European Update: EURO D- CINEMA REACHES TIPPING POINT

Source: Film Journal

We have heard many times about the imminent launch of d-cinema in Europe. In their latest report, Digital Cinema: Global and European rollout, business models and forecasts to 2012, the analysts at Screen Digest show how “foundations are being laid for mainstream market takeup in 2008.” Within two years, they predict 30% of the world’s modern screens will be digitized. Globally there were 5,500 high-end digital cinemas at the end of 2007 (5.5% of global modern screens), up from 2,996 the prior year, with 78% of those in the United States.

“With four studios now backing a rollout program,” declares David Hancock, lead author of the report and Screen Digest’s head of cinema, “the insurmountable obstacle of exhibitor access to key content has been removed.” True, “digital-cinema installation has reached an impasse in the past year in Europe outside the government-led growth in the U.K. and some digital 3D installations, as exhibitors and distributors come to terms with the financial and business implications.” But “the key building blocks for the European market are moving into place.”

For Hancock, the deal between Circuit Georges Raymond and Arts Alliance Media for 400 screens in France (details in last month’s Update) is a sign that “a viable model has been found. However, it would be naïve to suggest that the conversion to digital is proving easy, and the key issue that continues to tax people in Europe is how to pay for it for all levels of the market. The U.S. market has evolved along commercial lines,” he notes, but Europe “has the added elements of market complexity, differing cinema cultures and governments, all of which are keen to ensure that no players are left behind in the switch. This implies that a number of business models will be made available to European exhibitors and distributors, with the element of competition offering a choice of viable alternatives.” We certainly hope so.

XDC ENABLES EUROPEAN CONTENT

Belgium-headquartered d-cinema service company XDC International signed an agreement with Italian program providers Qubo and Dynamic for the DDCinema (Distribution Digital Cinema) platform. Beginning with operas “produced at the most prestigious European theatres,” the partners define their offer as “all programming content other than films, trailers and advertising content, including, but not limited to, television programs, sporting events, stage productions, concerts, documentaries, anime films and live events.”

“The idea is to optimally use the potential of new technology, help cinemas to widen their range of products, as well as to screen events that have so far been restricted to smaller and exclusive venues,” said Elena Rasori, managing director of Qubo. Already servicing over 350 screens across ten European countries, Fabrice Testa, marketing and operations manager of XDC, pointed out that with the DDC, “any MXF interoperable d-cinema server will be able to play back any alternative content prepared by the XDC Digital Content Lab.” The number of 2K equipped auditoria is about 700.

Cinema owners who are interested in booking any event can fill out the application form at ddcinema.net.

SCANDINAVIA HOUSES OSCAR CONTENDERS

As the competition heated up in all categories, Scandinavia House: The Nordic Center in America again presented a New York City preview of all five films chosen by the Nordic countries to compete for Oscar’s Best Foreign Language Film award: Jar City ( M?rin), directed by Baltasar Kormákur (Iceland); Gone with the Woman ( Tatt av kvinnen) by Petter Næss (the director’s Elling represented Norway once before); A Man’s Job ( Miehen työ) by Aleksi Salmenperä (Finland); You, the Living ( Du levande), by Roy Andersson (Sweden); and The Art of Crying ( Kunsten at græde i kor) by Peter Schønau Fog (Denmark). Films were screened for members of the American-Scandinavian Foundation, the Academy of Motion Picture Arts and Sciences and other guests.

After launching its “open foyer” concept at two new cinemas in Bruges and Ostend, Belgium ( FJI Sept. 2006 and 2007) and refurbishing three existing sites, Kinepolis Group again equipped all 2,698 seats at its 10-screener in Kortrijk with Quick Sensor’s occupancy detection and management system.

That brings the total number of Sensor-controlled movie theatre seats across Belgium and France to 20,000 in a year and a half, said Quick Sensor’s chief executive officer, Nick Vandenbulcke. On the horizon for 2008 are the first multiplexes in the U.S., Asia and other European countries. Since Quick Sensor electronically interfaces between tickets sold and seats taken, he says, “traditional ticket inspection is no longer necessary.” Entering the new 4,000-capacity “mega foyer” in Kortrijk, for instance, gives “freedom to the public for enjoying all the services,”

KORTRIJK QUICKLY CONNECTS SENSORS

including expanded food and beverage and filmrelated retail, Vandenbulcke observes, “even if they are not there to watch a movie.”

Around the same time, Kinepolis announced the appointment of Eddy Duquenne, the former head of Sunpark vacation villages as co-chief executive officer of the exhibition group. Working alongside current CEO Joost Bert, who remains in charge of “strategic, concept- and project-related developments,” this appointment “is in line with the board of directors’ decision to considerably strengthen the operational management… His experience in running leisure activities and developing real-estate assets is extremely relevant for the new challenge that he has taken on a Kinepolis.”

EURO DIGITRAINING DEPARTS FOR LONDON

After four years at Barco headquarters in Kuurne—this is the last entry from Belgium, which certainly seems to be the technological front and center of Europe—MEDIA Salles’ course on digital technologies for exhibition is moving to the United Kingdom, from April 9 to 13, 2008. The subtitle of “European Cinemas Experiencing New Technologies” and location may be new, but MEDIA Salles’ director Elisabetta Brunella assures the goal remains the same, namely “to give exhibitors the tools for understanding the risks and opportunities of a phenomenon arising out of the substitution of projection techniques but which has far wider implications.” She considers the U.K. “an authentic workshop of both public and private initiatives.” Application deadline is March 3; for more information, check out mediasalles.it.

HAVING A WHALE OF A TIME IN 3D

Filmmakers and environmentalists François and Jean-Jacques Mantello and Jean-Michel Cousteau joined forces on a new film to be released at select IMAX locations this month. Cousteau, the famous ocean explorer and founder of the Ocean Futures Society, calls Dolphins and Whales 3D: Tribes of the Ocean an “unforgettable underwater voyage where viewers will don their 3D glasses much in the same way we put on our diving masks and will be immersed in the rarely seen world of these fascinating but vulnerable creatures.” He views the documentary as “helping individuals around the world to understand that we need to act responsibly in order to ensure the preservation of the world’s oceans and its inhabitants.”

After three years of 12 international expeditions and over 600 hours underwater at some of the remotest locations on Earth, Cousteau declares, “This marks one of the most challenging and epic productions I have ever taken on.” The Mantellos’ previous films, Ocean Wonderland and Sharks 3D, grossed more than US$55 million theatrically (www.3dentertainment.com).

Please e-mail news and comments to Andreas Fuchs at info@creativecinema.net