ShoWest 2008: The Report - Major Business Announcements and 3D, Again, Dominated a Busy Show

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As we reported in our last issue, the weakened economy and the frustration of many with the relatively slow pace of the digital cinema transition created a negative undertone to what was, in most respects, an upbeat and energized show. There were several new product announcements and a long list of significant business deals.

 

John Fithian, president of the National Association of Theatre Owners, is definitely not among those who saw many negative signs at the show. Describing himself in his keynote address to the convention as definitely “a glass half-full kind of guy,” Fithian based his upbeat mood on a long list of key statistics that indicate the movie business in general and exhibition in particular are doing quite well.

 

He noted that after a down year in 2005 the industry has enjoyed two strong years in a row and added that 2007 was a record year at the box office with receipts of $9.6 billion. He disputed those who would attribute that record to the five-percent increase in ticket prices and said, “We must keep in mind, however, that the general rate of inflation in 2007 was 4.1 percent.”

 

Another reason for optimism, Fithian said, is the fact that the digital cinema roll out is now in full swing. At the end of 2005, he said, there were 192 digital screens in the U.S. Today that number is over 4,600 and he predicted that by the end of this year both Digital Cinema Implementation Partners and the Cinema Buying Group would finalize deals to move forward with digital. Those groups represent more than 22,000 screens in North America, more than half the total number of some 42,000.

 

[Part of Fithian’s March prediction proved accurate last week when the CBG reached an agreement with AccessIT. See the related story elsewhere in this Report.]

 

Film theft continues to be a significant, global problem, Fithian said, and he quoted a study commissioned by the Motion Picture Association of America the estimated that movie theft robbed the industry of some 100 million tickets in 2007 or roughly $670 million.

 

Fithian said that NATO and the MPAA have joined forces to fight this situation and said the effort has begun to yield some results. He encouraged exhibitors to use their jointly developed Web site www.fightfilmtheft.org to learn about what can be done on the local level.

 

Business

 

ShoWest is always the setting for key business announcements and this year but no exception.

 

Dolby announced that Shanghai Film Group Corporation and UFO India Limited have selected Dolby Laboratories to bring more digital cinema systems to China and India.

 

"Both SFG and UFO are at the forefront of cinema technology in Asia," says John Iles, vice president, cinema, Dolby Laboratories. "Dolby is excited to provide them with Dolby Digital Cinema products and services, and we look forward to building and continuing our strong relationships to assist them in evolving cinema entertainment throughout China and India."

 

In China, SFG has agreed to purchase 100 Dolby Digital Cinema Systems to be installed in its Shanghai United Cinema Line, one of most influential cinema circuits across the provinces and cities of China. In addition, SFG to date has installed Dolby 3D Digital Cinema at its Chengdu Theatre.

 

"Quality, reliability, and compatibility with international technologies are the reasons we selected Dolby Digital Cinema," says Ren Zhonglun, president of SFG. "SFG and Dolby have been working together for more than 20 years. Thanks to this collaboration, SFG is properly aligned with the entire cinema ecosystem, bringing Chinese moviegoers closer to the world through our offerings."

 

Broadening its digital deployment penetration in Asia, Dolby has also signed an agreement with UFO, a leading distributor in India. Under the agreement, UFO purchased a limited number of Dolby Digital Cinema servers, and has the option to purchase additional Dolby Digital Cinema servers as needed, in order to create a screen base for Hollywood movies in India.

 

"We are happy and proud to be associated with Dolby in bringing the 2K digital cinema technology into India," says Rajesh Mishra, CEO of UFO India Ltd. "As a technology provider, we found it important to cater to the Hollywood studios, which require DCI-compliant systems for accepting Hollywood content. Dolby, with its world-class technologies and expertise, will provide cutting-edge benefits to the 2K digital cinema scenario."

 

Kodak announced that it has been chosen by Goodrich Quality Theatres to bring the power of digital cinema to the family-owned circuit with sites throughout the upper Midwest. Beginning with the new Hamilton 16 IMAX in Indianapolis, opening in early April, fully networked Kodak Digital Cinema systems will be installed on Goodrich’s 280 screens in 32 sites, with a phased number of those installations taking place this year.

 

“The Kodak solution makes sense to us,” says Martin Betz, chief operating officer for the circuit. “We knew the reliability of their system and support in a busy working environment. The Kodak name stands out in the industry as being reputable and dependable. Ours is a company and a business that needs to trust those we work with and so we are careful about the partners we choose. For us, this is a long-term decision and we expect great things from our relationship with Kodak.”

 

“This is an exciting day for both of our companies,” says Jose Rosario, sales representative for Kodak Digital Cinema in the US and Canada. “In working with Martin and his team over the past months, we’ve developed a real appreciation for the way they do business and the very high standards they set for customer service and satisfaction. At Kodak, we take pride in working to the same standards and we look forward to living up to their expectations.”

 

Kodak digital systems are currently showing feature presentations on the screens of 32 exhibition chains in 14 countries worldwide.

 

“We designed the Kodak Business Plan with the same purpose as the rest of our solution – to make sense to our customers”, says Rosario. “Exhibitors have told us they can’t tolerate surprises, undefined costs, or hidden fees. The Kodak Plan includes a small upfront investment by the exhibitor and clear usage fees – including studio virtual print fees – for everyone who uses the system. There are no restrictions on content booking or other purchases. This is Goodrich’s system to use as they see fit.”

 

In the new installations, the Kodak Theatre Management System will be at the heart of the Kodak network in each multiplex. Connected to the complex’s ticketing system, this ‘command and control center’ loads and auto-migrates content and Keys to the proper screens, providing a seamless, accurate, and highly automated presentation.

 

In addition to the Theatre Management System, all Goodrich installations will include Kodak JMN3000 Content Players. The Kodak players can handle a full range of content, including digital 3D presentations.

 

 “Kodak has built a reputation for making complex technology dependable, so customers can concentrate on managing their business and planning their future,” says Rosario. “And audiences can enjoy the quality they expect from a Goodrich presentation.”

 

“For almost 80 years, we’ve built our business by continuing to improve the cinema experience,” says Betz. “A great image on the screen in important, but that will always be only one reason movie-goers love coming to our cinemas. We also need to make every part of their experience special – and so, if Kodak delivers and automates a great presentation, we’ll do the rest. This new partnership with Kodak is an important step into our future.”

 

Kodak also announced that it has signed an agreement to install its JMN3000 players on 15 Empire Theatres Limited screens in six Canadian provinces. The installations, which are being completed, include connectivity to Kodak’s Network Operations Center for remote service monitoring, as well as integration with Empire’s audio and automation systems.

 

Empire Theatres is the second largest and fastest-growing film exhibition company in Canada with 397 screens in 15 sites across the country.

 

“Working with the Empire team is an invigorating experience,” says Rosario. “They’ve used Kodak systems in two of their sites for several months, testing the reliability of our technology and the speed and completeness of our response. They set high standards, so it’s great to be passing their tests.”

 

“Our technical people recognize the quality of the Kodak solution,” says Kevin MacLeod, executive vice president of Empire Theatres. “Our managers appreciate the functionality. Our procurement group values the relationship. Kodak has taken a true partnership approach to working with us, through listening and effectively managing our account.”

 

According to MacLeod, Empire regularly monitors emerging technologies for application in their business and they see the value of digital projection both in terms of cost savings and revenue growth. “We see opportunities for improving the quality of the on-screen presentation and the guest experience -- while providing a more efficient use of labour,” he says,

 

“But all of Empire’s new digital screens will be connected to the Kodak network,” says Rosario, “so we will monitor the health of system components, taking an automatic heartbeat every five seconds. If potential problems come up, we can usually diagnose them and fix them before the cinema even knows they exist.”

 

“As a mid-sized circuit, we like to work with suppliers whose solutions are cost-effective and whose technical resources can supplement those we have in-house,” says MacLeod. “Kodak has proven to be a valued partner and we’re excited to take this next step together in our plan to maximize the value of digital cinema in the neighborhoods we serve.”

 

Christie announced that Cineplex Entertainment, Canada’s leading operator of movie theatres, has embarked on the largest digital cinema conversion in the country. The rollout will result in 25 theatres across Canada being equipped with Christie CP2000 DLP Cinema projectors featuring Real D 3D technology. Christie is providing installation support for the rollout in time for the latest Hollywood 3D releases.

 

Cineplex Entertainment will now have the largest number of digitally equipped movie theatres in Canada. These 25 locations, added to Cineplex’s 18 additional Digital Cinema locations, bring the total number of Christie Digital Cinema projectors installed in Cineplex Entertainment theatres across Canada to 43. Cineplex Entertainment, based in Toronto, Canada operates 131 theatres with 1,327 screens, and serves approximately 61 million guests annually.

 

“Cineplex Entertainment’s rapid conversion to the latest in Digital Cinema with Christie CP2000 DLP Cinema series projectors, further confirms our commitment to changing the entertainment landscape in Canada and becoming the ultimate destination for out-of-home entertainment,” says Ellis Jacob, president and CEO, Cineplex Entertainment. “Digital technology opens up an exciting new revenue stream for us. With the current surge in the popularity of 3D, Cineplex has taken a commanding lead in the presentation of the most popular 3D movies.”

 

“We are proud to partner with Cineplex Entertainment to bring the digital revolution to Canada and the latest in digital entertainment, including the exciting new world of 3D,” says Dave Muscat, director of sales, Christie Digital Systems. “Canadian moviegoers will now have the most visually striking presentations in the world.”

 

In our developments Christie announced that its Managed Services group has formed a relationship with Schult Industries, a provider of decor signage, menu systems and digital displays, to provide installation, implementation and support services for their growing digital product line. Schults’ new Strategic Initiatives Division is charged with broadening Schult digital products and services for the company.

 

“There has been a surge in the use of digital signage and menu boards in movie theatres, restaurants and other companies seeking signage solutions, and Schult has been an important part of this initiative,” says Jan Durwood, senior vice president of sales and marketing, Schult. “Our unique approach begins at the design stage and ends with the service component to complete this 360 degree view of digital signage. We wanted a company that we could rely on at the ‘moment of urgency,’ when the customer expects immediate response, often in 24 hours or less. Because we deal with national and large regional customers, we are required to deploy support services across a wide geographic landscape. Christie Managed Services’ reputation and expertise made them a natural partner for us.”

 

Christie Managed Services supports over 9,500 screens at over 850 sites across the US and Canada. The group has a dedicated team of more than 180 that includes Network Operations Center personnel, customer service engineers, and technical systems installers.

 

“Our goal is to support our customers in critical areas within their environment, so that they can focus on their core business,” says Sean James, vice president, managed services.

 

“For Schult, we’re providing a broad range of support that includes project management, installation, call center and help desk services, in addition to preventative maintenance and round-the-clock, on-site emergency services. We look forward to growing with them as their digital product line expands and to providing innovative ways to support their business,” says James.

 

Christie has also secured an exclusive contract with Scrabble Entertainment to supply 200 Christie DLP Cinema projectors for India’s largest single Digital Cinema deployment.

 

Previously dominated by film and e-cinema, SE has embarked on the country’s most massive digital cinema deployment by being the first company to deploy systems designed to be DCI compliant in India. SE will act as an intermediary between content owners including major studios and independent distributors – and the exhibitor. Under a Virtual Print Fee (VPF) business model, SE will finance the exhibitors’ transition to digital by collecting a negotiated “virtual print fee” from movie distributors. SE has already secured commitments from studios in India to provide JPEG 2000 content and major exhibition circuits for the rollout. As part of the deployment plan, SE forecasts to install a total of 1,750 projectors over the next five years, at an average of 350 projectors per year.

 

“Christie has been a reliable brand in the cinema industry for many years. Its proven global success in Digital Cinema has further instilled confidence in us to select Christie exclusively for this massive deployment,” says Ranjit Thakur, CEO, SE. “Traditionally, India has opted for e-cinema due to its low cost of deployment. Now, we can help cinemas leverage Digital Cinema technology at an affordable cost, while providing the ultimate experience for moviegoers – be it Hollywood or local movies.”

 

The first exhibitor to sign up for the deployment plan is PVR Cinemas, one of India’s largest cinema chains. With a total of 103 screens across India, the circuit spans major cities including New Delhi, Lucknow, Indore, Bangalore and Mumbai, among others. One of the most innovative cinema chains, it was also the first to introduce the concept of a multiplex to India in 1997. As part of the agreement, PVR will commit to converting all new theatres with the Christie CP2000 series. Others who have signed up include Fame Cinemas, INOX and Cinemax Theatres.

 

“We’ve been using Christie film projectors in our theatres for many years. Over the years, the projectors have provided excellent results in terms of consistency and reliability, which speaks to the quality of the technology. This deployment plan is a natural progression for us to move to the next level together with Christie,” says Amitabh Vardhan, CEO, PVR Cinemas. “By taking the leap to digital, we hope to trigger a domino effect for the local cinema industry and to enhance the cinematic experience for our patrons.”

 

“India has a constant flow of content produced by Bollywood, yet, has a relatively low screen count. With a huge movie-going community, the country has enormous room to support explosive growth in digital cinema,” says Lin Yu, vice president of sales, Christie Asia Pacific. “With our global success in digital cinema, we have the experience to help our partners as the momentum picks up across the country. It is a privilege to be selected by SE and PVR Cinemas for this monumental roll-out and we look forward to a successful long term relationship.”

 

Doremi Cinema announced that the DCP-2000 cinema server has reached 4800 units in worldwide installations. According to Doremi, this means that more than 80 percent of 2K digital cinema screens employ the DCP-2000. In addition, the DCP-2000 has completed more than five million digital showings.

 

Michael Archer, vice president of sales at Doremi, says, "Our experience supporting an installed base of 4800 servers has allowed us to further improve the reliability and performance of our server. We've also worked to ensure that our server supports the latest technology; including 3D support for Real D, XpanD and dual projectors, plus 2K and 4K resolution playback."

 

Classic Cinemas has chosen DTS Digital Booking System for the in-house exhibition management of its 91 screens in 12 locations in Illinois.  DTS DBS will be integrated with Classic’s enterprise accounting and point of sale systems to manage gross reporting, end-of-day financials, film payments as well as external and internal reporting. 

 

“DBS is a substantial upgrade from our existing combination of systems and provides an effective single-source solution,” says Chris Johnson, vice-president of Classic Cinemas.  “At Classic Cinemas, we pride ourselves on our technological innovations and we view DBS as an excellent way to tie together significant aspects of our business.”

 

“The ability of DBS to support all formats from 35mm to digital cinema, coupled with its flexibility to support circuits of any size—from three screens to those with more than three thousand, makes it an ideal choice for any exhibitor” says Don Bird, senior vice president, corporate strategy and business development for DTS Digital Cinema.  “We are very pleased that Classic Cinemas has joined the growing number of exhibitors worldwide using DBS to manage their circuits.”

           

DTS Digital Cinema also announced the installation of its FilmStore Digital Cinema Player on twelve theatre screens at the Great Escape 14 Theatres in the Harrisburg Mall, Harrisburg, Pennsylvania.   Part of the DTS FilmStore Content Management System, the digital cinema server is one of several innovations from DTS Digital Cinema designed to support the build-out and operation of a fully digital cinema environment.  The technology was developed in line with DTS’ singular focus of supporting all elements of the motion picture industry’s transition to digital cinema.

 

Harrisburg Mall has recently carried out a series of major changes and the Great Escape 14 Theatres have undergone dramatic renovation.  In line with the upgrade, Great Escape Theatres recognized the importance of including digital cinema solutions on its screens in order to remain competitive as the digital cinema evolution continues.  It contracted DTS Digital Cinema to provide the necessary technology. The installation began last December 17th and was completed less than 48 hours later by the DTS Digital Cinema installation team with the assistance of the chosen integrator, Digeserv, and a group of Great Escape Theatres staff. Once the conversion was complete, the Great Escape Theatres were immediately able to exhibit digital content.

 

"DTS is a company that understands our business objectives and delivers superior products that are easy to install and operate and  that do not fail," says Chance Ragains, chief operating office for Great Escape Theatres. "They are genuinely interested in the success  of our business and we are proud to call them our partner."

 

"Digeserv is proud of the work we accomplished with DTS Digital Cinema at Great Escape Theatres, bringing their first state-of-the-art digital megaplex to the industry," says Larry Jacobson, president  and CEO of Digeserv.  "Great Escape Theatres has established a leadership role in their market with the introduction of this all-digital complex using the FilmStore Digital Cinema Player and Digeserv is honored to be a part of it."

 

"We were thrilled to work side-by-side with both Digeserv and the Great Escape Theatres team," says Bird. “Everyone involved was extremely professional and the collaboration resulted in a quick and successful conversion. DTS Digital Cinema is excited that Great Escape Theatres have made the transition to digital cinema. We hope that the switch to digital will increase new business  opportunities and assist Great Escape Theatres in driving more customers into its theatres."

 

Barco appointed Todd Hoddick as new vice president for Barco Media and Entertainment’s Digital Cinema activities in America.  In his new role, he will closely work together with Wim Buyens, head of Barco’s Global Digital Cinema activities.

Prior to this new role at Barco, Hoddick held the position of vice president strategic partnerships and international operations for Technicolor Digital Cinema.

“We strongly believe in the future of digital Cinema and will further invest in the innovation of our digital cinema solutions and in our global teams and services. Todd Hoddick is a great asset to Barco’s US based digital cinema team. His knowledge of the cinema industry, his enthusiasm for new technology and his proven track record make him of great value for an already strong team,” says Buyens.

 

Hoddick says, “Barco is ‘the’ innovating leader in digital cinema projectors. I am thrilled to be a part of this team and I look forward to serving and supporting our digital cinema customers, dealers and partners. Digital cinema and the quality of 3D digital cinema are at a breakthrough point.  We anticipate great excitement and broad acceptance of this revolutionary technology.”

 

“In his new role, Todd and his US team will further build on creating close relations with integrators and theater owners. Barco strives to always think with the customer, in order to offer the best digital cinema solution. Offering that solution goes beyond selling digital projectors; it’s about the total cost of ownership, ease of use and more,” says Buyens.

 

Technicolor Digital Cinema announced that it will install digital cinema projection systems at Cineplex Entertainment’s Scotiabank Theatre in Toronto, Ontario, Canada. The Technicolor systems will enable a new range of content offerings such as 3D features and live events on the big screen. This announcement marks the first installation for Technicolor Digital Cinema in Canada.

 

“We are delighted to participate in this initial beta test with Technicolor Digital Cinema,” says Ellis Jacob, president and CEO, Cineplex Entertainment. “As the industry moves closer to converting to digital projection, the Scotiabank Toronto installations will provide us an opportunity to evaluate the Technicolor solution and enable us to gain valuable operating insight. Our guests will also benefit as they will enjoy enhanced images on screen and the ability to experience some of the 3D movies that will be playing during this test period.”

 

“We’re proud to have been selected by Cineplex Entertainment to bring the digital cinema to their flagship Scotiabank Theatre Toronto,” says Curt Behlmer, executive vice president of Technicolor Theatrical Services and COO of Technicolor Digital Cinema. “Cineplex is an industry leader in quality and innovation, and we are pleased to be working together. We look forward to playing a leading role in the industry transition to digital cinema across Canada.”

 

Technicolor Digital Cinema also announced that it will install digital cinema projection systems with Milwaukee, Wisconsin-based Marcus Theatres at the Cinema At The Renaissance 13-plex in Sturtevant, Wisconsin.

 

Marcus Theatres, a division of The Marcus Corporation, is the seventh largest motion picture exhibitor in the United States and operates 595 screens at 49 locations in Wisconsin, Illinois, Minnesota, Ohio, North Dakota and Iowa.

 

“Marcus Theatres has been an industry leader for over 70 years,” says Behlmer.  “We look forward to working with them in their ongoing pursuit of providing their customers with the highest quality motion picture presentation available.”

 

“Marcus Theatres is pleased to partner with an outstanding company such as Technicolor to test digital cinema in Milwaukee. Now our guests will be able to experience a wide variety of entertainment options – everything from 3D presentations, unique alternative content and the greatest Hollywood hits – all presented in digital cinema’s outstanding sound and image quality,” says Bruce J. Olson, president of Marcus Theatres.

 

THX and Cinemark announced that Cinemark Theatres will add more than 200 THX certified screens domestically, bringing the total number of Cinemark screens with THX certification to more than 500. Cinemark will be rolling out the THX certification program in major metropolitan areas across the United States, including Los Angeles, San Francisco and Denver.

 

"Cinemark and THX share a common vision of driving advancements in film exhibition. THX has a strong association with great movie experiences, and is instantly recognized by movie audiences around the world for sound and image excellence," says Tim Warner, president of Cinemark Holdings. "By extending THX certification to more than 500 of our theatres, it further communicates our commitment to delivering the best movie-going experience to our customers."

 

"With nearly 25 years of experience in cinema design and certification, THX has mastered the art of presenting high impact experiences in movie theaters," says Robert Hewitt, vice president of sales at THX. "THX has shared a long and successful partnership with Cinemark Theatres, having teamed with them to create some of the nation’s premiere cinema venues, and we are thrilled to extend this relationship to more and more movie-goers around the country."

 

Reactrix Systems announced it has entered into a relationship with cinema advertising leader National CineMedia, making Reactrix the exclusive provider of gesture-based interactive media and technology for NCM’s movie theatre lobby advertising initiatives. The new relationship provides for a pilot program and deployment of Reactrix’ proprietary STEPscape interactive floor and WAVEscape flat panel advertising technology in select National CineMedia affiliated theatre lobbies across the country.

 

Through the new deal, NCM will have full sales responsibility and operating control of its Reactrix STEPscape systems in theatres, marking the first time Reactrix has allowed a partner in the U.S. to deploy its floor technology as an independent advertising network.

 

Through its FirstLookpre-feature program, Lobby Entertainment Network and other promotional products, National CineMedia provides advertisers with bundled offerings of on-screen and lobby marketing products that provide multiple ways to interact with theatre patrons.

 

“The movie theatre environment is very engaging and enables brands to have a direct one-on-one relationship with the customer. Adding the Reactrix STEPscape technology, which is fun and appeals to the entire family, helps to create a 360-degree immersive and engaging marketing opportunity for brands. It truly makes sense to add it to our lobbies,” says Cliff Marks, president of sales and chief marketing officer of National CineMedia.  “Reactrix allows theatre patrons to actively interact and have an entertaining experience with brands in our lobbies, while offering incredible recall and brand impact.”

 

Reactrix’ partnership agreement deal with NCM comes on the heels of the release of an exciting study with Arbitron that proves that Reactrix can now measure and quantify how and at what point consumers choose to ‘opt in’ and engage with their STEPscape Media Network.

 

“As theatre owners continue to want to provide a full-scale, unparalleled entertainment experience, partnering with Reactrix can help further that goal,” says Sue Danaher, president, Reactrix Systems. “Our recent Arbitron study proves that Reactrix’ STEPscape displays actually engage consumers with interactive branded entertainment for as much as 10 minutes. This is unheard ‘opt-in’ advertising engagement in the industry and will certainly enhance the movie-going experience for NCM patrons.”

 

NEC announced that Jim Reisteter has joined the company as the general manager of the Digital Cinema Division. He will report to the vice president of the Solutions Business, Yuji Ichimura.

 

“Jim’s experience is ideal for leading our digital cinema business to the next level,” says Ichimura, “He understands the customer perspective, and will ensure that our customers receive the state-of-the-art digital cinema and pre-show advertising technology solutions that they need.”

 

In this role, Reisteter is responsible for building NEC’s media solutions business by leveraging the expertise of NEC visual display products, infrastructure, and integration services to provide specialized, turnkey solutions for the delivery and management of digital content.

 

According to Reisteter, “NEC offers very high quality digital media projectors, servers and services. This is an unparalleled opportunity to lead an organization, and deliver a new standard in visual technology to the cinema industry.”

 

Previously, Reisteter served as the vice president of sales and marketing at Pacific Media Associates, the leading provider of market research and intelligence for the front projector and flat panel display markets, including digital cinema. Prior to Pacific Media, Reisteter held the vice president and general manager position in the front projector control unit at Interlink Electronics, and the professional digital imaging unit at Kodak.

 

Technology

 

As the roll out moves ahead at a measured pace manufacturers continue to refine digital cinema technology and new companies are entering the market.

 

Dolby Laboratories was highlighting how its digital cinema solutions address the unique needs of exhibitors and create an efficient digital cinema environment.

 

Dolby Digital Cinema features a complete digital system for storing, managing, and playing digital movies. The Dolby Digital Cinema server was the first to be awarded FIPS Level 3 certification for reaching the highest levels of security specified by the Digital Cinema Initiatives.

 

Dolby Theatre Management Software orchestrates the operation of an entire digital multiplex.

 

Dolby 3D Digital Cinema offers exhibitors a flexible, high-quality 3D solution. The solution supports both 2D and 3D playback without the need for a dedicated 3D auditorium or a special silver screen. Because Dolby 3D does not require a silver screen, there is uniform light distribution, delivering an exceptional viewing experience for both 2D and 3D content.

 

Dolby Show Library allows exhibitors to load digital content from a central server via Ethernet, USB 2.0, satellite, DVD, or removable hard drive.

 

The Dolby NA10 interfaces with existing automation systems to allow the Dolby Digital Cinema system to control lights, curtains, masking, and audio format changes.

 

The Dolby CP650DC is a dedicated digital cinema processor that connects to all servers' digital outputs. It has the capability to independently control the volume of various content (pre-show advertising, trailers, and feature presentations), and the new configuration allows replay between conventional digital cinema multichannel 5.1 or 6.1 (Dolby Digital Surround EX) soundtracks, along with Dolby Digital bitstream decoding. In addition, it provides global audio delay for correct synchronization and the option of internal active crossovers for either two-way or three-way main outputs for optimum dynamic range.

 

The DMA8 Plus is Dolby's digital media adapter for interfacing digital cinema and alternative content sources to existing cinema sound systems. Based on the Dolby DMA8, the unit accepts four independent digital inputs with up to eight channels of PCM digital audio from sources such as digital cinema servers, pre-show advertising servers, DVDs, satellite and alternative content sources. It also accommodates other audio coding formats from non-film sources, including PCM, Dolby Digital, Dolby E, Dolby Pro Logic, and Dolby Pro Logic II. Six analog output channels ensure straightforward interface with a cinema's existing Dolby sound processor.

 

"The full value of Dolby Digital Cinema is realized when an entire multiplex converts to digital," says John Iles, vice president, cinema, Dolby Laboratories. "With more than 35 years offering support and services for the cinema industry, we understand the needs of exhibitors and believe in the importance of providing a simplified yet comprehensive solution for digital cinema."

 

Dolby also hosted a standing-room only 3D screening of the summer release Fly Me to the Moon, produced by nWave Pictures and Illuminata pictures, distributed by nWave Pictures Distribution, K2 Communications.

 

Christie was showcasing its latest CP2000 series product line, including projectors with three new brightness levels and a new dual projector 3D system.

 

The CP2000 series now includes the CP2000-SB and CP2000-XB with enhanced brightness for screens up to 100-feet (30 meters); the CP2000-ZX for medium sized screens up to 50-feet (15 meters); and the CP2000-M for smaller screen sizes around 35-feet (10 meters).

 

The projectors can also present today’s most advanced 3D digital movies with the new Christie 3D2P dual projector system.

 

“We’ve concentrated on what our customers really need, and in doing so we have developed the most choice and flexibility for 2D and 3D cinema presentations,” says Brian Claypool, senior product manager, Entertainment Solutions. “We’re excited to offer new products and product improvements that will deliver the enhancements our customers want, while still providing the best cost of ownership and reliability in the industry.”

 

The flagship Christie CP2000-S and CP2000-X projectors have been upgraded to new brightness levels (the “SB” and “XB” models), delivering over 30,000 ANSI lumens of output power – a nearly 30 percent increase in brightness. The Christie CP2000-M features new optics and a lower watt lamp, outperforming the competition – the company says – in lumens per watt.

 

The CP2000-M also features a new motorized lens system and a selection of eight new zoom lenses that can adapt for virtually any auditorium with absolutely no need for resizing or scaling. It incorporates a "universal" switching power supply that supports a high performance Xenon bubble arc lamp. HDCP decryption on both DVI inputs, standard on the CP2000-M, allows the display of copy-protected alternate content, BlueRay, and even outside HDTV broadcasts. It can be self-cooled or use external air extraction, depending on theater configurations and need, for greater installation options.

 

The first to be installed in a commercial setting, the Christie 3D2P is already winning praise from moviegoers at the widely acclaimed Krikorian Premiere Theatres, where it is presenting the latest 3D digital cinema releases.

 

“3D Digital Cinema is one of the most exciting developments in our industry. We looked at current single-projector 3D solutions and didn't like them for different reasons, including cost. We selected the Christie dual projector 3D2P solution because we can now screen the latest 3D features on any size screen in all of our complexes with no real concerns about light issues," says Todd Cummings, vice president of operations for Krikorian Theatres. “In fact, with the growing popularity of 3D, we will be utilizing the system on our larger 60-ft screens for 3D features. One of the distributors told us that they will be looking to increase the light through the polarized glasses by more than 30 percent for their future live action 3D films. Only a dual projector set-up can meet that requirement. A single projector system currently would not be bright enough to cover such a large screen.”

 

Cummings adds, “Because we own the entire 3D solution, Christie lets us bring the technology to our audiences at the lowest cost of ownership. The Christie support team worked with us every step of the way and they were willing to incorporate several of our ideas to make the system fit our needs. We wanted to make sure that we could deliver to our customers a perfect movie viewing experience right from the start.”

 

IntoPix was promoting its new real-time JPEG 2000 hardware encoder IP for 4K digital cinema.

 

Now extending its activities into post-production intoPix created a new 4K JPEG 2000 encoder, the IPX-JP4K-E, with its established IPX-JP4K-D Decoder as a complete JPEG 2000 2K and 4K compression and decompression solution.

 

Encoding 4K in real-time and processing 2K images at up to 96 frames per second, the company says the intoPix range now brings JPEG 2000 scalable coding, loss less and high compression quality benefits exceeding DCI standards to the complete digital cinema production and post-production chain.

 

In common with the intoPix decoder range, the new IPX-JP4K codec family is also based on a single, cost effective, FPGA. intoPix CEO Jean-Francois Nivart says, “Digital cinema is already revolutionizing the cinema industry. intoPix’ new technology will enable the industry to realize its goals bringing huge benefits to production and post-production in terms of speed and image quality.”

 

New to ShoWest Electrosonic Systems was displaying the newly launched MS9600 JPEG2000 server.The MS9600 plays unencrypted JPEG2000 content at 2K, 1080p and 720p resolutions.  The company was also showing the prototype DCI compliant version of the player.

 

Capable of delivering images at a price point well below that of its competitors, the MS9600 features 2K resolution via dual HD-DSI and dual DVI-I video outputs, 16 channels of broadcast quality digital audio, an advanced user interface and confidence monitor.  It also includes professional integration features such as Timecode and Genlock, gigabit network, serial control, and four general purpose I/O.  The unit also supports web interface for complete remote control and configuration for playlist management, SNMP and Metadata support.  The MS9600 is ideal for special venue applications since it supports 48fps 3D playback and multiple units can be synchronized for multi-screen presentations.

 

Bryan Hinckley, business manager of the Electrosonic Products Group says, “Electrosonic has been producing high definition MPEG video servers for 10 years now and we are excited to take the next step into the JPEG2000 realm.  The MS9600 has immense application opportunities for special venues and 3D markets and more importantly, this product release represents the first milestone in creating a DCI compliant appliance for the digital cinema market.”

 

Strong Digital Systems was exhibiting the NEC Starus line of digital cinema projectors. Ballantyne was also showing its other cinema product and service offerings.

 

RealD 3D, the global leader in 3D, continued its innovations in 3D cinema with demonstrations of its RealD XL larger-screen technology, which allows RealD's next-generation 3D experience to reach screens over 60 feet wide with a single projector. RealD XL was first unveiled at last November’s premiere of Paramount Pictures' Beowulf in Los Angeles.

 

DreamWorks Animation chairman and CEO Jeffrey Katzenberg presented a sneak preview of the studio's Monsters vs. Aliens along with a special 3D clip of DreamWorks's 2D summer film Kung Fu Panda, both in RealD 3D. The clips were shown on the Des Arts's 60-foot screen utilizing RealD XL with a single DLP projector. Katzenberg says, "The proprietary tools and techniques that we've developed as a part of our 3D initiative and the use of Real D's groundbreaking XL technology together allowed us to project onto the silver screen 3D images with unprecedented clarity during Tuesday's ShoWest presentation."

 

New Line Cinema and RealD screened New Line's summer tentpole, Journey to the Center of the Earth 3D. New Line Cinema president of domestic distribution David Tuckerman says, "We were thrilled to screen Journey in its entirety in RealD 3D to ShoWest attendees. The film looked great on the extra-large screen- bright, sharp, and colorful- and the audience was blown away."

 

Michael Lewis, RealD 3D chairman and CEO, says, "RealD is committed to 3D cinema and to innovation. 3D is all we do and this expertise allows us to continually upgrade our cinema technology, providing the absolute best 3D experience available. RealD XL is the latest example of that."

 

Royal Philips Electronics announced the commercial availability of its CineFence forensic marking technology for both digital cinema image and sound. Five major Hollywood movie studios have approved Philips’ CineFence forensic marking of digital cinema sound tracks to deter piracy. The approval makes Philips’ CineFence the first forensic marking solution for both image and sound tracks for digital cinema.

 

The studios gave their approval for Philips’ CineFence image marking in 2006, and recently concluded extensive sound tests on Philips’ CineFence audio marking technology. CineFence supports forensic marking of up to 16 audio channels on a single Digital Signal Processor.

 

Illegal camcorder recording at cinema theaters has been identified as a major source of movie piracy. Since content pirates illegally record the image and sound tracks from different theaters, the movie studios adopted forensic marking as a mandatory requirement in the DCI Digital Cinema System Specification. Philips’ CineFence says this is the first forensic marking technology that fully complies with the DCI Specification and enables individual trace-ability of image and sound.

 

“Digital cinema offers theater patrons an unsurpassed experience in image and sound quality,” says Wade Hanniball, vice president, cinema technology, Universal Pictures. “Philips is the first to provide invisible and inaudible marking technology for both image and sound tracks. These marks will greatly aid in the industry's collective efforts to combat piracy in theaters. Universal is pleased to support the adoption of CineFence by digital cinema manufacturers.”

 

Ballantyne www.ballantyne-omaha.com

Barco www.barco.com

Cineplex Entertainment www.cineplex.com

Classic Cinemas www.classiccinemas.com

DTS Digital Cinema www.dtsdcinema.com

Dolby www.dolby.com

IntoPIX www.intopix.com

Marcus Theatres www.marcustheatres.co

NEC www.necam.com

National CineMedia www.ncm.com

Philips Content Identification www.philips.com/ci

RealD www.reald.com

THX Certified Cinemas www.thx.com

Technicolor Digital Cinema www.technicolordigitalcinema.com