Cinemark selects Barco for large-scale installation and service agreement

http://www.barco.com/digitalcinema/pressrelease/2552/

 

In an exclusive agreement that expands its Cinemark partnership, Barco is providing complete installation and 3rd tier support services for 3,000+ digital cinema projectors at over 250 Cinemark sites in North America.

Rancho Cordova, CA — 22 June 2010 — Barco, a global leader in digital cinema technology, announces an exclusive agreement with Cinemark Holdings, Inc., in which Barco is providing turnkey installation and support services for thousands of ultra-bright B-Series digital projectors utilizing the Texas Instruments (TI) 1.2” DLP Cinema® technology. This agreement builds upon last year's key announcement that Cinemark USA had selected Barco as their exclusive DLP® digital cinema provider. 

Barco is currently installing its family of digital projectors in combination with Doremi media servers. The service agreement covers the initial installation, including projectors, pedestals, audio system upgrades, servers, and automation. 

Cinemark is already realizing the benefits of Barco's comprehensive approach to installation and service. “In all facets of our conversion from 35 mm to digital 2D and 3D projection, Barco has worked along side us as a trusted partner, fully supporting its products as an integral part of their long term commitment to Cinemark's success,” said Alan Stock, CEO of Cinemark. “Thanks to Barco's dedication to product quality and ongoing support, these new systems will help to position Cinemark as a premier exhibitor, enabling us to project the brightest images in the industry, while preparing the company to fully embrace DLP-enhanced 4K.” 

“Barco has always been known for its innovative, high quality display products. We have been diligently expanding our service offerings to meet the high performance standards set by our customers with the goal of providing a virtually seamless transition from film to the new digital technology," stated Mike Jones, VP of Customer Service for Barco North America. “We are building a strong reputation for the deployment and servicing of complete Digital Cinema Systems. By controlling all aspects of the value chain including product quality, installation and system integration, Barco has been able to keep deployments on a tight schedule while meeting very strict quality standards. This maximizes image quality and return on investment for our customers.” 

“With this unprecedented partnership representing the full continuum of service, training and dedicated support, Barco is underscoring its commitment to a comprehensive approach to projector system deployment,” explained Todd Hoddick, VP of Digital Cinema for Barco North America. “This service partnership was a natural progression of the relationship we've built with Cinemark over the years, providing the foundation for Barco to demonstrate our commitment to superior quality and reliability made possible by maintaining the finest service team in the industry.” 

About Cinemark Holdings, Inc. 
Headquartered in Plano, TX, Cinemark (NYSE: CNK), is the world's second largest exhibitor in the theatrical motion picture industry. As of March 31, 2009, Cinemark operates 420 theaters and 4,846 screens in 39 states in the United States and internationally in 12 countries including Brazil, Mexico, Argentina, Chile, Ecuador, Peru, Honduras, El Salvador, Nicaraguq, Costa Rica, Panama and Colombia. For more information, go to 

Christie opens Shenzhen production facility

http://www.hollywoodreporter.com/hr/content_display/asia/news/e3i90084bf05b70386f17ed7a302b5cd01c

 

New plant will create opportunities in Asia

By Jonathan Landreth

June 16, 2010, 08:56 AM ET

SHANGHAI -- Cinema projection company Christie Digital Systems has opened a new factory in the southern China city of Shenzhen to meet growing global demand, much of it in China.

The company, run by Jack Kline, president and COO, expects the new factory to help double its output, the company said in a statement released during the 13th Shanghai International Film Festival on Wednesday.

Cypress, California-based Christie has more than 12,000 digital cinema projectors installed worldwide, including over 2,000 4K-ready digital cinema projectors. The company claims more than a 65% share of the worldwide digital cinema market.

Much of the company’s market growth will come now from China, where pent up demand for entertainment in the swelling middle class boosted boxoffice 43% in 2009. Chinese cinema builders are adding nearly two screens per day, mostly in dozens of second- and third-tier Chinese cities of at least a million people.

“Our new Shenzhen facility sets a new standard for production capability, manufacturing excellence and speed to market,” said Kline.

Christie’s new factory in Shenzhen, one of China's largest cities with 16 million people, will ramp up output of its digital cinema projectors to screen 2D and 3D movies.  

Solaria projectors are scheduled to roll off the Shenzhen assembly line in July, and the factory initially will feed the Asia Pacific market, freeing up capacity at Christie’s North American plant, the company said in a statement.

Ihor Stech, Christie's vp of operations, said the new factory was ideally located because the company gets many of the raw materials for its projects from Asia, making the plant more efficient.

“Assembly in China opens up significant new opportunities and shipping flexibility for Christie that will allow us to better serve all our customers around the world,” Stech said.

The company hopes to save on import duties, and speed its time to market, both inside China and, because of Shenzhen’s proximity to the port at Hong Kong, to the rest of the world.
Christie said the Shenzhen facility would adhere to quality standards and manufacturing principles used in its North American plants and would increase its staff and add a second assembly line in the coming months.

New Cinema System from Panavision Makes 3D Simple

http://2-pop.com/DigitalCinematography/article/96094

June 17, 2010 First 3D system compatible with all installed screens and projectors.   Woodland Hills, Calif. — Panavision announced the first 3D system compatible with all cinema screens – white or silver – and all cinema grade projectors – film or digital – used in theatres worldwide.  The system will be introduced and demonstrated at Cinema Expo International, the worldwide industry trade show, June 21 to 24, in Amsterdam. “Our industry faces a challenge,” said Eric Rodli, Senior Vice President, Panavision Inc. “With the unprecedented availability and popularity of 3D content, studios need more 3D screens available, while exhibitors need to use their screens more flexibly. This new 3D system offers a high-quality solution to address those issues.  It enables exhibitors to show 2D or 3D content on the same screens, and to convert back and forth easily, without making major new investments in new screens or projection equipment.” Using spectral filtration technology to ‘comb’ the spectrum, this system gives audiences the sensation of seeing the full color spectrum in each eye. Because the system uses the entire visible spectrum, polarization is not required; so images can be shown on a white screen – and the system can be used with all projectors, with the use of a special lens for film projectors or a filter mechanism for digital systems.   The lens and filters are part of the new Panavision offering, which also includes high quality reusable glasses and a cleaning and sanitizing system.  System set-up, training and technical support are also provided. “The glasses are one key to system quality,” said John Galt, Senior Vice President for Advanced Digital Imaging at Panavision.  “Ours have lenses with tempered dichroic-coated glass for exceptional color stability and consistent performance – although they are made at a very reasonable cost.  And because our approach is based on splitting light, we’re ‘technology neutral’ – the same glasses can be used with film or digital systems.” In addition, Panavision’s ability to project 3D images on white screens – with their more ‘even’ center-to-edge illumination vs. silver screens – enables more of the audience – sitting higher or lower in stadium seating, or off to the side in wide auditoriums – to more accurately see the colors and image quality the filmmakers intended.   Panavision is taking a lead role in designing and marketing this system; the filter technology has been developed by Omega Optical, worldwide supplier of custom filters for a variety of demanding applications. The new Panavision 3D system will be available worldwide, beginning in the Fall of 2010.

 

3D cinema surges ahead in Europe

http://www.hollywoodreporter.com/hr/content_display/news/e3i82a006de3290b1a663acf0588c32187a

 

Europe surpasses U.S. in number of 3D screens available

By Carl DiOrio

June 22, 2010, 10:17 AM ET

AMSTERDAM -- Surging regional interest in 3D cinema has triggered a rapid pickup in the conversion of theaters to digital-projection systems, producing an estimated 5,500 European digital screens by midyear.

"Almost all of the growth in Europe has been driven by 3D," Paramount exec vp distribution Mark Christiansen said Tuesday. "In the past year, Europe has surpassed the U.S. in the number of 3D screens available."

More than 75% of Europe's digital screens had been outfitted for 3D by the end of the first quarter, which featured a 16% uptick in the digital conversion rate, Screen Digest analyst David Hancock told an audience of exhibitors at a Cinema Expo seminar on d-cinema. 

Digital penetration varies greatly country to country, with Luxembourg topping the region at 72%, while Serbia lags all others with just 2% of its screens converted. The U.K. is a standout among larger territories at 22% digital, compared with just 13% of screens converted in Italy.

France -- which has converted 20% of its screens to digital projection systems -- is a 3D leader, with 768 French screens boasting 3D capability by March 31.

Virtual print fee (VPF) agreements with Hollywood majors are pumping more than $600 million into Europe to help with digital conversions. But with $2.75 billion needed in total for the digital rollout, several countries are supplementing studio largesse with public funding.

Gamila Ylistra of the Netherlands' Eye Film Institute said time is of the essence as the Dutch d-cinema administrator strives to convert the remaining 80% of the territory's roughly 650 screens to digital by mid-2012.

"The transition is more expensive the longer it takes," Ylistra said.

Meantime, the exhibition landscape varies greatly throughout the region, and industry officials are struggling to tailor funding to suit individual markets. 

In Poland, 80% of the cinemas are municipally operated, and most have yet to board the digital bandwagon.

"The public cinemas are not so keen to finance the process," said Marta Materska-Samek of Poland's Foundation of Cinema Development.

Most of the publicly owned theaters serve populations of 20,000 residents or less, making government support difficult, she said.

Paramount is among studios seeking to customize financial support for smaller exhibitors.

"Every territory comes with its own solution," Christiansen stressed. "There is not one way to do it."

Of 32,000 European screens, 23,800 have been targeted for support via Hollywood studios' VPFs. Though the number of installed digital systems is much smaller, the pace of regional conversions is gathering steam, Hancock said.

"We've seen lots of deals struck for screens in the last four to five months," the analyst said. "They're not installed yet, but they have been committed."

An annual confab serving the regional exhibition industry, Cinema Expo continues through Thursday at the RAI convention center here.

 

Ymagis Experiences Growth Spurt In Deals With UGC, Utopia and OCine

http://celluloidjunkie.com/2010/06/20/ymagis-experiences-growth-spurt-in-deals-with-ugc-utopia-and-ocine/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed:+celluloidjunkie+(celluloidjunkie.com)

 

Posted by J. Sperling Reich | June 20, 2010 11:15 pm

In the past few weeks Ymagis, like their European counterpart Arts Alliance Media, has announced a number of new deals with exhibitors. What better time to review them all than on the eve of Cinema Expo, which begins tomorrow in Amsterdam.

 

For anyone who may need a brief refresher on who Ymagis is, they are a European digital cinema integrator and deployment entity of sorts. Based in Paris, France, they differentiate themselves from other European integrators by focusing on the management and administration of virtual print fees (VPF) being paid by distributors rather than on the financing and installation of digital cinema equipment.

 

This is not to say Ymagis doesn’t arrange for financing and deploy d-cinema systems in theatres. They most certainly do. In fact, Ymagis arranged the financing for the deal they announced on May 11th with the French based theatre chain UGC. The announcement was really a formality since Ymagis began converting UGC’s nearly 600 screens in March of this year. UGC operates 36 theatres in France, three in Belgium, four venues in Italy and another six in Spain. Attendance at UGC’s theatres throughout Europe tops out at more than 40 million.

 

The deal is one of the more important ones Ymagis has landed, not only because its with one of France’s largest theatre operators, but also because they arranged financing for the conversion through Banque Populaire Group, LCL-Crédit Agricole and Banque Palatine.

 

Reached via email, Ymagis chief executive officer and founder Jean Mizrahi detailed the unique way his company works with exhibitors:

“We have a flexible model. In some cases, exhibitors prefer to finance the equipment themselves. In other cases, they want us to take care of it. Right now among the 1400 screens we have signed throughout Europe, half of them have chosen to self finance, the second half we’re financing. We receive the VPFs and though the exhibitors do not know how much we receive from the distributors, we redistribute the largest portion of this revenue directly to them.

 

Essentially our business is to negotiate with distributors a deal that will apply to all the exhibitors we deal with. We collect the VPFs each time a movie is exhibited digitally, and on the other hand have a liability to the exhibitors: we have variable revenues and fixed commitments. The risk is there (VPFs collected need to be consistently in excess of the commitments), but we believe that we have developed the right tools to manage it.”

Let’s examine what Mizrahi is saying here (or at least the way I understand it). Ymagis enters into agreements with exhibitors for a set amount of money each month for every converted screen. The exhibitor receives the agreed upon amount each month, whether Ymagis has collected a VPF or not. The company than collects a VPF from distributors for every title booked onto a digital screen. During months when the same film was held over on a screen all four weeks there might not be a VPF. Other months there might be two or more VPFs and Ymagis will come out ahead. Presumably Ymagis has run all the numbers for a given complex, knows the turnover rate on titles and has calculated that while some months they may owe the exhibitor more than they collect in VPFs, more often they will collect more in VPFs than they pay out.

 

With the UGC agreement Ymagis becomes the largest digital cinema deployment entity in France with upwards of 840 screens accounting for 25% of the countries box office.

 

On June 9th the company added Utopia Group, a theatre chain based in Luxembourg, to its growing list of exhibitors. Utopia operates theatres in Luxembourg, Belgium, France and the Netherlands. Ymagis should have the entire circuit converted by the end of 2011.

 

In the press release announcing the agreement, Nico Simon, Utopia’s chief executive officer, highlighted Ymagis’ methods of financing as a key reason for selecting them:

“We felt that the financial and operating model developed by Ymagis was best suited both to our own needs and those of the sector as a whole, being flexible and open to the wide variety of types of cinemas and distributors that exist.”

An interesting side note; in 2006 Utopia entered into an agreement with XDC to convert 30 screens to digital, though it is unclear if any equipment was ever installed.

 

Meanwhile, late last week Ymagis announced an agreement with yet another exhibitor, Spain’s OCine which operates 134 screens in 15 venues. The family run circuit is a member of the Àrea Catalana d’Exhibició Cinematagràfica (ACEC) which is comprised of more than 350 screens.

 

OCine was the first exhibitor in Spain to convert at least one screen in each of their multiplexes to digital. They plans to be completely digital by the end of 2012. Like Utopia, it was Ymagis’ business model that won over OCine.

According to OCine’s chief executive officer Esteve Agustí:

“The flexibility, service and support offered by Ymagis makes their proposal the best for our journey towards this new digital era.”

 

So Ymagis goes into Cinema Expo this week with a lot of recent victories to be proud of. Manel Carreras, Sales and Business Development Director at Ymagis, may have summed up his companies recent success best, stating:

 

“Our achievements in less than three years are the result of a committed team with some of the best development and support engineers and a group of executives with a passion for this industry. We started this business with limited financial back up, but have been able to expand rapidly the range of our services and to build a company that will now consistently enjoy positive operating results.

 

To be the first ‘facilitator’ to invoice virtual print fees in Belgium, Luxemburg, Spain and Germany is a real achievement for Ymagis. The recent additions of circuits like UGC, Ocine and Utopolis together with a lot of independent exhibitors is a step forward that shows not only how much our model meets the requirements of a wide range of European exhibitors but also how truly international our company has become in such a short period of time. We are proud to have been selected by such high standing exhibitors to become their partners in the digital cinema transition.”

 

No doubt they’ll be meeting with plenty of other curious exhibitors while at Cinema Expo (Booth 347) who are interested in converting to digital. Who knows they may even have another announcement before the show ends.

 

These recent announcements, combined with those made by Arts Alliance, show serious progress in the European markets march towards digital cinema.

 

hristie Passes Tests for Full DCI Compliance

http://www.digitalcinemainfo.com/christiedigitalcinema_06_17_10.php

 

June 17, 2010

Source: Christie Digital

Christie that it has passed the full range of tests required by the Compliance Test Plan (CTP) for the DCI Digital Cinema System Specification (DCSS), including all procedural and design review aspects. 

The tests were completed by CineCert, LLC, a technology development and consulting firm that is the only organization in North America licensed by Digital Cinema Initiatives, LLC (DCI) to administer the CTP. 

“We are very pleased to confirm that the Christie CP2220, featuring Texas Instruments’ Series 2 DLP Cinema® technology, has passed all the requirements of the CTP,” said John Hurst, CTO of CineCert. “We are dedicated to helping the exhibition community understand all of the technical requirements for passing the CTP and helping manufacturers get through the testing process quickly and efficiently.”

Hollywood studios require exhibitors worldwide to install DCI compliant projectors in their theaters; and passing the CTP is the only approved path to DCI compliance. Christie’s latest generation projector, the Christie CP2220 – from the Christie Solaria Series of 4K-ready projectors – was tested by CineCert, and their tests confirmed that the projector meets the highest level of technical performance, interoperability, and rigorous content security requirements as specified by DCI’s Compliance Test Plan.

“With over 12,000 digital cinema projectors installed worldwide, Christie helps set the standards for quality, reliability and performance,” said Brian Claypool, Senior Product Manager, Entertainment Solutions. “Now that CineCert has confirmed the Christie CP2220 meets the CTP’s requirements, exhibitors have another level of assurance about our commitment to providing them with industry-leading products and services.”

Recognized as “the future of 4K,” the Christie CP2220 projector is built on the proven, highly reliable 1.2” DLP Cinema chip, the only one to offer a 4K upgrade path using Christie’s easy “15 minutes to 4K” process. 

Smaller than other 1.2” DLP Cinema-based projectors, the Christie CP2220 provides exceptional installation flexibility with a motorized lens option that is the fastest and most accurate available. With more light output than any mid power projector on the market, the CP2220 also offers the lowest cost of operation. 

“With more than 80 years in the industry, Christie has earned the trust of the exhibition community by consistently providing products of the highest quality and reliability. This new digital cinema landmark – meeting the strictest requirements for DCI compliance – is further proof of Christie’s commitment to the market,” said Craig Sholder, Vice President of Entertainment Solutions at Christie.

About CineCert, LLC 

CineCert, LLC is a technology development and consulting organization specializing in digital cinema and other computing applications for the entertainment industry. CineCert provides services to industry leading content and service providers that are adopting digital cinema technology into their production workflows and distribution networks. See www.cinecert.com for more information.

 

Kinepolis Cinema Group Standardizes on MasterImage Digital 3D Cinema Systems

http://www.digitalcinemainfo.com/masterimage_06_22_10.php

June 22, 2010

Source: MasterImage

43% of Kinepolis digital screens will be using MasterImage MI-2100 systems only by year’s end in France, Spain and Switzerland

3D technology company MasterImage 3D announced that Kinepolis Cinema Group has standardized on MasterImage digital 3D cinema systems to bring stereoscopic 3D movies and programming to audiences across Europe. Kinepolis has purchased and installed MasterImage MI-2100 systems covering 35% of their digital screens to date, with a rollout of an additional 8% planned by year’s end for cinemas across Europe.

Kinepolis Cinema Group, which encompasses 317 screens in 23 multiplexes, was one of the first exhibitors to adopt digital projection on a large scale and have great plans to increase the rollout of 3D screens across Europe. After extensive technical tests Kinepolis has now chosen MasterImage 3D to be their preferred supplier of 3D screens in France, Spain and Switzerland. This will include rolling out 3D to new cinemas as well as replacing 3D screens from Kinepolis’ previous supplier.

“MasterImage’s approach gives us what we need most — the best presentation for our audiences and a business model that makes sense,” said Nicolas Hamon, Kinepolis’ projection and sound manager. “There’s no seat tax to pay as we’ll own the systems outright, and we won’t need to manage the loss of expensive glasses, since MasterImage offers one-time and reusable glasses, both at a fraction of the cost of other providers. We’re confident that MasterImage is absolutely the right choice for our cinemas and our audiences.”

The MasterImage MI-2100 digital 3D cinema system offers high-quality presentation, single-or multi-use eyewear, is easily portable between screens and is available through a compelling, ownership-based pricing model. Supported by European and all six major Hollywood studios and many independent distributors, MasterImage systems are installed in 38 countries including the UK, France, Italy, Denmark, US, China, Australia and more.

“MasterImage seems one jump ahead of their competitors and have proven to us that they understand both the technology and the financial concerns of the cinema owners,’’ continued Hamon.

Brian Kercher, Managing Director of 3D Cinema, MasterImage Europe notes that “we are delighted to be working with such a dynamic organization as Kinepolis and welcome the opportunity to bring high quality 3D to Kinepolis audiences throughout Europe.’’

 

Epic Theatres selects Barco

http://www.digitalcinemainfo.com/barcodigitalcinema_06_24_10.php

 

June 23, 2010

Source: Barco

Barco, the global leader in digital cinema technology, announced today that EPIC Theatres has received its digital projectors for its new all-stadium, all-digital theatre in Palm Coast, Florida. EPIC's Palm Coast will be the first theatre in the area designed from the ground up for complete digital projection and 3D presentation. The new EPIC theatre opens 25 June 2010. 

EPIC is operated by third and fourth generation motion picture exhibitors that focus on the latest industry technologies to provide customers with exceptional presentation and service. 

Clint DeMarsh, VP of Purchasing for EPIC Theatres said, “We are pleased to select Barco in bringing EPIC entertainment to the Palm Coast area. Digital projection provides a number of advantages over film and Barco brings the quality and expertise needed for this all-digital facility. EPIC plans to deploy all-digital complexes from here on. In the next eighteen months, EPIC will open two new multiplexes." 

"EPIC Theatres is one of Barco's most forward-thinking customers," explains Terri Westhafer, Director of Business Development. "They are fully embracing the next-generation digital technology and plan to open more all-digital multiplexes in 2011. We are very proud to be a part of EPIC Theatres' growth and dynamic innovation.” 

Epic has installed Barco Series II DP2K-15Cs and DP2K-20Cs models at their new Palm Coast location. All incorporate Barco's proprietary and patented cooling designs, modular construction, sealed engines, Smart Power Systems and Diagnostic Companion, as well as many additional features. 

“To be able to partner with Epic at this point in their evolution is an amazing opportunity. We can truly help to position them as a leader in digital cinema along the Atlantic Coast, and fuel their growth as they expand into new markets,” said Todd Hoddick, VP of Barco Digital Cinema North America. 

 

Unique Digital release latest RosettaBridge TMS

http://www.digitalcinemainfo.com/unique-digital_06_21_10.php

June 21, 2010

Source: Unique Digital

Following the release of RosettaBridge Theatre Management System (TMS), which was first released into the market in 2008, Unique Digital announces the release of version 1.5. 

Developed by Unique Digital Ltd, RosettaBridge is a full-featured TMS providing cinema management and staff with an unrivalled suite of tools to manage film and advertising content through an intuitive and easy to use interface. Key features include a scalable library server, agnostic player and projector interface, automation control and content distribution, with all elements being managed using a simple drag-and-drop client GUI.

Building on their extensive experience of installing and supporting the first generation solution and managing content distribution for over 3000 screens across Europe, Unique have added a range of new features based on customer feedback and the needs of the expanding digital cinema market. First to benefit from the new release will be cinemas in Norway, as Unique continues deployment of the 350 screen contract awarded by Film and Kino earlier this year. As part of Unique’s software license model, all RosettaBridge customers under contract will be eligible to upgrade to the new version.

Unique’s RosettaBridge is a Linux based TMS designed to run on an enterprise class server with user access from any suitable network based PC via a self-installing Java client. Digital cinema deployments require efficient and robust network management and RosettaBridge lies at the heart of Unique’s complete range of software solutions aimed at managing content distribution, booking control, remote support and VPF reporting.

The RosettaBridge TMS leads the market in being completely device agnostic and supports integration with all major server and digital cinema projector equipment. Unique pride themselves in maintaining compatibility with the latest digital cinema server and projector software releases, as well as retaining backward compatibility with older, legacy systems.

Key new features include the ability to schedule multiple content ingests via the Content Management Transfer Module (CMTM) and integration with the latest GDC and Dolby software versions via their web based API’s. In addition the new version includes a film booking management system that ensures changes made in either the server or TMS are continuously synchronized across the network.

“Our RosettaBridge TMS product has been developed to meet the needs of the fast changing cinema market and we are committed to delivering the best technical solution for our customers” commented Phil Morris, director of product development at Unique Digital, adding “RosettaBridge and our NOC monitoring systems already play an integral role in the operational viability of many digital cinema networks.” 

Rod Wheeler, Sales and Marketing Director of Unique Digital Ltd commented, “Following extensive evaluation and in-field acceptance of our TMS by many of the leading cinema chains in the UK and Europe, the release of our latest version underlines Unique’s ability to deliver software and hardware solutions that provide operational efficiencies and real commercial benefits for cinema operators.”

 

Canada-based Empire Theatres selects Barco for 300+ screens

http://www.barco.com/digitalcinema/pressrelease/2554/

 

Empire Theatres Limited, the second largest movie exhibitor in Canada, is moving forward with deployment of 2D and 3D digital cinema projectors in all 50 of its theatres.

 

Rancho Cordova, CA — 24 June 2010 — Barco, a global leader in digital cinema projection, is proud to announce that it has been selected by Empire Theatres Limited of Canada to provide Barco Series II projectors to more than 300 of their screens. Utilizing the industry's most extensive family of six (6) Series II digital cinema projectors from Barco, Empire Theatres' customers will enjoy the highest quality, brightest digital images at their theatres across Canada for both 2D and 3D blockbuster movies.

Empire Theatres is Canada's second largest exhibition company with headquarters in Stellarton, Nova Scotia. With more than 30 years in the motion picture exhibition business, Empire Theatres owns and operates 50 theatres, with 380 screens employing more than 2,500 employees. Empire Theatres already employs 50 Barco projectors on 3D screens at many sites, with the latest deployment showing Disney's Toy Story 3. 
Empire Theatres did their due diligence, going well beyond the marketing materials and tested multiple projectors. “Barco met all of our requirements and excelled in our tests for quality, reliability and serviceability, while putting the best and brightest image on screen,” explained Valerie Ryan, VP Real Estate & Development for Empire Theatres. “Barco's wide range of Series II projector models allows us to put the right projector on the right screen, enabling cost savings across the board.”

“Our partnership with Barco will allow us to finalize our move into the digital age with the confidence that comes from knowing that our customers will be viewing the best 2k and 4k digital images possible, and that our staff will be fully comfortable with their projector operation,” commented Ryan. “The commitment from Barco, from the top down, is to provide the utmost in projector value and service. We respect that commitment and it was a critical factor in our decision.” 
Empire Theatres will be installing Barco Series II model DP2K-15Cs and DP2K-20Cs, along with the industry's brightest projector, the 4K expandable DP2K-32B, featuring Barco's proprietary and patented liquid cooling designs, modular construction, sealed optical engines, Smart Power Systems and Diagnostic Companion. These systems incorporate the Doremi integrated media block advanced server technology for Series II. Installations will begin in the fall and continue into next year. 

Danny Sergeant, VP North America-Managing Director, Canada, who will be overseeing the project deployment in his new role serving the region, comments “Barco knows that Canada and important clients such as Empire Theatres are critical to the success of its organization. We are committed to serving Canada with our full complement of resources and services.”

“We are pleased to continue our relationship with Empire Theatres,” said Todd Hoddick, VP of Barco Digital Cinema North America. “Empire Theatres' decision to use Barco as their selected digital cinema projector provider speaks volumes about the mutual respect we have developed through the years. We're excited to embark on this long-term engagement and provide Empire Theatres with all of the technology and services they require to fully embrace these robust digital technologies now, and in the future.”

Joe DeMeo, Director of Sales for Barco Digital Cinema NA, adds “It is truly a pleasure working with the Empire Theatres team and providing them with the highest quality products and services as only Barco can. It's obvious that they're dedicated to providing their customers with the ultimate theatre experience, and we're honored that they've chosen us to help them accomplish this goal.”

 

Why are 3D numbers falling? - More screens needed.

http://www.today3d.com/2010/06/why-are-3d-numbers-falling-more-screens.html

"Toy Story 3" did very, very well at the box office in its opening weekend, but only 60 percent of the gross came from 3D screens. That's lower than the openings for "Alice in Wonderland" (71 percent), "How to Train Your Dragon" (68 percent), and "Shrek" (62 percent). The percentage decline could simply reflect the limited number of of 3D screens - "Toy Story" has had to share the stage with "Shrek."

 

From Variety:

"Toy 3" occupied 2,463 digital 3D screens; while in its fifth frame, "Shrek" held on to 1,300 3D screens. As of last month, the U.S. 3D screen count stood at 4,384 and approximately 2,500 3D locations.

There's bound to be speculation - founded or otherwise - that the lower numbers point to a 3D fatigue among moviegoers. Seems early for that to be happening, but with more 3D features due out this summer, it's possible there will be pushback, especially for the less-heralded fare. Hollywood types are closely monitoring 3D results because it's a potentially huge revenue source.

 

Monster's "universal" 3D shutter glasses? RF only

http://www.today3d.com/2010/06/monsters-universal-3d-shutter-glasses.html

 

The company claims its Monster Vision Max 3D glasses are "the world’s first and only universal wireless 3D eyewear 'shutter system.' They are programmed to work with all brands of stereoscopic 3D TVs. Currently, only manufacturer-specific glasses work with the stereoscopic standard. So, Samsung 3D TVs only work with Samsung 3D glasses.Monster, a company best known and lambasted for selling products like a $500 HDMI cable, has debuted its first accessory for the 3D market, a pair of active shutter glasses.

The glasses will be sold in a Starter Kit that contains one pair, as well as the transmitter kit, for around $250. Additional pairs will be sold for $170. By comparison, XpanD universal glasses will sale for $129 per pair. XpanD universal glasses sync directly with the the display, do not require any transmitter and are superior in their optical performance.
"Head Monster"'s Noel Lee in a statement: "Thanks to our uniquely innovative method for delivering the 3D signal, wearers of our Monster Vision Max 3D glasses will not only be able to immerse themselves in a world of incredibly realistic 3D images, but they will be able to watch for hours without common effects of fatigue and eye strain caused by traditional IR based Shutter lenses."

Hey Mr. Lee, we humans can not see IR and its impossible to have eye strain because of IR! don't believe me? just look at your IR remote control for few minutes and let us know if you feel anything :-)
I guess that the $500 HDMI cables customers will buy Monster Vision Max 3D glasses, for everyone else - go with the XpanD universal glasses.

 

Theater operators explore digital, 3D strategies

http://www.hollywoodreporter.com/hr/content_display/film/news/e3id9ffa2b8a3ae072d3334b6e4522ef938

 

Cinema Expo attendees raise funding, operating questions

By Carl DiOrio

June 24, 2010, 05:49 PM ET

 

AMSTERDAM -- The havoc and debris strewn about the giant RAI convention center from a local rail project serves as a ripe metaphor for those who attended the 19th edition of Cinema Expo.

Theater operators spent much of the week digging into schemes for digital and 3D theater systems amid a din of conflicting proposals from an array of tech vendors. While pedestrians near the RAI dodged forklifts and backhoes as well as the usual droves of bicyclists, exhibitors must navigate an array of funding and operating issues if they are to hop aboard the digital-cinema bandwagon.

"Business continues to be good, but exhibitors ask, 'How good will 3D continue to be?' " said National Association of Theatre Owners chief John Fithian, whose members include a notable European component. "As for the debate about systems, we're still in the early stages of testing the technology. So that's always a good discussion to have at an event like this."

The thicket of competitors vying for a piece of the 3D market got thicker with the recent unveiling of a system from Panavision. Like a competing system from Technicolor, Panavision's 3D lens adapters and moviegoer glasses can be used to outfit conventional film-based projection systems with 3D capabilities.

But in a potential marketing advantage, Panavision said its system also can be used with digital projectors. That means exhibitors can buy the system as a stopgap means of adding 3D and convert to digital later.

Panavision pitches its system as a flexible approach for cash-strapped exhibitors to get into 3D, but d-cinema proponents fear it will impede a rapid industrywide conversion to digital. Some also claim there simply are too many 3D vendors, with RealD, MasterImage and Dolby pushing rival digital systems.

"The problem is, everybody's going after the same customer," one industryite said.

Studio executives used the four-day confab to meet with theater owners about virtual-print-fee agreements that distributors are offering to help pay for the digital rollout. They also used the week's meet-and-greets to assure anxious exhibitors that any tinkering with the theatrical release window will be modest and done in collaboration with circuits.

"There's been a lot of discussion of windows this week," Fithian said. "A lot of the European exhibitors are watching the studios' positions on video-on-demand very closely."

Studios have tended to hold back movies from VOD and other home entertainment platforms for four months but are mulling a more rapid release of select titles.

 

3D competition heating up in int'l market

http://www.today3d.com/2010/06/3d-competition-heating-up-in-intl.html

 

It's still game-on when it comes to the competitive fray called 3D cinema.

RealD is the dominant 3D systems vendor in the U.S., but abroad there continues to be a stiff competitive challenge in the 3D marketplace from rival vendors MasterImage, XpanD and Dolby, among others.

Meantime, though RealD's early market entry helped it gain a market share lead, its earliest contracts with RealD customers soon will begin to expire, and some suggest that could see the company loosen deal terms to coax exhibs to re-up for a new leases.

Using Cinema Expo as a platform to promote its regional efforts, MasterImage -- which in contrast to RealD sells most systems rather than leasing them -- has been touting an ongoing relationship with 317-screen European circuit Kineopolis. The theater chain, which offers MasterImage 3D in roughly a third of its auditoriums, this week reiterated its commitment to the format without specifying new orders.

RealD, Dolby and MasterImage partnered with various distributors at studio screenings to promote their eyeware at the confab. Exhibs, though dazed and confused by the array of system choices, clearly are interested in tapping into the boxoffice bonanza of 3D ticket "upcharges."

In a 3D seminar at the exhibition confab on Thursday, XpanD CEO Maria Costeira suggested an investment in 3D equipment is actually a means of paying for digital projection systems.

"We expect the 3D ticket premiums to pay for the digital installations," Costeira said.

Ticket premiums for 3D might start to disappear within five years, but by then "the rest of the prices will rise to the level of 3D," she predicted.

"It's the commercial law of the market -- prices do not go down," the XpanD chief shrugged.

"We're relatively confident we can sustain the premium ticket pricing," said panelist Gerald Buckle of Odeon/UCI.

Elsewhere at Cinema Expo on Thursday, the final day for this year's confab at the RAI convention center here, boxoffice tracker Rentrak presented an award to Fox for distributing the region's top-grossing film during the first four months of 2010 -- 3D phenom "Avatar." James Cameron's scifi epic totes a $1.1 billion European cume and $2.75 billion in worldwide coin.

Pathe Theatres managing director Lauge Nielsen accepted an award for the Netherlands circuit's being named Cinema Expo's international exhibitor of the year.

ShoWest managing director Robert Sunshine announced at the luncheon that Cinema Expo is discussing a move to another European city for next year's show and promised more details within 30 days.

 

Cinedigm and Unique Digital Release TMS Upgrades

 

Posted by J. Sperling Reich | June 23, 2010 1:09 pm

 

Timed to coincide with this year’s Cinema Expo conference being held in Amsterdam through Thursday two well known integrators have released enhanced versions of their theatre management systems (TMS). North American deployment entity Cinedigm has included centralized management features in their Theatre Command Center TMS and Norway’s Unique Digital is making the next version of their RosettaBridge software available.

 

A TMS is software that enables a multiplex to manage all of their digital cinema servers, projectors, content, security keys and logs within a given theatre, all from a central location. It is often attached to a library management server where d-cinema content is stored.

 

Theatre Command Center
Cinedigm was one of the first companies to develop a working TMS which they named Theatre Command Center. Their initial version was integrated with Christie projectors and Doremi servers. It’s key features were:

 

• Management of all content including MPEG, JPEG, trailers, preshow and alternative content.
• Ingest of content via any delivery method including USB, satellite and fiber optic wire.
• Remote operation of servers and projectors.
• Automated scheduling of playlists that allowed for the transfer of content to the correct screen.
• Integration with some point-of-sale systems as well as Cinedigms head office software.
• Web access allowed users to log in from any computer connected to the Internet.
• Real-time monitoring of d-cinema systems with system status alerts and notifications.
• System log management.
• Multi-language support.
•  

Some of this functionality, such as content management and ingest, would be considered basic requirements for any TMS, no matter the manufacturer. Most of those who have been using the software that I’ve spoken with have had positive things to say about the software. The only consistent criticism I’ve heard is about the systems graphical user interface (GUI). I’m not familiar enough with Cinedigm’s TMS to add my own thoughts.

 

Originally Cinedigm’s TMS was developed for exhibitors who signed up with them to deploy d-cinema equipment. Last year, the company decided to make the system available for sale to any theatre owner who wished to use it, whether they were using Cinedigm as an integrator or not. This was a model that other deployment groups such as Arts Alliance Media and Unique Digital had already adopted.

Based on the press release announcing the release of Theatre Command Center-Enterprise (or Enterprise as it has been dubbed) it is hard to tell what some of the new features and benefits of the software are. From what I can tell, it’s a TMS for TMS’s. Meaning, if you are an exhibitor with multiple theatre venues, Enterprise provides a view into the TMS’s located at all your sites. Such functionality would enable the consolidation of real-time data flowing back to a head office.

 

Cinedigm says that the system was developed (on a Microsoft Windows platform) to integrate with its Theatre Command Center in an effort to centralize scheduling and content management tasks. From the release:

 

Real-time events and statuses from all networked digital theatres are captured in a robust central Enterprise database for unprecedented operating control and business intelligence. Enterprise also centralizes preshow scheduling and content management functions to eliminate repetitive theatre tasks, improve consistency and control and reduce specialized resource costs and weekly setup time. Enterprise will also streamline and automate the calculation and reconciliation of virtual print fees.

 

Don’t underestimate the last point about keeping track of VPFs. It’s one thing to keep the books for a VPF when you have a handful of screens, but it can be rather complicated when you convert entire multiplexes and have to maintain proper accounting for equipment across dozens if not hundreds of screens.

 

RosettaBridge
In fact, this was a feature included by Unique Digital early on when they were developing their version of a TMS, RosettaBridge. The company released version 1.5 of their software late last week.

The systems original set of features included:

• Management of all content including MPEG, JPEG, trailers, preshow and alternative content.
• Automatic ingest of content by USB, FTP, CD/DVD, network drives and fiber optic wire.
• Playlist creation that allows for inclusion of content not present at the theatre yet.
• Automated KDM management including alerts for keys set to expire.
• Remote operation of servers and projectors.
• Integration with d-cinema equipment from all major vendors.
• Web access from any computer connected to the Internet.
• Automated scheduling of playlists and content transfer.
• Real-time monitoring of d-cinema systems with system status alerts and notifications.
• Log management for any device connected to the TMS.
• Integration with a scalable library server.

I have been given a demonstration of RosettaBridge and what stood out was the system’s slick GUI. Uniques TMS can be run from a touch screen with simple drag-and-drop functionality. It was pretty easy to get a quick visual overview of system health and state, as well as available and expired content with a Christmas trees worth of flashing icons. Like certain pieces of software for the Mac, it just looked pretty. Speaking of which, since the software is written in Java, it can be run on any platform, Mac or PC.

 

I can’t vouch for how well Unique’s TMS works as I haven’t spoken with anyone whose used it for any length of time. The company is presently busy installing it in multiplexes all over Norway which they are presently converting to digital. When they’re done their TMS will be managing about 350 screens. As mentioned previously, Unique is making the software available for purchase to all theatre owners, regardless of integrator.

 

There was only a single paragraph in Unique’s press release about any new functionality included in the latest version of RosettaBridge:

Key new features include the ability to schedule multiple content ingests via the Content Management Transfer Module (CMTM) and integration with the latest GDC and Dolby software versions via their web based API’s. In addition the new version includes a film booking management system that ensures changes made in either the server or TMS are continuously synchronized across the network.

And just in case there was any doubt as to the timing of these announcements in relation to Cinema Expo, one only needs to read what Jim Miller, President of Cinedigm Software, had to say about Enterprise:

 

“Enterprise moves us very close to our goals of 15 minute weekly scheduling and virtually hands-free theatre operations, while dramatically increasing circuit-wide awareness, efficiency and control. We are currently working with a major UK business partner who has already installed over 40 TCC screens to bring Enterprise to Ireland and Europe, and are in discussions with several others.”

 

Sony Expands In Europe With National Amusements, AMC, And Dealer Partnerships

http://celluloidjunkie.com/2010/06/26/sony-expands-in-europe-with-national-amusements-amc-and-dealer-partnerships/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed:+celluloidjunkie+(celluloidjunkie.com)

 

Posted by J. Sperling Reich | June 26, 2010 11:04 pm

If Sony wanted to make a big splash atCinema Expo in Amsterdam this past week then they did one heck of a job. On Tuesday, the second day of the conference, Sony announced two exhibitor agreements with National Amusements and AMC Entertainment’s United Kingdom based theatres for digital conversions. The company, known for its 4K digital cinema solution, also struck up partnerships with three European digital cinema dealers.

 

The biggest of these announcements had to be the news that National Amusementshad chosen Sony as their integrator. The theatre chainis one of the largest in the world, operating 950 screens across venues in the U.K., United States and Latin America. National Amusements is the fifth largest theatre chain in North America.

 

Under their existing virtual print fee (VPF) agreements with Hollywood studios, Sony will install their 4K digital cinema projectors on all of National Amusements’ screens. They will start immediately withShowcase Cinemas, National Amusements’ U.K. theatre chain where Sony Digital Cinema 4K systems will be deployed on all 276 screens. In an effort to quickly ramp up the number of 3D screens at the circuits disposal, Sony will install the first 24 systems before the end of July.

 

There was no mention when installation of d-cinema equipment would begin in the U.S. or South America.  In fact the press release seemed purposefully non-committal, referring to the deal as an “expected global exhibitor agreement”. One could read into the use of the word “expected” or assume that Sony will be deploying equipment to the 450 screens National Amusements has in Connecticut, Massachusetts, New Jersey, New York, Ohio and Rhode Island. The theatre chain owns 16 theatres in South America which would probably be included in any worldwide rollout.

 

It should also be noted that the release specifically referred to the equipment being installed as Sony Digital Cinema 4K Systems. That’s because the Sony media block (LMT-300) which plays content to the 4K projector (SRX-R320) is actually inside the chassis of the projector. This is for security purposes; the locked cabinet protects against tampering and negates the need for encryption such as CineLink 2 between the media block and the projector. Sony will also be providing their theatre management system.

 

The statement given by Duncan Short, Vice President of International Operations at National Amusements, specifically mentioned Sony’s technology as one of the reason’s the circuit chose them:

“The Sony 4K digital systems provide outstanding image and sound quality, and will enable us to extend our programming to 3D and alternative content, delivering exciting entertainment experiences to our existing and future customers.”

 

AMC In The U.K.
Sony’s announcement regarding AMC’s theatres in the U.K. was not all that surprising. After all, AMC has already chosen (through DCIP) Sony’s 4K systems for their North American theatres. In the U.K. Sony will install their d-cinema kit at both AMC theatres; the Broadway Plaza 12 in Birmingham and Great Northern 16 in Manchester.

AMC’s decision to stick with Sony in the U.K. may be an indication that they are satisfied with the technology and support they are getting in North America. If there was ever an opportunity to move away from an agreement that wasn’t working out so well, then converting cinemas outside the U.S. and Canada would have been it. Another theory might be that the circuit simply wants some continuity in the equipment it is installing in all their venues.

 

European Dealer Partnerships
To help Sony extend its reach in the European market the company has entered into partnerships with three respected dealers; Hulskamp Audiovisueel in the Netherlands, Protronic in Switzerland and Sound Associates in the U.K.

 

Sony already has some very good representation in the territory thanks to Oliver Pasch, the head of digital cinema at Sony Professional in Europe. In the press release announcing the partnerships he explained that Sony is committed to growing their distribution channels throughout Europe:

 

“Working hand in hand with these specialist dealers, we can jointly deliver outstanding 2D and 3D technology to support cinemas exhibitors across Europe.”

 

The partnerships were describes as “strategic” though not exclusive. This means the dealers will likely continue selling DLP projectors and add Sony’s 4K projectors to their offerings. Sony not only increases its ability to distribute their technology in Europe, but will also now have reliable local service groups to support deployments in each country

 

RealD sets IPO terms - Will you buy it?

http://www.today3d.com/2010/06/reald-sets-ipo-terms-will-you-buy-it.html

 

RealD, which licenses stereoscopic (three-dimensional) technologies for motion pictures, announced terms for its IPO on Tuesday. The Beverly Hills, CA-based company plans to raise $151 million by offering 10.75 million shares at a price range of $13-$15. At the mid-point of the proposed range, RealD will command a market value of $667 million. RealD, which was founded in 2003 and booked $150 million in sales for the 12 months ended March 26, plans to list on the NYSE under the symbol RLD. J.P. Morgan and Piper Jaffray are the lead underwriters on the deal, which is expected to price during the week of July 12th.

RealD have lost more than $150M since 2003 and never listed any profit.