Cinema Technology Sep. 29, 2022
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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.

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.

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.

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.

Strong Cinema, a segment of Ballantyne Strong, Inc., consists of:

Strong Technical Services (STS) that offers a comprehensive suite of cinema-focused services, including installation, maintenance, and technical support, to exhibitors throughout the United States.

Strong/MDI Screen Systems Inc. one of the world's leading cinema screen manufacturers that produces and sells specialty screens, screen support structures, and other film exhibition equipment for customers globally.  

QSC is the global leader in cinema signal processing, power amplifiers, and loudspeakers for all applications within today's modern cinema entertainment center. 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.

Industry Partners

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 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.

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 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.​ ​

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

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.

CinemaCon 2022 has been scheduled for April 25 - 28, 2022 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.

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Strasbourg / Milano—May 12, 2011

Europe: Digital Screens More Than Doubled in 2010 with 3D Once Again the Driving Force

Food for thought from the figures on digital screens as on 31 December 2010
According to the statistics provided by MEDIA Salles, the number of European screens equipped with DLP Cinema or SXRD technology on 31 December 2010 totalled 10,346 with a 120.9% rise compared to the previous year. Compared to the total number of screens in Europe, in December 2010 digital screens had achieved a market penetration of 29%, as against 13.4% the previous year (table 1).

The rate of market penetration for digital screens, the highest figures being seen in Luxembourg (73%) and in Belgium (65%), has also experienced significant changes in the largest markets, reaching over the European average in the United Kingdom (38%), in Russia (38%) and in France (34%), but remaining below the overall rate for Europe in Germany (27%), Italy (23%) and Spain (19%).

The number of digital sites in Europe in December 2010 was 4,120, with a 74.1% rise over the previous year. The total market penetration of digital sites amounts to around 33% as against 18.7% in December 2009. 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 2.5 in December 2010.

The average number of digital screens per cinema varies widely in individual European countries. 
In December 2010 the highest figures were recorded in Belgium (6.8 screens per cinema), Luxembourg (4.8), Portugal (4.8), Austria (4.3), Latvia (3.7), Romania (3.6), Estonia (3.5) and France (3.5) (table 2). 
Of the largest markets the lowest figures can be noted in Italy (1.9 screens per cinema), lower than the United Kingdom (3.1), Spain (2.6) and Germany (2.2). 

The biggest markets in terms of ticket sales also account for the largest percentage of digital screens out of the overall total for Europe, so that France comes in first place with 18.2% of Europe’s digital screens, followed by the United Kingdom (13.6%), Germany (12.1%), Russia (9.1%), Italy (8.8%) and Spain (7.3%).

Regarding a comparison with the 2009 growth rates, the greatest development has been seen in the Scandinavian countries, i.e. Denmark (+444% compared to December 2009), Norway (+339%) and Sweden (+308%). Alternatively, if we consider the five-year period between 2006 and 2010 the compound annual growth rate is greatest in Russia (+293%), in Portugal (+216%) and in Finland (+206%), countries where the number of digital screens has increased considerably, especially up to 2009.

In Europe the development of digital screens seems to be highly concentrated with regard to exhibition companies: by December 2010 the top ten exhibitors were responsible for 32.4% of the overall number of digital screens. The top five players are: Odeon and UCI Cinemas Group (with 8.0% of digital screens), operating as Odeon Cinemas in the United Kingdom, as UCI in Austria, Germany, Italy and Portugal and as Cinesa in Spain; the French company Europalaces (4.8%), operating in Switzerland, France and Netherlands; Cineworld Group (3.9%), present in the United Kingdom and Ireland; CGR (3.7%) operating in France; and Kinepolis (2.3%), present in Belgium, France and Spain.

As in 2009, 3D cinema was again the motor for growth: the penetration of screens equipped with 3D technology as a proportion of the overall number of digital screens has continued to increase, (except in Spain), rising from 74% in December 2009 to 81.5% in December 2010.

In some countries in Central and Eastern Europe, such as Croatia, Lithuania, Serbia and Slovenia, where the number of digital cinemas is still modest, 3D screens represent 100% of total digital screens. This is also the case in Iceland.

In many countries the penetration of 3D digital screens compared to the total number of digital screens is over 90%: Russia (99.6%), Turkey (98.5%), Hungary (98.2%), Sweden (96.8%), Poland (95.7%), Denmark (95.6%), Switzerland (94%), Bulgaria (93%), Italy (92.3%), Finland (92%), the Netherlands (91.7%), Greece (91.5%), the Czech Republic (91%) and Latvia (90.9%). However, the percentage is lower in the United Kingdom, where it grew from 71.1% in December 2009 to 77.9% in December 2010, and in France, where it rose from 69.4% to 74.5%.

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 ( European Audiovisual Observatory Directory page

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