Cinema Technology Dec. 14, 2018
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Sponsors



Cielo is true proactive monitoring and support. Customers can access Cielo from any device connected to the internet, giving them the freedom to manage the customer experience outside the confines of their offices. Customers have circuit wide visibility into their theater operations so they are able to solve problems more efficiently.



Cinionic is transforming cinema, providing comprehensive WOW entertainment solutions to movie exhibitors across the globe. We help turn imagination into reality and ensure peace of mind for our customers by offering innovative services and flexible use of capital for a new era. Combining the technology expertise and heritage of our partners, Cinionic powers exceptional experiences across the entire theater to engage visitors at multiple touchpoints in their cinema journey. 



Moving Image Technologies manufacturers and markets a full complement of cinema exhibition equipment and services to support the industry’s transition to digital cinema, including: custom engineering, systems design, integration, digital technology solutions for 3D, digital cinema, pre-feature on-screen advertising and components. Moving Image Technologies’ mission is to have the most talented, passionate people in cinema working to provide the best presentation tools for the cinema exhibition industry.



Unique X, Based in the UK, is a new brand for the future of digital cinema, providing intelligent autonomous solutions and content services.  Unique X operates in 65 countries globally. To date, more than 70 million GB of data have been transferred, and over 60 million advertising playlists have been delivered. Solutions include RosettaBridge TMS, RosettaNet Estate Management System, Movie Transit (DCP Content Delivery Network), Basekey (KDM management), RosettaPOS (Point of Sale), RosettaLive (Event Streaming) and our pre-show products of Advertising Accord, Ad Transit and Smart Trailering.



NEC Display Solutions’ Digital Cinema Projector Series offers the most comprehensive digital cinema solution on the market today. These 3D-capable models enable theaters to deliver stunning digital images regardless of screen size, while simplifying theater management and reducing costs. All of NEC's digital cinema projectors meet DCI specifications for performance and reliability, meeting the requirements of today’s cinema industry. NEC also offers full digital signage solutions, highlighted by its award-winning 32”-98” LCD displays, multimedia projectors and desktop monitors for lobbies, concessions and concourses.



Christie is a leader in visual solutions for world-class organizations, offering diverse applications for business, entertainment, and industry. A leading innovator in film projection since 1929 and a pioneer in projection systems since 1979, Christie has established a global reputation as a total service provider and the world's single source manufacturer of a variety of display technologies and solutions. Christie offers comprehensive solutions for cinema, large audience venues, control rooms, business presentations, training facilities, 3D and Virtual Reality, simulation and education as well as industrial and government environments.



DCIP is the largest digital cinema integrator in the world and provides industry leading software and management solutions to exhibitors and distributors. 

Cinergy is an enterprise suite of tools that helps you track, monitor, and efficiently manage cinema operations in one centralized platform.




Dolby Laboratories develops and delivers products and technologies that make the entertainment experience more realistic and immersive. For four decades Dolby has been at the forefront of defining high-quality audio and surround sound in cinema, broadcast, home audio systems, cars, DVDs, headphones, games, televisions, and personal computers. Based in San Francisco with European headquarters in England, the company has entertainment industry liaison offices in New York and Los Angeles, and licensing liaison offices in London, Shanghai, Beijing, Hong Kong, and Tokyo.



GDC Technology Limited is a digital cinema solutions provider. GDC Technology develops, manufactures and sells digital cinema servers, content storage systems, theatre management systems and network operations center software for digital cinema. In addition, GDC is the appointed worldwide certification services agent, with exclusivity in Asia to certify DTS:X immersive sound auditoriums for DTS, Inc. GDC also provides a suite of digital cinema products and services, including integrated projection systems, 3D products, projector lamps and silver screens. GDC's subsidiary, GDC Digital Cinema Network Limited, manages VPF for approximately 5,000 theater screens and 250 motion picture distributors worldwide.



QSC Cinema is the global leader in signal processing, power amplifiers, and loudspeakers for all cinema applications. Our “SystemSynergy” design approach ensures that the entire system, from source to sound, delivers an audio experience as intended by the filmmakers. Beyond cinema audio for the movies, QSC also provides complete audio systems with network control and monitoring for other areas in the cinema entertainment complex, such as lobbies, concession, food service, arcades, and bowling centers.



USHIO manufactures the highest-quality digital cinema projection bulbs available. USHIO xenon short-arc lamps boast a spectrum that is closer to natural sunlight than that of any other artificial light source. In addition to commercializing products for search and spot lights, which demand precise, powerful white beam lamps, USHIO became the first in the world to develop a xenon short-arc lamp exclusively for large scale, theater-use movie projectors.



Arts Alliance Media (AAM) is a global leader in digital cinema software and services,  offering cutting-edge solutions in software as well as installation, maintenance and support across the cinema ecosystem.



Bardan Cinema has been a leader in cinema equipment sales in Latin America and the Caribbean for over 40 years. With a well-established reputation and broad customer base that spans independent boutique theaters to large multiplexes, Bardan provides total solutions and services ranging from cinema design, equipment sales, installation, monitoring and VPF implementation. In collaboration with D-Cinema NOC, Bardan now offers comprehensive 24/7/365 proactive monitoring and remote support to exhibitors throughout the region.



Qube Cinema is committed to creating a seamless world of Digital Cinema with products that are innovative, powerful, reliable and cost-effective. Qube Cinema is a company with a passion for cinema and a thorough understanding of film, video, audio and computer technology along with vast experience in the production, post-production and exhibition industries - a unique combination of expertise that has helped in the development of the company's digital cinema technology.



CES+ is the premier partner in cinema solutions. For the past 35 years has been a pioneer delivering innovative first-in-market technology and will revolutionize the industry with his one-of-a-kind Cinema-as-a-Service solution offering to become the disruptive facilitator of the evolution of the modern movie theater operation. CES+ is headquartered in Miami, Florida, and serves clients globally.




Sony Digital Cinema 4K gives audiences an entertainment experience they’ll never forget in 2D or 3D. There’s a complete family of Sony 4K projection systems to suit every cinema operator, from small boutique screens to the largest multiplex. All our easy-to-use projectors deliver 4K resolution images that viewers love, bursting with rich colour and industry-leading 8000:1 average contrast ratio. Sony’s SRX-R500 series of projectors are also HDR-ready, meeting brightness and contrast requirements for screening the latest 4K movies mastered for High Dynamic Range presentation. Spectacular 4K images are matched by impressively low running costs. The long-lasting HPM multi-lamp array in all our SRX-R500 Series projectors is more energy efficient than traditional Xenon lamps, reducing routine maintenance and cutting the risk of revenue-threatening dark screens. A compelling choice for the big screens, our Premium Large Format (PLF) projection solution outshines costly first generation laser systems, with unrivalled 4K picture quality at light levels up to 60,000 lumens.

 



Industry



The EDCF is a not-for-profit voluntary organisation that aims to act as a "Forum" to discuss key issues surrounding Digital Cinema in Europe. The purpose of EDCF is to provide a basis of common understanding across all European territories of the business and technical matters of digital cinema. 



The International Cinema Technology Association is a global network of professionals in the motion picture industry. Members of the ICTA are those companies that manufacture, service and create the equipment that goes into movie theatres. Our members are on the cutting edge of new technologies and have been the driving force in digital, 3D, immersive sound systems, high frame rates and lasers. The ICTA promotes technological advancements in the motion picture industry through educational seminars and programs. The ICTA logo stands for excellence and professionalism and when on a member’s letterhead signifies that the company is reliable, competent and committed.



For more than a century, the people of SMPTE (pronounced “simp-tee”) have sorted out the details of many significant advances in media and entertainment technology, from the introduction of “talkies” and color television to HD and UHD (4K, 8K) TV. Since its founding in 1916, SMPTE has received an Oscar® and multiple Emmy® Awards for its work in advancing moving-imagery engineering across the industry. 



The Inter-Society for the Enhancement of Cinema Presentation, Inc. promotes interactive dialogue and information exchange between cinema-related entities with the goal of resolving issues affecting the overall cinema presentation. Founded in 1978 by Eastman Kodak VP Ken Mason, membership is composed of its four charter trade organizations - International Cinema Technology Association (ICTA), the Motion Picture Association of America (MPAA), the National Association of Theatre Owners (NATO), and the Society of Motion Picture and Television Engineers (SMPTE) - along with over 40 member companies, made up of trade organizations, motion picture studios, exhibition companies, manufacturers, technical consultants, and other industry stakeholders.
 


Shows & Events



CineAsia 2018, held at the Hong Kong Convention & Exhibition Centre on December 10-13, 2018.  Attendees will get the chance to hear about the current trends and new state-of-the-art technologies in the motion picture industry. Nowhere else in Asia can you accomplish as much in a short period of time to sustain, and help grow, your business in the year to come. Join your cinema exhibition, distribution, and motion picture industry colleagues to network; and see product presentations and screenings of major Hollywood films soon to be released in Asia. Attendees will also get the opportunity to visit the Trade Show where you will find the latest equipment, products, and technologies to help make your theatre a must-attend destination.





CinemaCon, held April 1-4 2019 at Caesars Palace in Las Vegas, is expected play host to more than 6,000 motion picture theater industry professionals. Since taking its first step in 2011, CinemaCon has evolved and grown to become the largest and most important gathering for the worldwide motion picture theater industry. CinemaCon is truly a global event attracting attendees from more than 80 countries.


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Strasbourg / Milano—May 12, 2010

Europe: Digital Screens More Than Triple in 2009 with 3D as the Driving Force

Food for thought from the figures on digital screens as at 31 December 2009
Record growth for Europe’s digital theatres: according to the statistics provided by MEDIA Salles the number of screens equipped with DLP Cinema or SXRD technology at 31 December 2009 came to 4,693 - a 206.9% rise compared to the previous year. 3D proved to be the key growth driver for the digitisation of screens as well as for overall box office. The European Audiovisual Observatory estimates that gross box office for the European Union increased by 12% year-on-year to a new record high of EUR 6.27 billion in 2009, largely thanks to premium prices for 3D screenings.

Currently most digital theatres are to be found in Western Europe: as many as 3,904 screens, with a 198.2% increase compared to December 2008. The five leading markets in Europe in terms of admissions are also those with the highest number of digital screens: the top market, France, accounts for 19.3% of the digital total, the United Kingdom 14.2% and Germany 12.6%, followed by Italy with 9.1% and Spain with 5.1%. The remaining 789 digital screens are situated in Eastern Europe and the Mediterranean Rim, where there has been a considerable shift compared to December 2008 and a higher rate of growth than in Western Europe (+258.6%): the countries where the greatest development has taken place are Russia with 352 digital screens (7.5% of Europe’s total), Poland with 176 screens (3.8%) and Turkey with 62 screens (1.3%).

Compared to the total number of screens in Europe, at December 2009 digital screens had achieved a market penetration of 13%, as against 4.1% the previous year (table 1). The number of digital sites in Europe at December 2009 was 2,374, with a 191.3% rise over the previous year. The total market penetration of digital sites amounts to around 16% as against 5.4% in December 2008. Also on the increase is the average number of screens in digital sites which has risen in Europe from the 1.6 screens per site registered in December 2007, to 2.0 in December 2009.

Table 1: Digital cinema sites and screens in Europe 2003 - 2009 (as at 31 December)

The average number of digital screens per cinema varies a good deal in individual European countries. In December 2009 the highest figures were recorded in Belgium (5.3 screens per cinema), Luxembourg (4.4), Austria (4.2), France (3.5) and Portugal (3.4). The leading markets follow at some distance: United Kingdom (1.9 screens per cinema), Germany (1.8), Italy (1.5) and Spain (1.3).

Analysing the development of digital screens from a more long-term perspective, different growth trends are to be seen in European countries. Countries like the United Kingdom and Germany have recorded a strong tendency towards growth ever since 2006 and, after a period of deceleration, started to grow again in 2009. Other countries have experienced more gradual development followed by an exceptionally sharp increase over the last few years: since 2008 in the case of France or 2009 in the case of Belgium, Italy, Austria and Spain. Yet other countries, such as Finland and Portugal, have concentrated their development in the recent period, with an annual yearly increase that has been particularly high over the past three years, amounting to 263.4% for Finland and 230.8% for Portugal.

Table 2: Digital cinema sites and screens in Europe by country 2007 - 2009 (as at 31 December)



In Europe the development of digital screens seems to be highly concentrated in terms of exhibition companies, in view of the fact that, at June 2009, 5% of exhibitors were responsible for 33.6% of the overall number of digital screens. The top five players are the French company CGR (with 13.1% of digital screens), Kinepolis (6.8%), operating in Belgium, France and Spain; Cineworld Group (5.6%), present in the United Kingdom and Ireland; Odeon and UCI Cinemas Group (4.8%), operating as Odeon Cinemas in the United Kingdom, as UCI in Austria, Germany, Italy and Portugal and as Cinesa in Spain; Cineplexx (3.4%), present in Austria and in Italy.

The motor for the growth that took place in 2009 is certainly 3D cinema: as the North American industry has substantially respected the calendar of releases announced and audiences have proven receptive and willing to pay a premium price to take advantage of the novelty, exhibitors have invested in the technology that enables them to offer this new type of product. The penetration of screens equipped with 3D technology with respect to the overall number of digital screens has continued to increase: it was 54.4% in June 2009 and reached as high as 68.8% in December.

In several countries in Central and Eastern Europe and the Mediterranean Rim, such as Cyprus, Croatia, Lithuania, Latvia, Malta, Serbia, Slovenia and Slovakia, where the numbers of digital cinemas are still modest, 3D screens represent almost 100% of total digital screens. In fact, the percentage penetration of 3D digital screens compared to the total number of digital screens is over 80% in many countries, such as Russia, Turkey, the Czech Republic, Denmark, Italy, Hungary, Finland, the Netherlands, Switzerland, Spain and Poland. The percentage is, however, lower in the United Kingdom, where it amounts to 70.8%, in Germany (62.3%) and in France (52.8%).

About Media Salles: The MEDIA Salles project operates within the framework of the European Union's MEDIA Plus Programme, with the support of the Italian Government. The end objective of MEDIA Salles is to foster theatrical distribution of European audiovisual products. This aim is pursued both by high profile campaigns involving Europe's cinema exhibitors and by initiatives to raise the visibility of European productions with industry players and potential audiences, creating specialized information channels on a global scale. Thus the current initiatives from MEDIA Salles dovetail in a program with a triple focus – training, promotion and information – and maximum combined effect. Media Salles Directory page
About European Audiovisual Observatory: Set up in December 1992, the European Audiovisual Observatory's mission is to gather and distribute information on the audiovisual industry in Europe. The Observatory is a European public service body comprised of 36 member states and the European Community, represented by the European Commission. It operates within the legal framework of the Council of Europe and works alongside a number of partner and professional organisations from within the industry and with a network of correspondents. In addition to contributions to conferences, other major activities are the publication of a Yearbook, newsletters and reports, the compilation and management of databases and the provision of information through the Observatory’s Internet site (http://www.obs.coe.int). European Audiovisual Observatory Directory page
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