Cinema Technology Mar. 31, 2023
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GDC Technology is a leading manufacturer and provider of cinema equipment and solutions including cinema automation systems, cinema servers, cinema enterprise software, cinema storage, cinema audio solutions, and cinema projectors that meet the highly demanding performance, security and reliability requirements established by motion picture studios.





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.



SHARP 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 SHARP NEC's digital cinema projectors meet DCI specifications for performance and reliability, meeting the requirements of today’s cinema industry. SHARP 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.



welcome to Cinionic
welcome to wow

These days, it’s no longer just about technology, it’s about experiences – WOW experiences. We are a team of cinema and technology experts from around the globe – Barco, ALPD, and CGS – who help you in creating surprising experiences.  We combine innovative cinema technologies with our unique and comprehensive service models to guarantee your peace of mind. So you can focus on new ways to surprise and delight your customers for years to come. Together, we engage to deliver a world-class cinema experience - the one you’ve been waiting for.





Arts Alliance Media (AAM) is the global leader in digital cinema software and services, offering a wide range of solutions which help exhibitors to reduce costs, increase efficiency, and improve the cinematic experience for their customers.

AAM’s extensive portfolio, including Producer, Screenwriter, Lifeguard, MX4D, and HeyLED, touches over 42,000 screens worldwide, while their network operations centre (NOC) supports several thousand screens.
 
AAM is part of the Luxin-Rio Group, the world’s foremost cinema technologies provider.




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.



Introducing the LG Miraclass, the DCI-certified cinema LED screen that will revolutionize the way you experience movies. This is more than just a technology upgrade, it's an opportunity to transform your theater into a space for imagination, creativity, and community. Join us on this journey into a new world of cinema, where the theater becomes a destination beyond entertainment.


Industry Partners



The Union Internationale des Cinémas/International Union of Cinemas (UNIC) represents the interests of cinema trade associations and cinema operators covering 37 countries in Europe and neighboring regions.​ ​





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. 



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 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.



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 2022 has been scheduled for Dec 5-8, 2022 in Bangkok.  Check links for more information.  The CineAsia trade show is where cinema exhibition and distribution professional come to do business and network. The convention will also feature product presentations and screenings of major upcoming films, exclusive sponsored events, and seminars relating to current and future trends happening across the industry.  Additional information on CineAsia can be found at www.cineasia.com.



CinemaCon 2023 has been scheduled for 24-27 April 2023 at Caesars Palace in Las Vegas.  Check the links below for the latest information. 




ShowEast 2022 scheduled to be held in Miami from Oct 17-20, 2022 at Fontainebleau Miami Beach, features a range of exclusive product presentations and screenings from both Independent and Major Hollywood studios to help you make important programming decisions for the 4th quarter box office.  Powerhouse seminars offer valuable insight from top executives on the latest industry trends and concerns; while our EXPO experience offers delegates a glance at the latest and best technologies, entertainment, services, comforts, and conveniences to make their theatres must-attend destinations.  ShowEast’s International program draws a large contingency of Latin and South American delegates – more than any other convention of its kind. A one and a half day program dedicated to the latest content and concerns and within this rising region.



CineEurope 2022, has been scheduled for June 20-23, 2022 in Barcelona.  CineEurope promises to bring you another year with the very best in exclusive studio screenings and product presentations, cinematic technologies and innovations and educational seminars to keep your business on top of industry trends.


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London—Jul 1, 2010

Screen Digest Predicts European Digital Cinema Funding Shortfall of €450M

Rapid mainstream take-up accelerates public sector’s need to realise their role in the conversion of cinema screens to digital projection technology
According to global media market analysts Screen Digest’s new report, ‘Digital Cinema moves into the mainstream’ the rapid progress of the digital cinema conversion in many countries is requiring an equally rapid appraisal of how to cover costs for those cinemas that may not fit into a commercially-funded conversion model. (http://tinyurl.com/37xdy5f)

There are 32,600 screens in Europe (excluding Russia), of which around 23,000 are targeted by private companies for a commercial rollout (backed by the US studios), and a further 4-5,000 screens will organize their own rollout directly (essentially larger circuits), leaving around 4-5,000 European cinema screens that need to find a funding solution outside of these routes.

The overall conversion to digital will cost Europe an estimated EUR2.1bn, of which the commercial model (known as the Virtual Print Fee model and itself being adapted to bring in a wider number of screens) will fund EUR 1.65bn. This leaves a ‘digital shortfall’ of EUR 450m, which needs to be found for these extra screens. This does not mean these screens are necessarily at risk of closure, but it does underline that other approaches must, and are, being found. Art-house screens, part-time cinemas, multi-arts venues, and repertory cinemas are the most at risk of failing to find funding for conversion to digital.

New approaches to digital transition
The funding group approach is being undertaken in the UK and Netherlands, bringing together a group of exhibitors to use scale to organise a rollout. The more traditional support fund is also being explored in many countries, such as France, Germany, Finland, Sweden, Czech Republic and Poland. A support fund is also being prepared by the European Commission’s MEDIA Programme. Both France and MEDIA are also exploring a guarantee system, which will underwrite loans granted to smaller exhibitors for digitisation. Italy is the sole European country to offer a tax credit to exhibitors buying digital cinema equipment as an incentive to convert. A Polish group in the Malopolska region has digitized using tourism funding from the European Regional Development Fund, creating a network of digital art-houses, offering local communities a wide range of programming in the cinema space.

David Hancock, Head of Cinema, Screen Digest, and the report’s author says “The creativity that Europe is known for is being shown more than ever in the approach to digital cinema conversion. In the past year, policy-makers have woken up to the fact that they may be needed to help a small number of screens to convert, specifically those that won’t fit into a mainstream model. The wide range of approaches reflects the diverse nature of Europe’s film industries”.
European d-screen growth
There were 5,333 digital screens in Europe at end first quarter 2010, a rise of 16 per cent over end 2009, of which 4,529 were in Western Europe. This translates to 15 per cent of the continent’s screens, and has been driven largely by digital 3D (75 per cent of digital screens are equipped with digital 3D). However, with the recent series of commitments to conversions by major European circuits, a momentum is building behind the wider 2D digital conversion.


About IHS Screen Digest: Screen Digest is the pre-eminent firm of industry analysts covering global media markets including film, television, broadband media, mobile media, cinema, home entertainment, gaming, and advertising. In November 2010, Screen Digest Limited was acquired by US research company iSuppli Corporation who were subsequently acquired by IHS, one of the biggest providers of market research and insight globally. Together IHS Screen Digest and IHS iSuppli offer the most complete and insightful analysis of the global technology, media and telecommunications (TMT) sector. IHS Screen Digest Directory page

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