Cinema Technology Dec. 13, 2018
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Sponsors



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.




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.



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.



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.




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. 



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.



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.



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.



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.



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.



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.



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.

 





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.



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.

Industry



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.
 




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. 

Shows & Events



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.



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.




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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 (http://www.obs.coe.int). European Audiovisual Observatory Directory page
Tags: 3D

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