wide range of drinks, snacks and retail items—from fruit salads, pizza and popcorn to t-shirts, film posters and books. Innovatively priced seat booking makes tickets cheaper on the web and at the self-service kiosks. In conjunction with a unique ticket monitoring system that “matches the number of tickets sold against the number of people in the auditorium” (see our Quick Sensor story in the June 2007 issue) and digital signage throughout, Kinepolis creates an “accurate, efficient and user-friendly” environment. “Film digitization improves sound and image quality,” the company continues, “and opens up new entertainment options such as XL Gaming (large-screen video games) and company convention facilities.” With the opening activities, guests could also take a peek at “the latest application of digital cinema.” Not only has Oostende been equipped with Barco DP-3000 and DP-1500 projectors that were just introduced at ShoWest, but one auditorium has already presented the latest Dolby Digital 3D technology (FJI May 2007). While Barco said this “will enable Kinepolis to create the radically new 3D cinema experience for its visitors,” the enterprising exhibitor already has plans for at least one digital 3D house at every single one of its 23 multiplexes. Though “overall timing is not yet defined,” per corporate communications manager Miriam Dassonville, “it is important to notice that Kinepolis plans Beowulf to be its first 3D film.” With all the talk about stereoscopic and/or otherwise digital images, the aural dimension of digital sound has somewhat taken a backseat of late. Not at Kinepolis, though, where every single auditorium received the THX seal of approval. THX oversaw the design and construction phase, making sure that “each cinema was precisely engineered to meet THX requirements, focusing on auditorium acoustics, surround sound performance, as well as audience viewing angles and projection technology,” the technology provider stated. THX public-relations manager Graham McKenna added, “Kinepolis really understands how to leverage the THX brand to differentiate from other non-THX competitors, and they have really championed THX certification across Europe as one of our strongest partners” with more than 250 out of close to THX-certified screens in the territory. Unlike “some theatre chains [that] opt to have one or two of their larger auditoria certified, which is perfect for showcasing the blockbuster or most popular films,” McKenna continues, “Kinepolis has embraced THX certification in all rooms across many of their multiplexes.” At the Oostende site, in particular, “we started working with Kinepolis during the early design stages,” McKenna notes. “This meant evaluating all of their architectural blueprints to ensure each auditorium could meet the THX specifications for both sound and visual quality. We then helped their design team select the right equipment for each auditorium.” Based on the size and shape of each room, “there are four separate floor plans” in Oostende, all of which were equipped with the appropriate products. For the first time ever, the QSC Basis system was used in a THX-certified cinema. The network control of Basis 922az and 914lz, McKenna explains, “enables the Kinepolis technical team to better monitor the sound system for component performance, and lets them respond to any technical issues faster and more precisely.” Speaking of performance, despite a drop of seven percent to 10.7 million moviegoers circuit-wide for January through June 2007, Kinepolis had an optimistic outlook during the July 11 earnings report. On a non-adjusted basis, including newly opened and transferred properties, business was even down nine percent, which the company attributed to “the mediocre range of films on offer until mid-May and the warm weather, particularly in April.” The Kinepolis top five in the first half of the year were Pirates of the Caribbean: At World’s End, Spider-Man 3, Night at the Museum, Shrek the Third and 300. Kinepolis Nancy in France (2005) and Kinepolis Granada in Spain (2004) “recorded remarkable growth,” with 25% and 16%, respectively, as Lomme outdid Madrid and Antwerp as the highest-attended with 1.218 million visitors. Next on the Kinepolis agenda is a new eight-screen and 1,440-seat cinema at the Mediacité development in Liège (details available in last month’s European Update). Provided the recently submitted permit procedures run smoothly, the new Kinepolis complex, together with Mediacité, is scheduled to open sometime in 2009.

Digital cinema standard is coming soon

Digital cinema standard is coming soon

Plans eye more d-screens than traditional by end of '10

By Carolyn Giardina

Aug 6, 2007

The number of digital-cinema screens in the U.S. could exceed the number of traditional screens employing film projection within four years. That is, if a series of deployment plans that are expected to be under way by early 2008 stay on track. A survey by The Hollywood Reporter showed that the proposed plans call for more than 20,000 digital-cinema screen installations in the U.S. and Canada by the end of 2010. "Once beta markets feel ready, installation will accelerate," said John Fithian, president of the National Association of Theatre Owners. "We believe that will occur in 2008." Still, there remain a limited number of suppliers as well as standards-and-compliance issues, all of which could be among the factors that could cause delays. Currently, there are about 3,000 digital screens installed domestically out of a total screen count estimated at about 37,000. Most of those are part of the Christie/AIX program, which aims to deploy 4,000 digital screens. The AccessIT unit already has completed the rollout of about 2,800 screens with such exhibitors as Marquee Cinemas, Neighborhood Cinema Group, Celebration Cinema, Cinema West, Cinetopia, Emagine, UltraStar, Galaxy, Rave, Carmike Cinemas and AccessIT's Pavilion Digital Showcase Cinema. Deployment of the 4,000 screens is expected to be completed by November.

Meanwhile, AccessIT continues to work on new exhibitor deals while beginning discussions with studios toward an additional phase of deployment -- where the target would be 10,000 screens by the end of 2010, according to Chuck Goldwater, president of AccessIT's media services group. Other efforts are moving forward concurrently. Technicolor Digital Cinema has a beta program under way with about 200 installations, and deployment is expected to begin by early next year. Technicolor's plan calls for the installation of 5,000 screens in North America within three years, said Joe Berchtold, president of theatrical services at Technicolor. "In 2007, we've seen a real stability of the technology that has been in place," he said. "Therefore I think 2008 is when we'll start to see the real momentum in the industry behind the conversion." Deployment also is imminent at Digital Cinema Implementation Partners, a joint venture owned by AMC Entertainment, Cinemark USA and Regal Entertainment Group that represents more than 14,000 screens in the U.S. and Canada. Formed in February, DCIP is working on deals with the aim of beginning to transition its screens in early 2008. DCIP chairman Travis Reid expects to complete deployment of digital screens to the three chains in three to four years, depending on technology availability. He estimated that at least 75% of the screens would be digital by the end of 2010. Also looking at the beginning of next year as a goal to begin rollout is Cinema Buying Group, which operates as a separate entity under the NATO banner. It has about 4,000 screens committed to go digital, and that number might climb to more than 5,000 in the U.S. and Canada by summer's end. The organization is accepting proposals that would be reviewed in the fall during ShowEast, CBG managing director Wayne Anderson said. It is possible that some theaters are counted in more than one of the deployment projections, when considering numbers. Still, these efforts seem to bode well for digital-cinema proponents as well as the 3-D movement. Leading 3-D provider Real D's chairman and CEO Michael Lewis said, "From Real D's perspective, the 2-D rollout will determine the size of the Real D platform (rollout)." Concluded Fithian: "(Digital cinema) is the biggest technological transition in our industry since the advent of sound, and it is much more complicated. This rollout will take somewhere between five to 10 years."

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