Cinema Technology - December 2021

C O N T E N T S C I N E M A T E C H N O L O G Y > VO L . 3 4 N O . 4 > 1 2 / 2 1

NEWS

06 10

FLEXOUND

Augmented

Audio appoints a new CEO CinemaNext works on an exciting upgrade for BAFTA

seats.

Omdia’s

David

Hancock

gives an overview of the

the

Stensland

Norwegian

looks

Cinema

35

20

The UKCA team put on a jam-packed

two-day

39

Cinema tech and Tom Cruise...

this

year's

CineEurope was back in full force A personalised experience equals

more Gabriel

bums

on

Swartland

explains why film marketers should use behavioural data Peter Knight profiles GDC Technology

after

the

company’s 20th birthday in 2020

29

JØrgen

Knight

Movio’s

24

at

conference, as dissected by Peter

cinema landscape since March 2020

20

back

Conference

FEATURES

16

34

As real-life events restart,

Silver

linings

pandemic?!

from Yes,

www.cinematech.today

The ECA’s Grainne Peat delves

into

delivery

methods of live events

44

What

are

the

main

differences between lamp

and laser projection? Barco’s Tom Bert guides us through them

the

really!

Patrick von Sychowski has 10 for us

Motion Picture Solutions Ltd, Mission Hall, 9-11 North End Road, London W14 8ST T: +44 (0)20 3026 1368 MANAGING EDITOR: HELEN BUDGE E: editor@cinematech.today ART DIRECTOR: DEAN CHILLMAID E: dean@spacehopperdesign.co.uk

42

46

29

48

President Richard Mitchell details how CTC has been

busy over the last 18 months

OPINION

50

After a couple of years of

UNIC's Guillaume Branders updates us after a hectic 18

months for the Brussels team

COMMISSIONING EDITOR: PETER KNIGHT E: commissioning-editor@cinematech.today ADVERTISING: BOB CAVANAGH Caixa Postal 2011, Vale da Telha, 8670-156 Aljezur, Portugal T: +351 282 997 050

feeling disconnected, Peter

Knight stays grateful for the small things

M: +351 962 415 172 E: bobcavanagh@sapo.pt SUBSCRIPTIONS Cinema Technology is mailed to IMIS Members.

For subscription details and to read the magazine online, visit www.cinematech.today or email CT@motionpicturesolutions.com

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C T

V I E W

And we’re back!

After a bumpy 18 months for everyone involved, CT Magazine’s former Managing Editor, Alastair Balmain, leaves the cinema industry for pastures new. Helen Budge takes up the reins for this returning Christmas 2021 edition, as the industry resumes business-as-(almost)-usual...

H

ello to you all, and Season’s Greetings!

circumstances, variants, life - still changing quickly, all our

For those of you who don’t know me,

content is relevant at the time of writing. So if something

I’m

seems slightly out of date already, it may be and you can

a

writer

publication

for

industry

Celluloid

trade a

thank COVID for that. But we ask for your forgiveness with

and,

this comeback edition and hope you enjoy it. Please do reach

perhaps most importantly, an excellent David Brent

out to our Commissioning Editor, Peter Knight, or any of us on

impersonator. And I’m delighted to be embarking on this

the team, should you have a story or news you would like to

steep learning curve as the new managing editor for Cinema

share in an upcoming edition.

communications

Junkie,

freelancer

Technology Magazine - it’s certainly a bit surreal to type that out, followed by some of my thoughts on this edition (my

Thanks to the Team

brain wants to let you all know that it’s already screaming that

And, of course, a big thank you from me to the rest of the CT

I’M AN IMPOSTER!)

Magazine team: Peter, Dean, Bob, Ian. Your support, patience

Farewell to Alastair As many of you will already know, Alastair Balmain has taken a role outside of our industry and he will be greatly missed (to be honest, he is already - help me, Alastair!), but we wish him

and answers to my never-ending questions and “I’m new to this” disclaimer were not only much appreciated but were also the reason this edition came together.

Onwards and upwards! And a safe and Merry Christmas to you all.

all the best. In the meantime, the CT Magazine team pushes onwards and we’re excited to bring you this edition, after a COVID-shaped gap of 15 months. A huge thank you to everyone who has contributed their writing - or other - skills to this issue and we hope to bring you many more editions in the coming months and years.

This December 2021 magazine brings you analysis, insights, data and we, or I should say Patrick von Sychowski, even managed to find some silver linings to the COVID era.

One thing to point out is that due to everything -

www.cinematech.today

Helen Editor

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e ve n t s

CT NEWSREEL 6

>

Sweden

FLEXOUND Augmented Audio puts Automotive Professional at the Helm

n e w S ,

v i e w s

&

i n d u s t r y g l o b a l t h e o f

U p - to - d a te

r o u n d - u p

>

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FLEXOUND Augmented Audio has appointed Isak Olevic

and audio industries, where Flexound seeks rapid expansion

from Sweden as their new CEO. Olevic is an experienced

with its unique augmented audio technology”, says Flexound

automotive and audio business executive with past

chairman Markku Vauhkonen.

experience in Volvo Cars, Volvo Group, Harman and Ericsson,

Isak Olevic will succeed co-founder Mervi Heinaro, who

and will assume responsibilities for the company on January

was recently appointed as the Deputy Mayor of the City of

1, 2022.

Espoo, Finland. Heinaro remains a partner in the company, as

“Isak has an extensive network in automotive, cinema

well as a member of the Advisory Board.

Christie Set to Mass Produce CounterAct with Care222 Co u n te r A c t i n d o o r

i s

d e s i g n e d

ve n u e s ,

i s

C E

AS WE prepare for a post-pandemic world where reducing pathogens and

a n d

company

Christie

o cc u p i e d

U L

co m p l i a n t

hubs at airports, train and subway stations.

viral spread is essential, global visual technology

f o r

Developed by Christie, and using parent

company

Ushio

Inc.’s

proprietary filtered far-UVC light to

announced the mass production of its

Care222nm UV lamp technology that’s

eliminate

Christie CounterAct line of commercial

licensed through Columbia University,

surfaces in indoor spaces, including

UV

the

disinfection

with

the

fixtures is designed for high-ceiling

causes COVID-19, influenza, bacteria,

technology. CounterAct fixtures are

applications, which are as easy to

and

designed for use in occupied indoor

install as commercial lighting fixtures.

superbugs by damaging the DNA or

The

first

UV

mounted

disinfection

SARS-CoV-2

technology developed for use around

unable

retail, restaurants, as well as transit

people,

humans.

CounterAct

uses

that

antibiotic-resistant

RNA of the pathogen, leaving them

museums, and sports complexes, to

Christie

other

coronavirus

on

light

spaces, from cinemas, theme parks,

of

pathogens

far-UVC

Care222

line

of

products

patented

CounterAct

99%

to

reproduce

and

infect

www.cinematech.today

ACCELERATING THE NEW ERA OF CINEMA WE ARE PROUD TO HAVE SUPPORTED THE THEATRICAL EXPERIENCE THROUGHOUT THE PANDEMIC

261

Global Trailer Campaigns Launched

2.3K

Classic Titles Delivered

8.5K

Catalogue CPLs Remastered

THANK YOU TO OUR EXHIBITORS AND DISTRIBUTION PARTNERS www.bydeluxe.com Theatrical Delivery | Electronic Delivery | Mastering | Trailers www.cinematech.today

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Barco Celebrates 100,000 Digital Cinema Projectors Production Milestone BARCO is proud to announce a

Over the last seven years, the

record achievement in digital cinema

market continued to innovate with the

manufacturing.

first

advent of the laser era, harnessing the

pioneering release of Barco digital

leading laser technologies to power

cinema

the

the next generation of moviegoing

company has established itself as the

experiences. Today, there are more

trusted partner and leading provider in

than 25,000 Barco laser projection

cinema technologies resulting in the

solutions deployed around the world.

Since

projectors

in

the 1999,

NEWS IN BRIEF

C T

POSitive Cinema Announces Partnership with KinoGram

POSitive Cinema, a Polandbased supplier of cinema

production of 100,000 digital cinema

Ignace Rombaut, Barco’s VP of

projectors today. The milestone is

Projection added, “This is not the end

software, is pleased to

testament

to

sustained

heritage

and

of the success story. Digital projection

announce that its system

innovation

and the more recent switch from lamp

supports a new, unique

shared by Barco, its partners, and the

to laser light sources only delivers more

cinema: KinoGram.

exhibition community.

advantages for customers.

KinoGram is a new place on

the

longevity of

At the turn of the 21st century, the

From R&D to production, and from

the map of Warsaw, located in

are

the revitalized Norblin Factory

underwent an unprecedented change

embedded in everything we do as the

complex. KinoGram is also the

as it moved from the traditional analog

right choice for the future of cinema.

new headquarters of the

world of celluloid film into a new digital

From image quality to sustainability

Polish Directors Guild, which

age. Barco has been a market and

there is still untapped potential for

co-creates the cultural offer of

technology driver in these digital

further growth, and I am convinced

the cinema. The unique venue

innovations ever since the early days.

that the outlook is bright for cinema.”

opened on September 10, 2021

film

and

Belgium

cinema

experience

design

to

end-user,

lasers

Deluxe Creates Deluxe Events Deluxe, the provider of digital and cloud-based services, has formed a new division, Deluxe Events, to provide content mastering, localization, and distribution for physical, virtual, and hybrid experiences.

Deluxe, owned by Platinum Equity, expands upon its already successful support of live theatrical events, including Digital Cinema Package (DCP) mastering, keys and support, packaging and finishing, feature distribution, versioning and advanced audio.

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Cinemeccanica Announces the Launch of New RGB Laser Projectors

The Grand Opening of Odeon West End: A New Beginning THE NEW Odeon Luxe West End cinema is part of a GBP300 million development including the newly-opened The Londoner Hotel, with the cinema opening its doors to the public on 9th September 2021. Situated

CINEMECCANICA S.p.A. has introduced two new RGB

in the basement of the new hotel development, the long escalator journey down provides plenty of time to transition

Laser Projectors based on the well-known RGB laser

from the ‘real world’ to the fantasy world that the

Lucilla technology installed on DCI cinema

movie screens will pull you into. Equipped with two

projectors supplied by Christie Digital Systems

screens, the Screen 1 Dolby Vision auditorium has a

USA, Inc.

13.3 metre screen, 168 recliner seats and Dolby

The new projectors, with the reference

Atmos (67 speakers provide the experience). Screen

LUCILLA-08K CP and LUCILLA-10K CP,

2 has 70 recliner seats, RealD 3D and Dolby Digital

were made initially available from the

Sound. There is a licenced bar, and food can be

end of September of this year for the

ordered and served to your seat.

Italian market and later in Europe.

This makes Leicester Square fairly unique in

The RGB Lucilla projector is the only

now having two Dolby Vision screens to choose

one on the market designed for screens

from. The Odeon Luxe West End Leicester Square

of small and medium dimensions (up to

brings the total up to seven cinemas in the vicinity

11m base) with a light source based on

(including Picturehouse Central, the Prince Charles

pure RGB lasers.

and the Odeon Luxe Panton Street).

BAFTA Chooses CinemaNext as Official Projection & Sound Supplier and Integrator C i n e m a N e x t

h a s

e x p e r t i s e

e q u i p m e n t

i n

b e e n

c h o s e n

b y

B A F T A

s p e c i f i ca t i o n ,

London

to

s u p p l y

d e s i g n

a n d

i n s ta l l a t i o n

created a Dolby Vision screen in the Princess Anne Theatre, with spectacular picture and sound quality in both rooms. A new space - The Ray Dolby room - features 360-degree projection mapping and screening capabilities.

CinemaNext’s UK team, operating out of their offices in West London, have offered their services in two areas: cinema equipment specification & design and cinema equipment installation & commissioning.

In collaboration with BAFTA’s nominated partners over a period of almost two years, CinemaNext developed design options, outlining the cinema equipment required for the

LOCATED in London, 195 Piccadilly is the home of BAFTA

auditoria layout, while defining how to integrate it into the

and has recently undergone a major refurbishment. Due to

architectural design. Part of these works included the finalising

officially open in 2022, it will be a creative centre for film, games

of the equipment list and the electrical designs.

and television, as well as the central hub for BAFTA’s UK-wide and global learning and talent development programmes.

Louise Robertson, Executive Director of Partnerships and Fundraising for BAFTA, said: “We are so excited to be working

As part of the works, the headquarters’ two cinemas - The

with CinemaNext to help bring our redeveloped space at 195

Princess Anne Theatre and The Run Run Shaw Theatre - have

Piccadilly to life. The services they provide will give BAFTA the

had important technology upgrades with laser RGB projectors

resources needed to dramatically expand our learning and

from Christie, and Dolby Atmos sound systems. Dolby has also

talent development programme.”

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PVR Cinemas First in India with Cinionic Giant Screen Technology

>

Arts Alliance Media and Digital Cinema United Launch TMS and eDelivery Solution in South Africa

Priya

Arts Alliance Media (AAM) has announced a strategic partnership with Digital Cinema United (DCU), a leading worldwide content and technical services company specialising in Digital Cinema Package (DCP) production and delivery services, to deploy a combined Theater Management System (TMS) and eDelivery solution.

PVR CINEMAS has installed Cinionic’s Giant Screen technology in its flagship site in Priya, India. The move comes as

PVR P[XL] at Priya is the first powered-

Catering to both multi-

by-CGS cinema in India.

territory and local screen

distribution, DCU’s delivery

part of an urban rehabilitation initiative

cinema represents PVR’s new initiative

solutions enable studios to

by PVR of its heritage location providing

to refurbish existing theaters across the

self-distribute content

audiences

cinematic

country into modern, premium spaces

throughout their trusted

experiences combined with the latest in

that honor their legacy in exhibition. The

global network. After

premium

and

P[XL] powered by CGS auditorium

successful deployment

innovation. Priya’s new premium P[XL]

boasts 300 premium seats, an additional

across South African circuits,

auditorium powered by CGS, has a

16 recliners, and features the latest in

exhibitors can now

19-meter (62-foot) giant screen, and

high quality audio and 3D presentation

electronically receive DCPs

features the latest laser projection. The

technology.

directly to their TMS servers,

with

thrilling

cinema

amenities

The

reimagined

single

with AAM’s Screenwriter fully

Arts Alliance Media Announces Screenwriter Partnership with KDKinotec ARTS Alliance Media (AAM) has announced a new partnership with KDKinotec, a UK-based reseller and service provider specialising in independent and outdoor cinemas.

Signing for a license of AAM’s Screenwriter Theatre Management System (TMS), KDKinotec

integrated with DCU’s eDelivery system, DCU Connect.

This synergistic partnership reaffirms AAM’s and DCU’s commitment to continue

will implement automated content management for greater operational efficiency at four

building operational

Nightflix venues, which have become the first outdoor theatres in the UK to use the specialised

efficiencies for exhibitors

TMS. As part of the deal, Screenwriter will also power The Castle Cinema, an independent in

globally.

East London, as they, too, look to centralise their management of daily content.

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Unique X And Flix Media Sign Deal For Advertising Accord Across Latin America FLIX Media, the largest cinema advertising

continents. Flix will be able to harness the power

sales company across Latin America, has just

of Advertising Accord to provide an automated

signed a long-term deal with world-leading

workflow for their pre-show sales, inventory

cinema software company Unique X, to supply

management, dynamic scheduling and content

Advertising Accord to 14 territories Flix operates

delivery. Advertising Accord utilises the latest

in; Colombia, Argentina, Chile, Ecuador, Paraguay,

serverless cloud technologies, producing over 30

Vista has launched the first

Peru, Bolivia, El Salvador, Costa Rica, Curazao,

million advertising playlists worldwide on a

version of Vista Cloud, a new

Guatemala, Honduras, Nicaragua and Panama.

weekly basis.

Vista Launches Vista Cloud

generation of scalable

The Flix Media estate consists of 3248 screens,

In addition to Advertising Accord, Flix will be

cloud-hosted cinema

including Cinemark and affiliate screens, across

utilising Unique X’s content delivery platform,

software, fully managed by

Latin America. This takes Advertising Accord’s

Movie Transit, to supplement their existing

Vista. The platform is initially

total screen count worldwide to over 36,000.

content delivery services in each territory. Movie

being made available to select

Advertising Accord is the leading cinema

customers, before becoming

advertising

more widely available in 2022.

advertising

platform, sales

powering

companies

cinema

across

five

Transit is the most reliable and secure DCP e-delivery platform on the market, with over 3000 connected movie theatres globally.

The company says that Vista Cloud signifies a major evolution of Vista’s software, with the full suite of Vista functionality being transformed into Vista Cloud.

Visit cloud.vista.co for more information.

CMX Cinemas Installs D-Box Seating in Five New Locations CMX Cinemas is installing D-Box haptic seats in five new locations across the United States and will include them in

Unique X & Copine to Deploy Advertising Accord in Switzerland N e w X ’ s

D e a l

B r i n g s

UNIQUE a

agreement

has

also

three

year

with

Netherlands

Pathé

for

the

deployment of Unique X’s pre-show solution,

U n i q u e

M a r ke t - l e a d i n g

A d ve r t i s i n g

X

announced

C i n e m a

P l a t f o r m

to

S w i t ze r l a n d

management Smart

which

will

across

all

be

Trailering deployed

screens

within

Pathé’s Dutch estate.

Smart Trailering is a fully automated and centralized trailer

scheduling

system

UNIQUE X and Copine GmbH of Zurich have announced a

that automatically places the

scheduled for renovation by

five year agreement for the provision of the Advertising Accord

right trailers before the right

the end of 2023. This will bring

solution to the Swiss cinema advertising market.

movies, ensuring operational

two existing locations that are

the total number of D-Box

Deployed worldwide, Unique X’s Advertising Accord will

efficiency.

haptic seats in CMX Cinemas

allow Copine to innovate the selling of cinema advertising

Featuring a centralized

to nearly 500 and will drive up

within the territory while ensuring automated delivery to the

content scheduling system,

the total number of D-Box

cinema screens of their exhibitor partners. Advertising Accord

Smart Trailering empowers

screens to 15.

provides key features such as inventory management,

cinemas

For more information, visit

increased delivery optimisation and flexibility with dynamic

automatically

http://www.d-box.com.

scheduling, and is the market leading cinema advertising

trailers in a sophisticated

platform, creating over 30 million advertising playlists on a

manner.

to

be

able

to

schedule

weekly basis, globally.

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www.cinematech.today

We create & cut it We create, adapt and localise promos, trailers, social, TV, and DOOH. All markets, and all platforms.

w: www.chinagraph.com

t: 020 7751 7000

e: info@chinagraph.com

C T

N E W S R E E L Ohio

Ceylon Theatres Regal Cinema in Sri Lanka Delivers Blockbuster Sound With HARMAN Professional Solutions Dynamic AV Technologies recently outfitted Ceylon Theatres Regal Cinema Dematagoda with a complete HARMAN Professional cinema audio solution to provide immersive sound quality for moviegoers. Ceylon Theatres is a Sri Lankan theater chain with an 85-year history that currently operates in six locations throughout the country. The latest location is a three-screen facility in Dematagoda which also houses a KFC restaurant

Athena Cinema Embraces Accessibility

and Food City supermarket. In order to ensure an immersive

THE ATHENA Cinema in Athens, Ohio, United

including for individuals who find traditional film

cinematic experience with clear

States,

and balanced audio quality for

(“Accessible for All”) focused on providing an

These screenings will support filmgoers with

moviegoers, Regal Cinema

accessible theatre experience for visitors that

open captions displayed on the screen and they’ll

Dematagoda required

features

maintain

state-of-the-art sound systems

independent films. Each Saturday in September,

Sensory-friendly, or sensitive, screenings adjust

for all three screens. Ceylon

the theatre featured a limited one-time-only

lighting and sound levels to create a comfortable

Theatres hired Dynamic AV

screening of a contemporary art film. In addition

atmosphere for all patrons, including those on the

Technologies to equip each

to showcasing independent films, the Athena

autism spectrum. Visit their website at http://

theater with a complete

Cinema created events that are inclusive for all,

athenacinema.com/

has

introduced

screenings

a

of

new

film

series

contemporary

screenings uncomfortable or inaccessible.

a

sensory-friendly

environment.

HARMAN Professional cinema audio solution including JBL loudspeakers and Crown amplifiers.

Dynamic AV Technologies

CJ 4DPlex, AmazeVR Partner to Bring Immersive Music Experiences to Cinemas

selected the JBL 200 Series CJ 4DPLEX and AmazeVR have formed a

pipeline, a global network of theaters featuring

they combine the latest

partnership to source the work of leading artists

haptic motion chairs. AmazeVR delivers effects and

technological advances with a

and secure talent to develop innovative immersive

environments that extend the reach of an artist’s

compact footprint and

music experiences. The goal of this collaboration is

performance so that millions of people have access

accessible price point, making

to create immersive shows that will be created and

through theaters, pop-up events and more.

them ideal for small- to

distributed for ScreenX showings and movie

mid-sized cinemas such as the

theaters, particularly those with 4DX.

ScreenArray speakers because

Regal Cinema.

AmazeVR uses custom cameras and proprietary technology, as well as its Unreal Engine-based VFX

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Part of the CJ Group, which is an investor in AmazeVR, CJ 4DPlex increasingly has been producing music content for ScreenX, 4DX and 2D/3D formats. Visit http://www.cj4dx.com/ www.cinematech.today

That light at the endThat of the tunnel? light at the end of the tunne That light at the end of the tunnel?

It’s an Ushio It’s an Ushio It’s an Ushio

! a m e a m n i e n i C C e e v v o o l l e e W W

Xenon Lamps for Cinema Xenon Projectors Lamps for Cinema Projec Xenon Lamps for Cinema Projectors

ushio.eu ushio.eu

ushio.eu

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A N A L Y S I S

Class is Permanent Form is Temporary David Hancock Chief Analyst, Media and Entertainment, OMDIA The last 18 months have been brutal for the cinema exhibition sector, which relies on both open cinemas and forthcoming film product. The situation has now improved since March 2020, but ongoing waves of COVID-19 around the world are ensuring that the theatrical situation is still unclear.

W

ith parts of Asia and South America

other studios are not exploring day-and-date. While studios

still closed (at the time of writing),

are not homogenous, they have all experimented to some

Europe is also undergoing some

extent with theatrical, streaming, PVOD (Premium Video on

closures, and the Delta and now

Demand) and new licensing deals in order to find the revenue

Omicron

variants

maximisation sweet spot for individual film cases. However,

unhelpful

to

the

are

proving

reopening

of

the idea of all studios following different routes to market, on

economies. This means the date when all cinemas will be

a

open and functioning normally is still unknown and is

exhibitor basis seems too complex to succeed in the long-

being pushed back month by month. At present, conditions

term. If you add to that the increased risk of piracy from an

can change significantly between one big release and the

initial digital release and loss of theatrical income, the most

next, making it difficult for rights holders to judge the

likely outcome of all this experimentation is a shorter (perhaps

relative success of a movie.

more flexible) theatrical window, offset with exhibitor

Despite the uncertainty surrounding current market conditions, things are now much better since the begin-

case-by-case,

territory-by-territory,

and

exhibitor-by-

participation in digital revenues where appropriate (PVOD).

ning of the pandemic in March 2020. From cinemas being

Closures and Reopenings

closed, then allowed to open but having no movies to

There have been surprisingly few cinema closures due to

screen, and those movies instead being watched on digital

the coronavirus. In the US, 2020 saw 6% of screens close

in-home platforms, attractive films are now available

overall, although some were acquired by other circuits and

in cinemas that can open - although there are strings

then reopened. It is likely that furloughing, debt-financing,

attached. Box office figures in some countries are on the

loans and other support systems have been keeping largely

necessary upward recovery trajectory, but this is not yet

inactive cinemas alive and the medium-term may see

back to the levels seen before COVID-19 forced cinemas

closures if cinema-going does not recover as quickly as

to close. Studio experimentation with release windows is

hoped. If new theatrical window release models do affect

slowing down, although some are fixed contractually, and

takings, then cinemas that are not attractive to customers

the theatrical window seems set to continue, albeit in a

will shut. High quality premium experiences and cinemas

shorter format.

with a strong local and loyal following should stay in

How Long is a Piece of String

business. However, the global screen total is unlikely to begin dropping annually for now as Chinese screen growth

One grey area is how long these attached strings will last.

is still high enough to counteract any closures, even with

Warner Bros. has stated that the HBO Max theatrical day-and-

Chinese growth slowing down in 2020.

date releasing of certain films is for 2021 only. Disney has also

Another unknown factor is how people are reacting to

released some content down this route (this has, however,

cinemas reopening. It is certainly true that we are not yet

finished for the time being, for at least the rest of 2021) but

back to pre-pandemic box office levels (outside of some

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The Move to Premium weeks in China and Japan). But questions remain - how

The cinema sector was making bold strides towards premium technologies

much of this is due to factors such as social distancing and

and services before the COVID-19 pandemic hit. The removal of standard

consumer uncertainty? Or day-and-date releasing? And

seats to premium seating was one of the simpler manifestations of this, but

the big question: will we reach the same (pre-pandemic)

the experiential side of the market is also growing rapidly. This includes

levels again?

IMAX and Dolby Cinema but also exhibitor PLF formats and 4D, as well as the

Broadly speaking, surveys show a desire to go back to

rising market segments of boutique and dine-in cinema.

cinemas for a majority, with a small minority suggesting

These segments have significantly higher ticket prices, and it is highly

they will never return, and a significant number being

important to blockbuster movies. There is a de facto premium cinema

hesitant to go back. But the hesitation is diminishing month

window developing which means a movie makes an increasing amount of its

by month, and the global release of Bond’s “No Time To Die”

overall gross in the first few weeks of release (on average, the highest-

has proved something of a watershed for getting an older

grossing movies earn just over 70% of their overall gross in the first two

demographic back into cinemas. However, even a 10%

weeks). And so, due to the high preponderance of premium tickets in this

drop-off in visits, long-term, would be dramatic for cinemas.

period, this results in higher revenues in those weeks. But it also minimises

Release Strategies

the impact of shortening windows - as studios were exploring, at least for first-run exhibitors.

An area lacking in some much-needed clarity at present is

This shift to premium is already having a significant impact on tentpole

the impact of streaming and other digital release strategies

revenues, with the Top 10 movies averaging a box office of $284 million in the

(such as PVOD). The Universal (Studios) deal for a two-

first half of the last decade, compared to $386 million in the second half of

pronged, shorter window with a PVOD release is an

the decade. This increase in premium cinema inevitably makes the whole

interesting test case. After 31 days, a movie in the Top 100

cinema-going experience distinctly different from watching it at home,

(which accounts for over 90% of all box office generated in

something that is particularly relevant going forward.

the United States) will have taken 90% of its overall box office, and over 95% after 45 days. For shorter gaps, the impact is potentially more significant, especially when the release is day-and-date. The exhibitor receives a cut of the

theatrical will be. It is worth pointing out though, that

PVOD revenue to make up some of the shortfall. However,

Disney’s Premier Access is priced at USD$30, both

bigger movies (those in the top 10) take their money more

maintaining a high value and maybe deterring some people

quickly than films down the rankings. To illustrate this, in

from watching at home, thereby driving them to the

2019, the top 10 US movies earned 69.2% of their total box

cinema. We do not yet know whether viewers watching a

office gross revenues in the first two weeks of release. This

newly released movie at home (either day-and-date or after

compares to 63.1% for the films ranked between 41 and 50

a shortened theatrical window) are new viewers who would

and 40.9% for the films between 91 and 100.

not have watched it at the cinema anyway - or whether they

Only Warner Bros. and Disney have been looking at

are, in fact, “lost” cinemagoers.

simultaneous theatrical and day-and-date releases, the

OMDIA’s consumer data shows that a majority would

former for the remainder of this year only. Disney has not

still prefer to watch major new film releases in a cinema.

publicly stated when (or, indeed, if) this will end. However,

High frequency cinemagoers tend to over-index on using

having previously used some high profile movies to launch

streaming services (PVOD, TVOD and SVOD), as well as

the Disney+ streaming service, there will be less need to do

being avid gamers and consumers of all content. This has

so again in the future. Some exhibitors around the world fired off a warning shot in response to Warner Bros.’ plan for day-and-date releasing by boycotting the recent Scarlett Johansson film, “Black Widow”, due to its release as a Premier Access title on Disney+.

And it’s fair to say that the closer the streaming release date to the theatrical one, the greater the impact on 1 8

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80 Around 80% of cinemas globally are currently in operation

always been the case, and in the same way that VHS and DVD didn’t harm cinema, I don’t see streaming services as inherently detrimental to cinema-going either.

But the unknowns do stack up and if you only look at those to determine the future, the outlook could be somewhat bleak. However, looking back to the global growth of cinema before the pandemic, and the shift to a www.cinematech.today

A N A L Y S I S

Top 10 movies averaged a box office of $284m in the first half of the last decade.

$284m

about a movie’s success. Netflix and Amazon et al have very different reasons for making movies than just financial success. For Amazon, movies are also a way to sell more products to Prime members, as well as marketing collateral.

31 After 31 days, a movie in the Top 100 will have taken 90% of its overall box office

And, of course, a corporate ego exercise when award season comes along.

The question is: where is the line between the traditional

69.2% 63.1% 40.9% of top 10 US films made their total box office gross revenues in the first fortnight of release

of US films ranked 41-50 made their total box office gross revenues in the first fortnight of release

of US films ranked 91-100 made their total box office gross revenues in the first fortnight of release

movie that studios have produced so well for so long, and the need for content for content’s sake, either for library hours or subscriber bait? A secondary question is: where do their creative partners fit into the mix? Successful TV/film by algorithm is not what many directors have in mind when they begin a project.

Given the change we’re seeing in what drives a movie project, judging whether a movie is a success is going to become a much harder exercise than the simplistic and

greater overall experience in the cinema auditorium itself in

sometimes hysterical “opening weekend” benchmark. That

developed markets, the fundamentals of going to the

is not necessarily a bad thing but working it out won’t

movies are still strong.

be easy.

Creating the Necessary Buzz One thing the pandemic has taught me is that the impact

Established Worth, Continued Investment

of a movie being released on an in-home digital platform is

Every so often, cinema must justify its existence as media

negligible, and one thing the movie business relies on to

and consumption patterns change - and COVID-19 has

maintain its position is global impact. Lower buzz and hype

made that need even more acute. The sector was in the

around movies at pre-launch and launch will lower their

process of doing just this before it was so abruptly

inherent value in the longer term, and that needs to be

interrupted. Studios and other content owners then took

avoided for the sake of the whole chain.

the opportunity to experiment with release strategies in a

The recent move from Netflix to consider more theatrical releases for greater cultural impact suggests the streaming giant has also noted this lesson. It is a grown-up move from the relative newcomer, and one that places cinema at the heart of a

cultural

debate,

rather

than

marginalising it to favour a glamourous and impact-free future of movies in the home. Netflix is implicitly accepting that a streaming-only company cannot have the same cultural impact (and

“ OMDIA’s consumer data shows that a majority would still prefer to watch major new film releases in a cinema ”

influence) of one that includes a theatrical element - and

way that up until then had not been possible, even if they had wanted to.

However, cinema should not need to prove its worth to studios; that should be clearly known. It is more a question of how we blend this known value (cinema) with lesserknown business models (streaming in various guises) that are more relevant for the age we’re in. Cinema has a central place in the media economy of the future as an out-ofhome leisure experience, but as the dominant launch pad for major movies. But this is dependent on continued investment into experience, service, design, environment and technology. The “windows” genie bottle may have been opened, but the genie has not yet escaped.

this strengthens the chances that, in future, the “event” element of theatrical will be incorporated, an element that

David Hancock is Chief Analyst, Media and Entertainment

is one of theatrical’s core strengths.

at OMDIA, part of Informa Tech. He is also the President of

What is changing though is the traditional conversation www.cinematech.today

the European Digital Cinema Forum (EDCF).

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Actions Speak Loudest: Learning to Leverage Your Data Gabriel Swartland, Regional Director & Vice President, EMEA, Movio Learning to use and apply your data to its fullest - and understanding the difference between demographic data and behavioural data - can elevate your understanding of your audience.

And, importantly, hone your marketing technique to reach them.

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D A T A

Demographic and Behavioural Data

improve moviegoers’ cinema experiences is a disservice.

Demographic data is something every film industry

Marketing to the right audience, and doing it well, is incredibly

marketer is familiar with. It covers and details data points

important. And strong use of behavioural data is key to

that enable marketers to segment moviegoers into different

ensuring that marketers know exactly who that right

“buckets” of relevant demographics for insight, comparison,

audience is.

and basic targeting. For example, with good demographic

More and more of our clients at Movio - both exhibitors

data, an analysis of the UK moviegoer audience for “Dune”

and studios - are now positioning behaviour-based targeting

shows that it skewed significantly - over 54% - towards those

at the heart of their marketing campaigns. On the exhibitors

under 35, and over 65% of the audience was predominantly

side, it’s becoming standard practice to use “dynamic

male.

content” in newsletters - using a moviegoer’s previous

While demographic-based, broad segmentation targets

viewing history to help prioritise and order the content

many moviegoers who are interested in a film, it also targets

recommendations they receive. But increasingly, behaviour-

plenty who aren’t, wasting valuable marketing budget.

based targeting is the starting point for social and digital

Additionally, it excludes plenty of moviegoers who would see

activations as well. Connecting with moviegoers beyond an

the movie but don’t fall within that target demographic. This

exhibitor’s owned channels is a very effective way of widening

is the crux of the issue; avoiding wasting marketing dollars

the net while maintaining the benefits of behavioural

on the wrong audiences, and missing opportune moviegoers

segmentation.

in the process.

Behavioural data makes a real difference and helps us

The Story Told by the Data

understand more about who those people actually are. Who

Detailed customer insights have become all the more

were those under-35 males that saw “Dune”? How many

important throughout the challenges of the pandemic, as

tickets did they buy? What concessions did they buy when

we try to understand behaviour such as who is choosing to

they visited? Where do they spend their time and money?

return to cinemas first, or the possible changes in moviegoing

Marketers can gain a far deeper understanding into their

habits as a result of the last 18 months. And our data science

moviegoers with behavioural data.

team recently completed some research into who the

The Relevance to Cinemas and Studios

moviegoers were that were coming back to cinemas over the last year. This research focused on moviegoers in the US

The cinema experience begins long before customers walk

and United Arab Emirates with the goal of trying to

into the building. Personalised communications and

understand if pre-pandemic visitation habits could be a

recommendations specific to individuals are the first

good predictor of who is first to return as cinemas reopen.

touchpoints that cinemas have with their audiences. And

The results were interesting. The moviegoers who were

behavioural data is what makes that personalisation element

the most frequent cinema visitors prior to the pandemic, and

possible. It’s a better experience for the moviegoer, but it’s

those who were higher spenders, were most likely to return.

also more efficient for the studios and exhibitors carrying out

Groups and families were also clearly keen to get back to the

the promotion.

big screen experience, with this playing out in the UK with

With data ever-present in our lives, we have copious

the success of films like “Peter Rabbit 2”.

access to behavioural data through loyalty programmes and

One unexpected point of behaviour was that those

the ubiquity of online booking. So to not use this data to

loyalty programme members who shared more of their data than others - like a valid phone number or date of birth - were more likely to come back sooner. So when looking at moviegoers, data sharing and marketing engagement coming from cinemas are both strong predictors of a likelihood to return sooner.

It’s yet another reason why more personalised recommendations and relevant content can be such a great tool at exhibitors’ disposal; if this is on offer to your loyalty members, it can be a driving incentive for moviegoers to sign up and share more of their information. This then gives you a clearer picture of who they are, and improves the quality of your targeted marketing to them.

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D A T A

A selection of case studies

Earlier this year, we published a case study in partnership with a leading studio that made use of Movio’s AI-driven propensity

algorithm

to

1

TARGETING BY MOVIEGOER TASTES BASED ON TICKET PURCHASE HISTORY AND ATTENDANCE BEHAVIOUR

identify

moviegoers likely to attend four different action-thrillers.

Movio’s

15.5%

42.7%

38x

Target - all

Target - most likely

Return on ad spend

algorithm

identifies likely moviegoers not only through

their

histories,

own

but

attendance

ticket

purchase

also

through

behaviour

of

the other

moviegoers that share similar tastes.

This

approach

of

analysing

both

individual and collective attendance data allowed the studio to bypass the old

demographic

time - particularly with planning future

generated

audience

film releases. Accessed directly through

producing a 38x return on their advertising

our Research Platform, or via a bespoke

spend across all four campaigns.

set

2

from

the

target

of

reports,

understanding

the

audience evolution over time plays a BEHAVIOUR-BASED TARGET

significant role in contextualising how a

AUDIENCE

film performs at the box office.

Providing studios with access to Movio’s

And also, it increasingly plays a role

targeting and really focus their marketing

behaviour-based targeting means they can

in how a studio might augment their

money where it would be most effective.

focus on the right audiences, minimise

media strategy across the film’s release

wastage and generate considerable return

life-cycle. Is that anticipated secondary

on their marketing dollars.

audience coming out as expected from

1

assumption-based

marketing investment, with the box office

ACROSS ALL FOUR CAMPAIGNS The audience segments the studio

targeted

in

each

campaign

saw

Demographic data still brings value, of course.

If

we

target

first,

based

on

incredible conversion rates, averaging

behavioural information, then looking at

higher

demographic

segments

campaigns. The ‘most likely’ audience

than

15%

across

the

audience

be

segment of moviegoers, which Movio

example, marketers can notice patterns

identified

as

having

highest

between the two and tailor their marketing

likelihood

of

attending

films,

to suit a target audience that skews, say,

the the

four

converted at an average of 42.7%. actual

maximised

behaviour, the

the

efficiency

of

very

within

that

insightful.

For

both older and female.

By targeting moviegoers based on their

can

studio their

For the studios we work with, aggregated audience

data

provides

insights

of

actionable value, and has done for some

week two? Should media activations be dialled up or down as a result?

2

MOVIEGOERS RANKED AS LIKELY TO ATTEND FILM BASED ON PAST TICKET PURCHASE BEHAVIOUR

21.5%

65x

Conversion rate

Return on ad spend

Use It Wisely

In the immediate term as cinemas reopen, use behaviour to

For studios yet to explore behavioural data when it comes to

create

cinema, the best advice is: dive in. Our exhibition partners

moviegoers”, to maximise the opportunities of those

have been leveraging behavioural data for a few years and

moviegoers who have returned to cinemas first. And look at

benefiting from the subsequent improved conversion rates.

the demographic breakdown of the segment to help inform

Those studios who have been using first-party moviegoer

appropriate messaging. Then, look at this in the reverse to

behaviour-based targeting, have seen ticket purchase

understand who is yet to return to cinemas and therefore

conversion rates of 7%, significantly above the 2% conversion

who might need the further reassurance of cinema safety

rates we have seen from purely demographic-based

protocols, or the temptation of an offer.

smarter

segmented

groups,

like

“returning

targeting. Exhibitors should continue to adopt mass one-to-

We are creatures of habit. And so with the abundance of

one marketing and use behaviour to personalise the content

film content delayed from 2020 coming to cinemas in the

of communications. It is significantly more resource efficient,

remainder of this year, marketers should use attendance data

and less wasteful than traditional one-to-many campaigns.

to turn each visit into the next. Recency data should play a big

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www.cinematech.today

D A T A

part in targeting in campaigns, as we get moviegoers back into the habit of the big screen experience.

The Future is Behavioural-Shaped One thing is for certain: there will be more behavioural data in the future. The events of the past year have seen a huge acceleration in the use of digital technology in our everyday lives. And this digital usage transformation is surely here to stay so businesses must take immediate advantage of it. Online ticket sales have, unsurprisingly, surpassed in-cinema sales pretty much across the board because of the pandemic. This provides an increasing opportunity to capture customer consent for digital marketing as a result. This presents a serious chance for the theatrical industry to catch up with the streamers (where data capture is built-in for the latter) and to reap all the benefits that first-party behavioural data provides.

But there will be more expected from it: another big change is around data privacy. Just as the increase in digital transactions provides increased opportunities to capture data, the need for greater transparency on the use of that data is even more important. Agreeing to

PREMIUM PROJECTION SCREENS

part with your data is a transaction and savvy consumers will expect a return on that exchange. Increasingly, a component of that data exchange is zero-party data data a moviegoer will explicitly provide in order to receive a better experience in return: “These are my genre preferences, so tell me about these types of films!”

High up the list of importance when it comes to the benefits of joining a loyalty programme, for example, is ease of use. No longer simply the personalised welcome message or pre-populated filled out form, but that firstparty and zero-party data should inform when, how and what you communicate with your customer. If we

FOR 2D & 3D APPLICATIONS Reflecting every detail with clarity and precision

explain the benefits of handing over your data, and make sure we demonstrate those benefits with every interaction, moviegoer loyalty is the reward.

At Movio, we are focused on working with our exhibitor

and

studio

partners

to

develop

the

opportunities this data provides, and further investment in our data science team supports this. Improving

PREMIUM HGA SILVER SCREENS | NORTHVIEW HORIZON WHITE GAIN SCREENS FOLDABLE 3D SCREENS

things like our propensity algorithm and applying it to non-ticket items so you’re recommended the right product to further enhance your cinema experience, is just one example.

With the demise in the use of cookie data captured from following us around the web, and other third-party data collection, secure, consent-driven first-party data use is increasingly important and central to our mission to connect all moviegoers to their ideal movie. www.cinematech.today

EFFICIENT WORLDWIDE DELIVERY

www.strongmdi.com 1 877 755-3795 info@strongmdi.com 1 2 / 2 1 >

2 3

GDC: a 20th Birthday and an Exciting New Projector

Find us here GDC Technology (GDC) Founded in 1999 and HQ’d in Hong Kong, GDC has become one of the leading global digital cinema solutions providers of the previous 20 years,

Celebrating its 20th anniversary in 2020, Peter Knight learns more about this technology company that many will have heard of, but few will really know.

W

hen GDC launched in 2000, founder,

New Opportunities

chairman and CEO, Dr. Man-Nang

Despite the challenges of the last 18 months, GDC launched

Chong saw a viable opportunity for

their first DCI-compliant projector during 2020: the Espedeo

products and solutions that could

Supra-5000 RGB Plus laser phosphor cinema projector

advance the cinema industry. The first

(“Supra-5000”) - and it offers an entirely new range of

product

possibilities.

GDC

developed

was

a

software-based digital server playback system for cinema.

The potential to install this projector in buildings that

Today, the company develops, manufactures, and sells

previously couldn’t operate practically as movie auditoriums

scalable cinema automation systems and cinema-enterprise

has increased, given office and retail store closures. This

software. GDC’s range of products includes Theatre

current situation allows the projector to provide greater

Management Systems (TMS), Circuit Management Systems

flexibility in terms of the locations that can become cinemas -

(CMS) and Network Operation Centres (NOC), digital cinema

GDC even has examples of screening rooms, lounges and

servers, and now digital cinema projectors. The company also

restaurants,

provides a comprehensive suite of digital cinema products

condominiums and yachts (and, potentially, maybe even

and services to provide exhibitors and distributors with a one-

narrowboats?). And this can be extended to the new crop of

Systems) in the

stop solution for exhibiting all digital content formats. During

boutique cinemas that are opening up in ‘non-cinema’

bringing many innovations to market. GDC has the largest installed base of media servers and TMS’ (Theatre Management

luxurious

home

theaters,

holiday

resorts,

Asia-Pacific

its 21-year history, GDC has been awarded 35 patents globally,

buildings. Such is the flexibility of this projector that in October

region - and the

including in the USA and China, and has established a global

2020 it was used to project a movie in a cable car!

second largest

market presence with 13 offices and 37 local service centres

globally.

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around the world.

Beyond this, the form factor of the projector allows for installation onto a standard AV truss, providing more flexibility www.cinematech.today

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S I T E

Moving into the Projection Field While a lot of focus from other projector

require installation in a hush box.

manufacturers has been towards PLF and

perfect for private home cinemas, hotels,

“Typically, we design and manufacture by

products

our

Supra-5000 is designed with powerful

designed the Supra-5000 for smaller mini-

distribution and exhibition partners. For

electronics, attaining a 2000:1 contrast

theatres with 10-50 seats and a screen size of

the

ratio with 5000 lumens.

up to six meters, to cater to the emerging

Appotronics and Texas Instruments from

The small size of the Supra-5000 is

boutique cinema concept and the growth of

conception to design to manufacturing,”

achieved with GDC’s All-In-One Board,

the mini-theatre and private screenings.

said Dr. Chong.

which integrates the SR series media server,

Supra,

collaborating we

with

and yachts. But despite its small size, the

large screen auditoriums, GDC deliberately

collaborated

with

Boothless cinemas (where the projector

The Supra-5000 is likely to be the

Integrated Cinema Processor (ICP) and

is housed inside the actual auditorium,

world’s smallest DCI-compliant DLP laser

DMD (DLP chip) formatter boards onto a

rather than the projection room) have

projector on the market in terms of overall

single board. This also lessens the need for

required acoustic (“hush”) boxes to manage

size at just 480mm (wide) x 803mm (long

cooling and other electrical requirements -

the sound levels of the cooling fans,

with lens), weight (47kg with lens and an

the Supra-5000 uses a maximum of 750W,

alongside managing the challenges of

additional 2.7kg with the 3D system

about the same as two laptops. This helps

performing

maintenance.

installed) and quiet, with a noise level that

to lower the total cost of ownership (TCO),

However, with the launch of the Supra-5000,

projector

is below a whisper (35dB(A)). This makes

and improves reliability and serviceability

GDC resolved these challenges with a light,

the projector similar in size and weight to a

(fewer parts to manufacture equals lower

quiet and compact projector that did not

high-end AV home theater projector, and

overall cost).

for DCI movies to be projected in mobile, outside or pop-up locations. With the Supra-5000, GDC has created a projector

(Top right) Dr Man-Nang Chong

sources of which can be switched via ethernet.

that can be best described as a ‘cinema-in-a-box’ with just the

3D

addition of the amplifiers, speakers and screen needed,

A standalone 3D polarized system was specially developed for

allowing for a more cost-effective option for customers on a

the Supra-5000. The PM-2000B is designed for easy

budget. And while the risk of losing a show may feel higher

installation and operation by detecting 2D and 3D signals,

with everything being a single point of failure, the chances of

which enables the system to shift corresponding working

this happening in reality are low, as it is designed with near-

positions automatically. The PM-2000B 3D system can be

zero maintenance electronics and tested for 100,000 hours

used in any orientation whether the projector is fixed on a

Mean Time Between Failures (MTBF).

pedestal or hung on a ceiling and only adds an additional

A Built-In Audio Processor

2.5kg to the overall weight of the projector system.

The Supra-5000 is available with an optional built-in digital

And There’s More...

cinema audio processor to play back DCP-format movie titles

Other unique features of this projector include a customised

in 5.1 and 7.1 uncompressed surround sound. This can either

magnetic case cover that allows customers to add an image

be used directly with digital amplifiers or for older analogue

matching the rest of the ceiling to help the projector blend

amplifiers via a piece of hardware (Audio IO Box AIB-2000)

into its surroundings. Or to be bolder by adding a corporate

that also includes other inputs. The audio processor is on the

logo.

same All-In-One Board and available as an upgrade at any

The Supra-5000 also has an integrated IMB that supports

point as it only requires an optional software license (along

the GoGoCinema cinema-on-demand platform with the GDC

with obtaining the AIB-2000). The AIB-2000 is an external

Cinema Automation 2.0. It enables the playback of thousands

8-channel digital-to-analogue converter (DAC) to interface

of movies and auto power-on/power-off for the projector’s

with external audio equipment such as analogue amplifiers,

laser according to the pre-set schedules. With the All-In-One

booth monitor, microphone, and media players, the input

Board, it provides diskless CineCache (built-in cache

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2 5

A View from the Top Dr. Man-Nang Chong Chairman & Chief Executive “The traditional movie theatre is evolving. And this time it’s evolving to meet the demands of consumers seeking a big-screen cinematic experience in an intimate setting with amenities offered by the mini-theatre. We are thrilled to launch the Espedeo Supra-5000 which allows venue owners to build a mini-theatre much more quickly with fewer construction constraints and Furniture, Fixtures and Equipment (FF&E) costs,” said Dr. Man-Nang Chong, founder, chairman and CEO of GDC Technology Limited.

“Entering the projector market is a big step forward for GDC. The minitheatre and boutique cinema market is growing quickly and globally. With Espedeo products, we are delivering the advanced cinema technology and easy-to-build concept to our dealers and customers entering the emerging trend.”

memory), helping to reduce the risk of equipment failure and assist with maintenance as there are no moving parts to wear

A private cinema screening set up

spaces. It is all made possible by GDC’s proprietary technology that integrates a DCI-compliant media server, an integrated

out. Content ingest and playback can be performed

cinema processor, and a DMD formatter board on one circuit

concurrently without any local HDD storage. One average

card.”

movie can be ingested within 30 minutes without interrupting

High praise, indeed. Meanwhile, the jury of the Red Dot

playback. The Supra-5000 also comes complete with a built-

Award said, “Thanks to its sophisticated technical features, the

in Wi-Fi router so that wireless access is available straight out

Espedeo Supra opens up areas where professional projection

of the box.

has not been possible before.”

Already Award-Winning

Other Products

Although the projector has not been able to receive as much

Due to the reliability of GDC’s solutions, the most recognized

attention as it deserves in terms of trade shows and

cinema display technologies in the world (including digital

demonstrations it has already become a multi-award-

cinema projector and cinema LED screens) use GDC’s

winning device. It received the “Best of Show’’ award from

customized IMBs. Here is a whistle-stop tour of a small

Residential Systems and TWICE, along with the “Best of

selection of other product ranges from GDC:

Show” from ProjectorCentral.com’s Projection Expo 2021. And

category of “TV and Home Entertainment”, selected by the

Powerful Extensibility of SR Media Server

jury for its sophisticated technical features.

The SR-1000 IMB has the CineCache, along with a built-in

2020 saw the projector receive the 2020 Red Dot Award in the

The projector was described by the Projection Expo editorial staff in the following way:

GDC’s SR-1000 IMB Server

5.1/7.1/15.1 cinema audio processor that has recently been updated to be able to allow immersive audio through its

“There’s nothing out there that’s quite like GDC’s Espedeo Supra-5000. A 5,000-lumen, 2K-resolution laser projector that distinguishes itself in both the cinema and high-end home theatre worlds by coming equipped with all the internals to play the first-run, copy-protected Digital Cinema Initiative (DCI) packaged content hosted by your local movie theatres. Along with achieving full DCI-P3 colour gamut, the Supra-5000 is built on a compact chassis and designed for quiet operation (less than 35dbA) for mounting directly inside mini-theatres, screening rooms, yachts, or other confined 2 6

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16-channel DTS:X output. It’s due to be upgraded in early 2022

The system can be extended so that it can automatically

to become 24-channel as part of the process to roll out DTS:X

turn on and off pieces of sight and sound equipment right

IAB on GDC IMBs.

across the cinema, based on operation hours, saving both

Keeping Previous Projectors Alive With technical support of Series 1 (S1) equipment coming to

time and electricity, and also reducing the risk of this being forgotten or missed.

an end, especially when it comes to the Dolphin Boards in the

SCL Mk2 Centralized Playback Server

S1 servers, GDC has designed and developed a solution that

CA2.0 is built around the SCL Mk2 Series Centralized Playback

allows for the use of their SR-1000 IMBs to extend the life of

Solution. The SCL Mk2 server is able to live-stream a movie

the S1 projector. This allows exhibitors to continue to use their

through the cinema’s network to one, or more, auditorium’s

S1 projectors until they are ready to update to a newer model.

diskless SR-1000 media server. This eliminates ingesting the

And because the kit is largely a physical enclosure it means

content to each media server’s local storage since it is no

that the IMB can be transferred to the new projector. The GDC

longer required. The SCL Mk2 server offers four different

solution does not just work for the Series 1 equipment, but for

models supporting up to 30 auditoriums.

the Series 2, 3, and 4, as well. Being projector agnostic it will work on Barco, Christie, Sharp-NEC and Sony projectors.

Cinema Automation 2.0

With the SCL Mk2 centralized server series, the operation efficiency is increased by not needing to transfer, ingest, and move content from one auditorium to another. Each auditorium’s SR-1000 shares a large live-streaming library

Since it was released in 2017, GDC’s Cinema Automation 2.0

server which stores up to 2,000 movies, instead of just a

has been installed at over 150 locations consisting of 1,200

handful, due to the constraints of local storage devices. Most

screens worldwide. It was one of the first cinema hardware

importantly, SCL Mk2 offers a fail-safe design with a back-up

and software solutions to make use of the developing

mechanism available to ensure every screening continues

machine intelligence, to help exhibitors to increase efficiency

autonomously, thanks to the SR-1000’s highly reliable

and reduce human intervention in the day-to-day tasks. The

CineCache which allows full-speed ingests even during

software does as the name indicates, automating the show

playback. In addition, the SCL Mk2’s central storage with

playlists, ingesting and transferring content, scheduling

machine intelligence allows the show playlist to be generated

showtimes and checking the quality of the presentation.

automatically.

GDC’s Espedeo Supra-5000 Projector Review, CineEurope 2021 CineEurope 2021 in Barcelona was an

Impressively, the air conditioning in

warm, despite having to be played at a

occasion for GDC to show off the Espedeo

the room was noisier than the projector

Supra-5000, as well as being the first

itself, even when the laser was running

opportunity to experience this projector

without any audio on-screen. The air

projector’s user interface (UI) under stress,

for myself. I certainly wasn’t disappointed.

conditioning wasn’t particularly loud, the

the UIs on both laptop and mobile device

projector just lived up to its marketing.

appeared easy to use with the important

was slightly larger than anticipated - but

And the picture quality was clean and

features clearly indicated.

still considerably smaller than other DCI

crisp, demonstrating the

projectors. The mini-theatre auditorium in

blackest of blacks

it was one of my highlights

GDC’s conference suite demonstrated the

alongside bright, vivid

of this year’s CineEurope,

Supra-5000’s capabilities with a 7.1 audio

colour.

proven by the fact that I

Immediately noticeable was that it

system from MAG Cinema. The projector

The Supra-5000 has a

lower level to not disturb anyone nearby.

While I wasn’t able to test the

I loved the projector, and

encouraged a number of

was installed inside the mini-theatre at

cinema audio processor

other people to go and see it

the back of the room on a truss. And the

built-in onboard, and this

for themselves. The

team noted that, as the projector is Risk

was being used for

Supra-5000 lives up to its

Group 2, it’s safe for people to physically

playback 5.1 and 7.1

marketing, but not only that,

be around it, unlike other DCI laser

uncompressed surround

it offers some new

projectors.

sound. The 7.1 audio was

opportunities to the market.

www.cinematech.today

1 2 / 2 1

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We build & deliver it At MPS, we’ve been building DCPs for 15 years, whilst creating a delivery network to more than 3,500 cinemas worldwide.

w: www.motionpicturesolutions.com 2 8 > 1 2 / 2 1

t: 020 7751 7000

e: info@motionpicturesolutions.com www.cinematech.today

B U S I N E S S

SILVER LININGS TO A DARK

COVID CLOUD The COVID-19 pandemic was the single biggest challenge cinemas have faced in their 125-year history. Many were shuttered for months. And there was widespread fear aided and abetted by alarmist articles - that people’s habits would permanently change to streaming as a result of not being able to go out, and as Hollywood studios discovered that they had a direct channel to consumers.

W

Patrick von Sychowski, Editor, Celluloid Junkie

hile we can see that much damage and misery was caused by the pandemic

and

the

resulting

lockdowns for what is now almost two years, it is worth taking a step back and examining what good, if any, may

have come from this dark time. In some ways it has, similarly to other industries, accelerated already previously existing trends. However, it has arguably also led to the start of new things, the result of which will only be known in years to come. Here are 10 examples of silver linings to what was a very dark cloud. www.cinematech.today

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2 9

B U S I N E S S

1

2

While cinemas were battered, or, in the words of Vue’s Tim

The howl of outrage that greeted the online-only release of

Richards, even “bloodied” by the pandemic, they did mostly

Universal’s “Trolls World Tour” only diminished marginally for

survive. Yes, there were several smaller and independently-

each subsequent title that bypassed cinemas and went

operated cinemas that did not make it through the pandemic,

straight to premium video-on-demand (PVoD). Universal did

particularly in the US. There were also multiplexes that were

not help its case by crowing about the film making nearly

permanently closed, not least where there was an issue with

$100 million in three weeks of digital rentals. While it was an

the lease. And there remain unresolved issues between

eye-catching number, most media overlooked the fact that it

cinema operators and landlords over unpaid rent.

was a result of parents being trapped at home with small

Cinema survived

Most films did not bypass cinemas

But overall the vast majority of cinemas made it, thanks

children who had already watched everything else available.

to a combination of government help, loans and their own

As Canadian cinema operator Vince Guzzo said, “It would

ingenuity. There were even surprisingly few sales or mergers,

have been impressive if it had been a billion.”

with Singapore’s Golden Village-Cathay merger being the

Despite the qualified Trolls success, Universal did not

exception, rather than the norm. If anything, the pandemic

release most of its crown jewels through PVoD, with “F9” and

has had less short-term impact on the industry than the cost

“No Time to Die” holding out for over a year for a theatrical

of switching to digital had a decade or more earlier. While

release. But studios did suffer from their investments sitting

nobody would underestimate the toll on and task ahead for

on the shelf, which explains why the likes of Paramount sold

the industry, cinema has emerged better than many others

off titles like “Borat 2” and “Coming 2 America” to Amazon

in hospitality and leisure, not to say leaner.

Prime. But the economics for pure PVoD did not stack up beyond 2020. As Guy Bisson from Ampere Analysis put it,

3

“Only the most optimistic [pure PVoD] scenario makes more

Day and date tried and failed

than a 20% depressed theatrical market.” To put it bluntly: the pure PVoD model failed, even when people were stuck at home.

While content that bypassed a cinema release completely did not end up triumphing, there was an equal fear that the ‘hybrid’ model would be the

majority of films still kept some form of a theatrical

post-pandemic reality. This would see Hollywood

window and exclusivity, even with the likes of Warner

studios release their films in cinemas and online at more or less the same time. Disney went furthest in this direction with its experimentation that included: 1) releasing

of films in Omdia’s sample were PVoD

According to data from Omdia, of the 133 films in their sample (2020 and 2021 titles), 16% were PVoD (15 from Universal, four from Lionsgate, and one each

films purely online, 2) releasing films in cinemas

from Sony and STX); another six (4.5%) movies were

and

PVoD and day-and-date theatrical, mostly Disney

with

Premiere

Access,

where

Disney+

subscribers could watch “Cruella” for an additional £19.99. And 3) where it released films in both cinemas and at no extra charge to its subscribers.

The latter tactic was also adopted by

£19.99 The amount Disney+ subscribers could pay to watch certain titles from home

(four of the six). The majority, therefore, came from Universal’s PVoD strategy, which has continued with its latest, “Halloween Kills”. But even here, the release on the Peacock SVoD channel did not stop it from taking $50m at the US box office in its opening

Warner Bros. (or, rather, AT&T) in making first-run

weekend. (Perish the thought that it might be because

films available in cinemas and on HBOMax at no

Peacock is not a popular platform like Disney+.)

extra cost. By the second half of 2021, both studios

Perhaps most importantly, the concept of major

had walked back these plans, with Disney

blockbusters going pure PVoD or hybrid SVoD/PVoD

confirming it would keep a 45-day window and

and cinema are no longer hypothetical scenarios. But

Warner Bros. saying that it would reinstate the

they are ones that have been tested and a theatrical

exclusive theatrical window at the end of the year.

release window (albeit shorter) has been found to be

Even in the hybrid model we can see that the

3 0

16%

Bros. and Disney putting their entire output online.

>

1 2 / 2 1

the best value generator for films.

www.cinematech.today

4

A pivot to cash-free and online payments - plus better data

Swedish Svenska Bio was an early adopter of renting out its auditoriums for private usage

The pandemic accelerated the use of contactless and cashfree payments, including for cinemas. While some markets such as Scandinavia and Asia already had a very high degree of electronic payments (Sweden’s second biggest cinema chain Svenska Bio went cash-free long before the pandemic), post-COVID we have seen even cash ‘hold-outs’ like Germany

5

Private cinema

Over-indexing on food and drink is an added benefit of private cinema rentals

and Italy embrace online bookings and electronic payments.

While the concept of private cinema (or “on-demand”

There are multiple advantages of cinemas going cashless.

cinema) has been growing in China for many years,

There are less instances of fraud or theft, the likelihood of

the pandemic made it take off in Europe and North

robberies decrease (common in Germany!), payments are

America in a big way. The driving territory was Sweden,

streamlined with kiosks, terminals and POS for concessions,

which kept its cinemas open - but restrictions meant

no chance of counterfeit bills and more. This has also been

that it was only able to welcome eight patrons to each

helped by the growth of contactless payment solutions such

screening.

as Apple Pay and others. The message is that people are no

The first to test renting out its auditoriums was the

longer as keen to hang on to and use physical bills and coins

Scala cinema in Båstad, for both film viewing and

for payment in an age of heightened awareness of germs and

gaming, in the early spring of 2020. The comfort and

virus transmission.

convenience, coupled with the feeling of safely being

But the biggest benefit of the switch to online and

able to view films in a small ‘bubble’ of friends and

cashless payments has been the ability of cinemas to gather

family, has been shown to be attractive even after

more customer data. Even for those customers that are not

regular screenings resumed. The popularity of this

part of a membership scheme it is possible to extract value

concept is also driving dedicated spaces to be created,

and insights from the data that digital purchase patterns

such as The (Any)Thing cinema in the Netherlands

provide. In its presentation at UKCACON21, data insight

that is looking to expand across Europe.

company Movio confirmed that “ticket purchasing habits

As an added bonus, private rentals of screens,

have changed,” since cinemas reopened. And Movio is urging

particularly for gaming, tend to over-index on food

cinemas to seize the opportunity offered to them, telling

and beverage spend. The popularity of the private

them “to cast your net to reach new audiences,” and to “go

cinema concept may well prove to be the longest

beyond your owned marketing channels,” based on the

lasting legacy of change from the pandemic.

insights culled from the wealth of new data.

6

Staffing issues

With thousands of cinema staff furloughed or made

in staffing and wage pressures. There are several ways this

redundant in 2020 and 2021, there has never been more focus

can be overcome. South Korean cinemas have gone for

on staffing issues than as the industry emerges from the

perhaps the most futuristic, with a robot greeting customers,

pandemic. With the squeeze on employees in the service

telling them which auditorium to go to and encouraging

sector, the cinema industry, alongside other hospitality

social distancing. While this is not something that will take off

businesses, has had to re-evaluate how it hires, trains and

elsewhere on a large scale anytime soon, there will have to be

retains staff. For those that were kept on, mainly in senior

a greater degree of automation and self-service in the future.

management, there has been an appreciation of remote

Pathé Netherlands demonstrated this at CineEurope with

working and staying in touch with all employees, as well as

Hendrik ten Napel pointing to heated back-fill popcorn

both internal and external communication. The added

cabinets complementing self-serve beverage solutions like

pressure has also increased the awareness of mental health

Coca-Cola’s Freestyle fountains and self-scan checkouts.

issues and the need to talk openly about workplace

With ticketing barriers staff can be deployed to more

challenges relating to this.

meaningful roles, such as a host greeter at the start of each

At the moment cinemas are not alone in facing shortages www.cinematech.today

screening.

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B U S I N E S S

7

Cinematic programming

Cinema lovers are currently spoiled for choice

When Everyman was preparing to reopen

case, with a re-release of Oscar-winner “Fargo”

with “three years’ worth of films releasing in 18

its cinemas for the second time this summer,

selling hundreds of tickets across Everymans’

months,” as Vue’s Tim Richards put it at

Head of Film Serena Gill, said that their

cinemas more than 25 years after it was

CineEurope. There could even be said to be a

members contacted them, “urging us not to

released. And despite it being available to rent

traffic jam on the silver screen, with the release

go back to mainly showing blockbusters.” The

for just £3.49 online.

of “Dune” delayed by over a month in the UK

previous

big

Film director Michael Mann posited that

and US until after “No Time To Die”, compared

Hollywood title released was Warner Bros.’

the steady growth of the streaming platforms

to the rest of Europe. While there is a risk that

“Tenet”, their cinemas had to get more

has meant that audiences are switching more

some of the larger titles may end up

experimental with programming and give a

to global films rather than just Hollywood

cannibalising each other, an argument could

wider release to what would previously have

output. Although, it is worth remembering

be

made

cinema

audiences

when

the

only

have

been considered to be niche titles. While it is

that (Best Picture Oscar Winner) “Parasite” was

emerged from lockdown with a newfound

easy for customers to say this and still only

a global hit more than two years before

hunger for a wider variety of films.

come out for Bond, that has not proven the

Netflix’s “Squid Game”, so the appetite is there.

Staying in touch with customers

When cinemas closed they knew they had to keep in touch with customers, even if they couldn’t offer them anything to show in cinemas. This unleashed a wave of creativity among many cinema chains, particularly arthouses and independents. Online quiz nights, viewing parties, newsletter polls, and tie-in online screenings with companies such as Curzon Home Cinema, Kino Lorber and La Toille saw cinemas embrace streaming as an add-on to the cinema experience, rather than a substitute.

Secret Cinema partnered with luxury ice cream brand Häagen-Dazs for an immersive film night called ‘Secret Sofa’ that kicked off with “The Grand Budapest Hotel” and is still continuing with its

3 yrs

8

that

summer,

Vue’s Tim Richards indicated consumers can now enjoy three years’ worth of cinematic action squeezed into 18 months

9

Sanitation/cleaner toilets

For anyone - like yours truly - who has bemoaned the state of toilets in a cinema, a major silver lining of the pandemic is a focus on cleanliness that has never been greater. Washrooms are the proverbial canary in the coalmine that give an indication of the overall attention to health, safety and sanitation in cinemas. We cannot check for ourselves the state of the HVAC (heating, ventilation, air conditioning) filters, the food hygiene behind the scenes or if fire exits are working. But the sign of a well-run cinema includes regular checks that toilets are kept clean and stocked. Even with staffing shortages there should be no less attention paid to the bathrooms than there is to the Coke dispensers. But it’s

“Ghostbusters” at-home experience - even after

important that these do not simply become

cinemas (secret or not) had reopened.

‘hygiene theatre’, while important aspects like

While cinemas have been active to varying degrees on social media and with traditional marketing tools such as newsletters, the pandemic showed us that more was needed - and possible.

Cinemas

are

shouldering

an

increased

ventilation and traffic flow of people are neglected.

10

The next time

responsibility for the exposure of the films and

The COVID-19 pandemic caught almost everybody by surprise. On an industry

other content that they’re showing. This is not

conference call among US cinema operators on 29 January 2020 discussing the

simply because the distributors’ role is changing,

year’s outlook, not one participant thought to mention that one-third of the world’s

but because cinemas are in possession of more

cinema screens were dark because of a pandemic; mainly because all of those

customer data, while also having to program non-

screens were in China. Even when the outbreak spread and caused lockdowns in

traditional screenings like event cinema, themed

Iran and then Italy, there was still hope that the rest of the world would escape it. So

screenings, festivals, private rentals and more.

when the next pandemic happens, which the World Health Organisation reminds us is ‘when’ not ‘if’, cinemas - and society - will be better prepared. Right?

3 2

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3 3

E V E N T S Jørgen Stensland, Assistant Director, Film & Kino looks back at the Kino Konferansen in Sandnes, Norway

Film & Kino’s

T

he

The Norwegian Cinema Conference 2021

Norwegian

Cinema Conference

was

held, this year and for the first time

since the pandemic started, in Sandnes outside of Stavanger, Norway, from the 8-11th November. And it was the conference’s tenth anniversary, no less, having been held in different cities and cinemas around Norway since it began.

The idea behind the planning is to arrange the conference in recently refurbished, or even brand new, cinemas so that attendees can explore the new venue, as well as listen to interesting talks and panels. The focus for the main body of the conference usually covers marketing, data / statistics, ticket sales

years have seen guests from Hollywood,

and

Malaysia,

systems,

screen

advertising,

Australia,

United

Arab

(l-r) Guttorm Petterson & Morten A. Ørmen

experience, looking to the future of cinema and the return of European

concessions, general trends and so on.

Emirates and others. This year, due to

And the latter part typically has a more

COVID, we did not have speakers from

technical focus on sound, projection,

outside Europe, but a great many topics

conference started with an overview of

screens,

were covered with those who could be

industry trends and developments and

with us. And this year had a special focus

we were fortunate and thankful to have

on “green cinema” and sustainability, as

many of our event sponsors also be able

the world, even though the majority are

well

including

to present their latest news and

Norwegian or European. But previous

“eventification” of the regular cinema

products. A big thank you to Sharp-

seating,

construction

of

cinemas.

Our speakers attend from all over

3 4

>

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as

event

cinema

audiences.

The

technical

section

of

the

www.cinematech.today

Peter Knight looks back on two days of the 2021 UKCA Conference

UKCA

F NEC, Christie, Cinionic, QSC, Dolby, Harkness

Screens

and

local

representatives.

Our European delegate and speaker

Helen Budge gives a talk on cinema innovation during the pandemic

Conference October 2021

ollowing hot on

next Bond movie’s budget would have

the

of

been paid for well in advance. But,

the

thanks to the huge success of the film,

UKCA

the industry was left with a warm fuzzy

heels

CineEurope, 2021 Conference

was

glow, after a traumatic 18 months.

held in person at the Cineworld O2,

The keynote address given by Ben

London. It’s hard to believe that prior to

Roberts, CEO, British Film Institute (BFI),

this, the last conference was held at the

was titled “Why We Love the Big Screen”,

beginning of March 2020, only days

a suitable title when it came to Roberts

before the UK entered into its first

detailing the work of the organisation,

pandemic lockdown. And so it was 19

and the helpful role it played during the

list included Phil Clapp (UNIC), Patrick

months later that more than 300

pandemic. He then discussed the

von Sychowski (Celluloid Junkie), Sarah

delegates joined together to share

positive impact that cinemas had on

Lewthwaite (Movio), Birgit Heidsiek

insights, thoughts and ample data on

their communities, recounting stories of

the UK cinema exhibition industry.

them opening up to become food banks

(German Film Federation), Hugo Derivry (Spielfabrique EU), Grainne Peat (Event Cinema

Association),

Helen

Budge

(Celluloid Junkie), Oliver Delaney (CocaCola via link), Peter Fornstam (Svenska Bio)

and

Andrew

Woodyatt

(Rio

Cinema). And our Norwegian contingent included

Guttorm

2022

staffed with volunteers, or even providing a DVD delivery service to those stuck at

to the future of cinema exhibition, the

home.

theme being one of positivity and

Roberts said, “COVID reminded us of

celebration. Not surprisingly, there was

the importance of cultural spaces and

much talk of the success of the recently

how cinema is the most accessible of

Linn

released James Bond film, “No Time To

them all”, demonstrating how cinema is

Barholt (Capa), Frode Soleim (Filmweb),

Die” and if a pound was made each time

at the very heart of its community. There

Simon

the film title was mentioned, most of the

was also a plea to be as creative as

Strumse

Solberg

(Media

Petterson,

Next year, the conference will be back in Trondheim in early November.

Aptly titled “The Next Chapter”, the two-day conference was spent looking

(Filmgrail),

Christer

Direct

Norway),

Katherina Bramslev (The Norwegian “Green

Building

Alliance”),

Nina

Delegates at UKCA Conference 2021

Tryggvadottir (Live Kino) and Arild Kalkvik (Trondheim Kino).

Our technical experts were: Mark Kendall (NEC), Phil Lord (Christie), Tom Bert (Cinionic), Ulf Qvicklund (QSC), Guillaume Branders (UNIC), Andrew Emmott

(Harkness

Screens),

Jan

Christian

Lerch

(Dolby)

and

ALL UKCA IMAGES: JULIE EDWARDS

Rasmussen (Nordisk Film Cinemas), Mike

Bradbury (Odeon). And our Norwegian technical speakers were: Ørjan Taule (Unique Sigfusson

Digital and

Norway), Ivar

Robert Halstvedt

(Kulturmeglerne) www.cinematech.today

1 2 / 2 1

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3 5

E V E N T S

possible with programming and to develop new talent streams, after a pandemic where cinemas were left high

Data Aplenty and Audience Sentiment Unsurprisingly, several presentations included in depth analysis of available industry data and

and dry without Hollywood content.

The following day, the opening

subsequent effects on the industry. The “Returning Audience” session featured Sharon Reid

address was given by Lyn Goleby

from Cinema First, exhibitors Rob Younger and Mark Williams, Lucy Jones of Comscore

(Abbeygate Cinema, Bury St Edmunds,

Movies, and Amir Jalaly of Metrixlab, and looked at the progress of the recovery of the sector.

Chiswick

The results of an ongoing Cinema First survey were also dissected, looking at public sentiment

Cinema

and

Trafalgar

Releasing) who highlighted three key

as a way of understanding audience behaviour.

Immediately prior to the panel, a presentation by Jalaly detailed that audiences want to

things: T he need for cinema to constantly

see specific safety measures and that these measures need to be visible. But, compared to

reinvent and reinvest in itself.

many other venue types, cinemas were right in the middle of the survey results, just behind

T he need for cinema to work on the

bars but in front of theatres and nightclubs. The panel discussed their experiences of getting

trust of both staff and customers.

audiences back in to the big screen, including how to appeal to a returning older audience.

T he need for cinemas to work on the granular detail of marketing content to customers.

customer ‘churn and replacement’ cycle

Development for Into Film, held a

has been disrupted by the pandemic,

Spotlight Session on bringing young

captured much of the sentiment of the

illustrating

existing

people back into cinemas after a year of

previous day. She then discussed the

cinema-goers might be tempted back

watching films at home. As well as

necessity of making changes and

through the door with real world

young people returning to the big

updates to operating practises as a

examples.

screen, Thomas discussed the value of

In her address, Goleby succinctly

result of making applications to the UK

how

new

and

younger

audiences

attending

with

Government’s Department of Culture,

MASSIVE-ly Into Film

Media and Sport (DCMS) for financial

An incredibly important, and ongoing,

communal cinema experience. And, of

support during lockdown.

topic for the industry is the issue of

course,

reaching, engaging with and bringing

cinema-going habit at a young age.

No Time To Stay At Home

friends and the uniqueness of the

younger audiences (16-24 years) into

forming

that

all-important

An interesting slide from Comscore’s

cinemas. And rightly so, it was therefore

A European Perspective

Lucy Jones showed that the films

given plenty of focus over the two days.

Closing the conference on Day Two,

contributing to the biggest box office

David

of

UNIC’s CEO Laura Houlgatte delivered a

returns

the

elevenfiftyfive and ourscreen, provided

stand out presentation, summarising

number of screens per cinema. And

a temperature check on the relationship

“Back to the Big Screen” campaigns

returning

initially,

between Gen Z and the cinema via the

from around Europe. Sharing a selection

mainly younger, with older audiences

MASSIVE initiative, carried out through

of clips from different countries - all of

coming back from September, even

partnerships, screenings and social

before “No Time To Die” came out. One

media.

varied

depending

audiences

on

were,

key observation was that, generally

Kapur,

co-founder

Leigh Thomas, Director of Business

Conference entrance, CineWorld O2, London

which are to be commended - Italy’s offering has often been highlighted as a particularly

successful

example,

speaking, audiences were not aware of

incorporating a cast of several Italian

upcoming title releases, because they

household names in a comedic, cleverly-

had not been exposed to the usual

written short film.

marketing tools like posters and trailers.

Addressing the question of once more

reaching

customers

and

Spotlight Sessions A refreshing addition to the two-day

audiences, Mark de Quervain, Director

conference

of

“Spotlight Sessions”, 15 minute slots

Client

Services

and

Strategy,

programme

whereby

real-life data in his presentation titled,

highlight either an overview of their

“Rebuilding an Active Customer Base”.

work or a specific project. We’ve

De Quervain demonstrated that the

summarised a selection of them here

3 6

www.cinematech.today

1 2 / 2 1

organisation

the

Showtime Analytics, talked through

>

an

were

would

but for the full list, visit https://www. cinemauk.org.uk/conf2021hub-2/.

“The Returning Audience” panel

of incoming UK legislation that will

more MediCinema locations in NHS

affect cinemas, including the plastic

hospitals.

bottle deposit scheme.

The Film and Television Charity

A Social Network

QFT Player

And so, after a jam-packed couple of

The Film and Television Charity’s Chief

During lockdown, a number of UK

days, the UKCA conference came to a

Executive, Alex Pumfrey, took the first

cinemas

into

close. Being back at an in-person event

Spotlight Session, and presented on

streaming, looking to ensure that their

highlighted how special the regularity of

how the charity was able to help

audience’s

needs

seeing friends and colleagues in person

thousands

particularly

continued to be met despite their closed

throughout a normal year is. And, of

industry freelancers, over the last year.

doors. In this session, Joan Parsons from

course, refreshment and meal breaks

Services included financial guidance

the Queen’s Film Theatre, Belfast,

presented ideal “networking” (horrible

and support, a suite of new tools to

shared

in

word) opportunities that just aren’t the

support mental health & wellbeing,

launching the ‘QFT Player’ and offered

same online. Some would even say

advice on bullying & harassment and

thoughts on the lessons learnt.

these moments are as important, if not

of

people,

practical support including legal advice.

Sustainability,

Britvic

Soft

Drinks,

focused on the company’s Healthier People,

Healthier

Planet

Nation’s

Sustainable

15

business

programme. Aligning with the United Development

Goals the programme has built upon Britvic’s progress to date and the

their

to

diversify

film-watching

team’s

experience

MediCinema

Sustainability in Soft Drinks Tom Fiennes, Director of Commercial

decided

The length of time of the well-received ‘Spotlight Sessions’

more so, than the main meat of the programme, particularly for those who

Colin Lawrence, the newly appointed

couldn’t

CEO of MediCinema, gave an update

CineEurope.

on the cinema charity’s recent activity.

present, particularly in the UK and

Lawrence talked about how the team

Europe, certain measures were in place,

continued to deliver tens of thousands

such as individually-wrapped lunches to

of in-hospital cinema experiences, at a

reduce contact and the option to sit

time when loneliness and isolation felt

socially-distanced if desired. Let’s hope,

even more extreme than usual for

moving forward, that the actual end of

patients during the pandemic. Like

the pandemic is near as the industry

the rest of the cinema industry, the

forges ahead.

or

charity is having to chart a path to

better

the

recovery, while looking to the future

scheduled to return to its normal March

presentation, Fiennes provided details

and planning how to continue to open

slot in 2022. We’ll see you then.

As

part

of

www.cinematech.today

next

CinemaCon

But with COVID still

company’s commitment to creating a tomorrow.

The

attend

UKCA

conference

1 2 / 2 1

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is

3 7

mne

We help you screen it Supporting cinemas, we design, sell, install and maintain cinema technologies and seating.

w: www.omnex.co.uk 3 8 > 1 2 / 2 1

t: 0161 477 7633

e: info@omnex.co.uk

www.cinematech.today

E V E N T S

Peter Knight observes that CineEurope 2021 will be remembered by many as the time that the industry was able to come together for the first time in person in nearly two years.

CineEurope 2021 30th Anniversary

H

aving

been

postponed

from

the

traditional

June date because of

you-know-

what, this year’s CineEurope convention provided the first real opportunity for the industry to celebrate a restart after a very unwelcome hiatus of almost two years.

Armed with COVID health & safety measures, a slightly smaller tradeshow and fewer delegates than usual, the fourday event was still as full of energy as ever, and there were plenty of new products to be explored.

A Brief 30-Year History Not only the first in-person event in 18 months, 2021 was also CineEurope’s 30th anniversary. Originally created and CLAIRE BESWICK

organised by Prometheus Global Media Film Group Expo, CineEurope started life in 1992 as Cinema Expo International and was held at Brussels International Conference Centre, Belgium. It then changed venues and moved to the Amsterdam

RAI

Exhibition

and

Paramount Studios welcomes attendees

Convention Centre in the Netherlands, in 1995.

For its 20th anniversary in 2011, the

Phil Clapp (UKCA/ UNIC), on stage

convention was renamed as CineEurope

had taken a smaller stand than usual.

before moving from Amsterdam to the

By far, the largest number of companies

current International Convention Centre

represented were those specialising in

(CCIB) in Barcelona for its 2012 edition.

cinema seating or, for those with a

And since 2015, the Film Expo Group

penchant for the classic cinema snack,

has partnered on the event with the

popcorn.

International Union of Cinemas (UNIC).

FILM EXPO GROUP

Taking a Tour Around the Tradeshow Floor

www.cinematech.today

However, there were still plenty of stands to wander around and visit. It was such a simple, yet enjoyable, pleasure to catch up with several of the

The tradeshow was noticeably - but

different companies and the new

understandably - smaller than normal,

products they had on display. Some of

with many companies opting not to

these new products included CineZ’AM,

have any physical presence at all this

an eGate for movie theatres, a number

year after a financially challenging 18

of which are being installed across

months. And some companies, even if

France.

they were present at the tradeshow,

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FILM EXPO GROUP

E V E N T S

auditorium to show off their new 15,000

illumination system, designed for direct

lumen Series 4 projector, while on the

view or cove illumination. And Christie

trade stand the company’s Laser

Digital

Upgrade Kits for the Series 2 projectors

CounterAct with Care222 technology -

were displayed. These kits mainly sit

a UVC light technology disinfection

within the lamphouse area of the

product,

projectors with a small external box and

response to the pandemic.

take a minimum amount of time to upgrade.

proudly

One

displayed

developed particular

Christie

specifically

in

technology

highlight of CineEurope for this writer

Dolby presented both the Dolby

was the demonstration of GDC’s new

System 128 speakers, designed for mid-

projector, the Espedeo Supra-5000.

sized screens. And the new Dolby

Make sure to read a more in-depth

Atmos

profile and review on pages 24-27.

Cinema

Processor

CP950A

rackmount audio processor that is capable of Dolby Atmos rendering.

Some of the - plentiful - seating

Sustainability: Growing Back Greener

CineEurope opening ceremony

packaging. And as the world’s biggest beverage

company,

Coca-Cola

recognises its responsibility to help solve it. Ana Gascon, World Without Waste Director for the company in

providers included names such as

The focus of this year’s sustainability

Europe, shared how Coca-Cola aims to

Ferco Seating, Figueras Seating and

theme was the world’s problem with

create a systemic change for their

Simko Seating. They all displayed examples of their product ranges, available to be trialled and tested by those in the vicinity or for anyone with

“Emerging Stronger: Charting the Path for Growth”

particularly tired legs. Ferco displayed

As cinemas have reopened this year, extremely strong retail revenues per guest have been

the Tala and Rex seats, while Figueras

reported. Is this simply that it’s easier for guests to buy their food and drinks during quieter

demonstrated

times, or are customers looking for a treat after periods of lockdown? Or is there something

the

Riva

Heritage

LoveSeat and Simko Seating, the

more to this trend?

This Coca-Cola session moderated by Oli Delaney, European Away from Home Customers

Ametist.

Martek displayed their EcoWall

Director, shared new research exploring the drivers behind these behaviours and discussed

Units, as part of their Zero Waste

the key opportunities to leverage these insights to drive sustained growth for the long term.

programme, designed to create an

Panelist Hendrik ten Napel, Pathé Netherlands, shared the changes they have seen in food

impact in the foyer with an attractive

and beverage (F&B) consumption over the last 18 months and how they have adapted as a

dispensing system for cinema snacks

company, while continuing to drive industry-leading efficiencies.

such as nuts and Pick ‘n’ Mix. StepGuard by Light Tape, the advanced lighting system, introduced

The third panelist, Dino Borri from high street Italian company Eataly, explained how in these unparalleled times, they have continued to create unique experiences for people to eat, shop and learn about good food.

customers to their new wayfinding 4 0

>

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www.cinematech.today

scenes footage of him carrying out death-defying stunts. He then shared the first 13 minutes of “Top Gun: Maverick”, a very specific number of minutes you might think, but if you see the film when it’s out next year, you’ll see why. A gripping opener, and then some.

Good Vibes All Around The

general

CineEurope

vibe was

at

one

this of

year’s

palpable

excitement for an industry almost reborn and with much to look forward to on the horizon. It demonstrated once and for all that the industry is anything but dead and, actually, has so much to offer that there wasn’t enough time in the four days to see or experience it all.

And there were visible emotions as attendees saw industry friends and

HELEN BUDGE

colleagues in person for the first time in over a year. Many embraces were made between

those

wearing

green

wristbands (red ones were worn by those

not

wanting

any

physical

fundamental areas: “design”, “collect”

Ladies and Gentlemen…

Mr Tom Cruise

and “partner”.

A rather special, A-list guest made an

made to feel safe by ample COVID

packaging through a focus on three

With disposable packaging widely

Tom Cruise at CineEurope

contact). But there was definitely love in the air throughout the four days,

appearance at the Paramount Studios

measures put in place. And, of course,

Finnish

slate presentation. Indeed, the details of

apart from the slate presentations

company Huhtamaki is a key global

the slate presentations matter the most

there were plenty of opportunities to

player in sustainable food and drink

to

attendees,

get together and socialise, usually in an

packaging

used

across

the

industry,

options.

CineEurope

of

allowing cinema owners and film

outdoor setting (thank you, Spanish

talked

programmers to get a taste of what is

weather). Two of these occasions that

Plastics

coming up in the next 12-24 months. For

particularly stood out were the CJ

directive, the implications of the choices

the larger studios and distributors, these

Cinema Summit Bambu beach bar

retailers have to make, and what can be

are often opportunities for them to go

drinks, hosted by Celluloid Junkie and

done to work together to do the right

the whole hog in showcasing their

Filmgrail, at which time just seemed to

thing for the planet and business.

showmanship.

disappear - always a good sign. And the

Sustainability, through

Neil

the

Head

many

Whittall

Single-Use

Güneri Tugcu, Senior European

And for many years, star talent was

Channel Manager for Digimarc, shared

an expected element of said showcases.

how technology is playing its role in

But due to a COVID-shaped smaller

supporting sustainability through the

show this year, it was a delightful

power

of

digital

4-7 CineEurope took place on 4-7 October, having been moved from its usual June slot

second being the Cinema Technology Community

(CTC),

Event

Cinema

Association (ECA) and Vista drinks reception, held at Casa Carmen, just

watermarking,

surprise for household name and

something that was also demonstrated

industry veteran Tom Cruise to appear

on the tradeshow floor. This technology

on stage, to discuss his upcoming

works by improving recycling levels and

projects and proclaim his unwavering

engaging consumers, further pushing

support for the theatrical experience.

six

towards the end goal of a “World

Cruise spent a good 20 minutes talking,

CineEurope will, once again, be a

Without Waste”.

before

cause for celebration.

www.cinematech.today

showing

some

behind-the-

over the road from the CCIB. CineEurope is now back in its usual slot of 20-23rd June for the 2022 conference. Let’s hope that the next months

show

that

the

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E C A

V I E W

The Future Delivery of Live Events Grainne Peat, Managing Director, Event Cinema Association

W

ithout doubt, one of the biggest draws of

For the short term, cinemas can still purchase a satellite

event cinema is the ability to offer live or

receiver for around £300 to be able to broadcast events. The

“as live” events to audiences. Over time,

UNO receiver is being considered by a number of UK exhibitors

as technology and connectivity continue

and those interested should speak to their integrators for

to improve, so must the ways in which

further guidance. Or, for more information on upgrading your

we can best deliver these events.

Over the last year the Event Cinema Association (ECA) has been working closely with the Cinema Technology Community (CTC) on the future of live events. As a result, two significant pieces of work have been produced; firstly, materials to help exhibitors improve the delivery standard of live broadcasted

satellite receiver, please get in touch and we can advise how best to get you quickly set up and ensure you purchase the best receiver for your site and usage.

The full paper on live events can be accessed via the ECA or CTC.

events. And secondly, a white paper on event cinema options

ECA Survey Results

for exhibitors, covering off the considerations that cinemas

The ECA undertook a survey to obtain a better understanding

need to screen live content.

of what plans UK cinemas had in place for the future delivery

Following on from this white paper, and as live events are

of live events. The majority of respondents were independent

returning, we realise there is still a lot of confusion over delivery options and which receiver cinemas need to broadcast live events. So firstly, we want to debunk a few myths:

The Current State of Play

H O W L I V E T R A N S M I S S I O N WORKS

> At present, the major live broadcasted events are offered

through satellite delivery

Live Event

>There are no IP-only events for big titles Cinema

>IP receivers can still deliver satellite events > Should you need to upgrade your receiver you can opt for

either satellite or IP – *both will work*. Please let us know if you would like more information.

The ECA appreciates that the associated costs and additional overheads per event for IP delivery, alongside

Service Provider

Managed Satellite Service Managed IP Service

Satellite Receiver IP Media Device

possible connectivity issues, will be a barrier for cinemas to move to IP delivery.

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www.cinematech.today

E C A L I V E S U R V E Y D E L I V E R Y

REASONS GIVEN FOR NOT INSTALLING AN IP RECEIVER (IN PERCENT) SOURCE: ECA

48% 17% 13% 13% 4% 4%

HAPPY WITH SATELLITE DELIVERY COST PER LIVE EVENT POOR BROADBAND CONNECTION NOT ENOUGH INFORMATION COST OF RECEIVER OTHER REASONS

cinema owners, with 92% stating they have previously broadcasted live events at their sites and 57% would welcome more information on the delivery of live events.

The vast majority of respondents still deliver via satellite, which is managed in-house. 89% stated they would handle satellite delivery in-house without a managed service, with 24% of respondents having recently upgraded their satellite receiver. When asked about the move to IP delivery, 42% of respondents said they intended to install an IP receiver.

58%

of those surveyed did not plan on installing an IP receiver

13% are unable to have IP delivery

>Possibility to organise (and stream) your own events

We know vendors are currently testing how best to increase the picture quality of HD events. This can be made possible by eliminating satellite at the source and receiving high quality source material via secure internet connection directly from the content owner (which does require slightly more bandwidth from the internet connection).

The landscape of satellite vs IP is still quite varied across Europe, though year on year we are seeing an increase in

Cinema sites require 20mbps to receive live content via IP;

cinemas switching to IP delivery, with the Netherlands,

when asked whether a cinema’s download speed has the

Belgium, Luxemburg, Finnish and Swedish markets now all

ability to receive via IP, half of respondents were confident they

90%+ set up to receive content via IP.

had, although 24% still did not know and 13% are unable to have IP delivery.

For the 58% that said they did not plan on installing an IP receiver, the above image illustrates the reasons why.

It is unavoidable that IP will become a preferred method of delivery in the coming years. The UK market, for most live events, currently offers both satellite and IP. But the long-term costs will certainly invoke a change in order for content providers

56% of respondents said the associated costs of a

to continue to offer a wide range of live content and, ultimately,

managed service would limit the range of live events they will

their desire to ensure that the best quality broadcast is offered.

programme. When asked if reduced costs would encourage

The ECA fully understands that the short-term costs and

them to show a wider range of events, 50% said yes and 42%

event overheads for IP are a big consideration. We have

were unsure, as it would depend on the event.

information from the leading vendors on the services they

IP vs Satellite

provide, should you need them.

There are foreseeable benefits of moving to IP from satellite for

If you have any queries relating to the delivery of events

both content providers and exhibitors:

or issues with accessing any of the documents

>More control and reliability over the delivery of events

mentioned,

>More flexible programming

eventcinemaassociation.org

please

email

Grainne

at

grainne@

>Better picture quality > Easily monitor and manage the stream start time and

intermissions, as desired > More cost effective and reliable for content owners (ultimately

allowing access to a larger amount of content to screen, eg sporting events and gaming) www.cinematech.today

01 9 2 / 12 81

>

4 3

Selecting the Right Projector for Your Screen Five Differences from 2011 (Lamps) to 2021 (Lasers)

C

Tom Bert, Director of Cinema Technology, Barco inema is over 100 years old and is over 20 years into its digital history. Starting officially around the turn of the

1

Modern Times The first thing to take into account when selecting a

digital cinema projector is the timeline you’re planning for.

century, its digital history really took

In 2011, lamp projection ruled. A lamp warranty and

off between 2009-2014. In that five

lifetime ranged from 3000hrs (<1kW lamp) to 300hrs (>6kw

year period, a whole industry almost

lamp). Within that time frame the brightness dropped from

completely converted from analogue to digital - something

100% to around 50%. As an exhibitor you had to accept that

to be collectively proud of. But that does mean that a large

periodical drop to 50% and make your choice with that in

portion of the digital equipment out there is now reaching

mind. Over the lifetime of the projector, you would be

its 10-year-old operating birthday. The vast majority will be

swapping anywhere between 15 and 150 lamps; with every

running well and will continue to do so for many years; yet

lamp swap your brightness would swing up again, only to

many exhibitors are preparing for the next 10 years. In this

drop back down in the next weeks and months.

article we will zoom in on selecting a new digital cinema

The timeline when selecting a laser projector, however, is of

projector and ask: what are the differences between 2011

a different magnitude: we’re not talking hundreds or thousands

and now? How should we make these choices? And why is

of hours, but tens of thousands of hours. The drop to 50% is also

this important?

not a given. Laser projection allows you to be more flexible in

GETTY IMAGES

Then and Now The digital cinema market of 2011 was very

to adopt digital. In many cases it’s what made

struggling; and we’re not completely out of the

different to how it is today. In 2011 around

them adopt 3D.

woods yet. A careful approach is defining many

64,000 screens were digitized, around 51% of

Another defining parameter was the

the market at that time. 10 years later, 203,000

infamous Virtual Print Fee (VPF): the studio

screens are now digitized; a number also

financing scheme to stimulate digitization

And finally, the new technology element in

known as roughly 100% of all screens. Incredibly,

defined where, when, at what price and from

the mix to consider: laser projection. Brought

over 10 years the total screen count grew by

whom you bought your projector. That then

to market in 2014, it’s more than just a

more than 50,000 screens. And the talk of the

defined what type, brand and model of

component inside the projector, it’s a driver for

town, and the topic that drove discussion back

projector landed in your booth.

advanced operations, integration, automation,

then, was “Avatar”. Released in 2009, this

10 years later, the elephant in the room is

blockbuster is what convinced many exhibitors

COVID-19: many industries were and are still

4 4

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of our current actions, including the selection of a digital cinema projector.

sustainability… hence why it will appear frequently throughout the article.

www.cinematech.today

P R O J E C T O R S

4

Moneyball

the actual use of the projector (power, ambient

over 10 years, or do you accept a slight drop to 11fL if

temperature…) and how that translates into

that permits you to use a smaller model? Or do you

brightness over time. When you consider 14fL as the

prefer six years of 14fL, followed by another six years

reference 2D brightness, the list of options is endless

before reaching 7fL? Your projector manufacturer

projector.

in the case of laser: do you want to keep that 14fL

will help you plan and model out all possibilities .

explanation for this, which we covered in

We know that a laser projector

costs more than the equivalent lamp But

there

is

a

logical

“Modern Times”. When you buy a lamp

2

projector, you buy a couple of weeks’ or

Cool Runnings

months’ worth of light to go with it.

The second important difference between

Xenon lamp, heat-wise, comes pretty close to an open

Whereas a laser projector comes with a

2011 and 2021 is the cooling of the projector and its

fire burning inside your projector hence why a

lifetime’s worth of light inside.

booth. When looking at the CFM (cubic feet per

chimney is put on top to “exhaust” that hot air out.

When

digital

projectors

were

minute) specifications, laser projectors expel (and

The law of physics then causes fresh air to flow in

introduced to cinemas, they were

hence pull in and filter) more air than lamp projectors

through available openings. But even though that

compared to 35mm projectors. At first

- about 75-80% more.

air is cool, it’s dirty. So even though you’re removing

glance from a purely financial viewpoint,

the hot air, you’re actually causing harm by

continued use of a 35mm projector

introducing dirt.

seemed like the most attractive option.

However, CFM is not a relevant metric when looking at cooling, since it doesn’t say anything about how hot that air is, or about how much it impacts the

An exhaust is not needed in the case of a laser

But the VPF played its role and, looking

environment that it’s blown into. For that, you need to

projector: the impact of turning the projector on is

back, all exhibitors are happy that they

look at the BTU/h specification (British Thermal Units).

the equivalent of an additional 10-20 people

took the step into digital.

The BTU/h of a lamp projector is 100-110% higher than

walking into a building which the HVAC (Heating

It’s safe to say that laser projection

that of a laser projector. Laser projectors transport

Ventilation Air Conditioning) system is scaled to

now stands on its own merits - and, of

more air, but it’s relatively cool air: you can easily hold

absorb.

course,

your hand above the air exhaust of one. But a lamp projector expels very hot burn-your-hand air. A large

So if there’s one takeaway from this article, let it be: please stop “exhausting” a laser projector.

because

of

Total

Cost

of

Ownership (TCO). When you compare that lifetime’s worth of light to what you are spending on new lamps, the finances

3

always make sense. The payback period

Big Fish

differs case by case: it might be two

The third difference is related to brightness levels that can be achieved out of the

years, it might be up to eight years but

projection lens. Digital cinema lamp projectors are capped at around 35klm. This was

here projector manufacturers can help

defined by the “e10due” limits that lamps introduced. E10due is an optics/physics

model things out. And specific financing

phenomenon that (in a nutshell) explains why one plus one is not equal to two when

solutions also exist just for this. One

adding up light.

thing is certain: you’ll be happy with your transition from lamp-to-laser projection.

When people ask us at Barco, “Why don’t you put two lamps into your 30klm lamp projector to create a 60klm projector?”, the answer is easy. One plus one in the case of Xenon lamps equals around 1.2 - the optical limitation of adding more lamps would only be slightly higher than one lamp (and you’ll create a projector twice as big). Laser light is highly collimated, so it is less impacted by the laws of e10due - so one plus one comes pretty darn close to two. What we call the

5

Austin Power(s) In “Big Fish” we touched upon how laser projectors can

achieve a higher brightness level. And, remarkably, this is done

“laser light source” of a cinema projector actually contains

in combination with higher power efficiency levels. Quantified

hundreds of individual lasers (diodes) and they all add up inside

in lm/W (how many electrical watts directly out of the wall are

with almost no efficiency loss, which makes getting beyond

needed to create the lumens out of the lens), lamp projectors

35klm achievable.

land around 3-5lm/W, whereas laser projectors can reach levels

The new limitation, however, is that somewhere inside the

of 12lm/W.

projector all that light needs to be mapped onto a pixel structure

This not only makes laser a more sustainable solution; it

not much bigger than a postage stamp. And the device needs to

also has an immediate and impactful effect on your electricity

be kept performant, cool and reliable.

bill. A mid-sized lamp projector easily costs more than

But the cherry on top: laser light can be dimmed flexibly.

EUR4,000 per year, purely on running costs, which means that

Where lamps start flickering once you go below 60%, lasers can

at the end of its lifetime you might have spent more on power

easily be dimmed to 20%. This makes life much easier when you

than on the projector itself. A laser projector with the same

want to achieve different fL targets for your 2D and 3D shows.

brightness would cost you less than half in electricity.

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U N I C

V I E W

UNIC Celebrates a Resilient Industry with an In-person CineEurope Guillaume Branders, Senior Industry Relations Manager, UNIC, gives an industry update

N

o one could have predicted the duration

well as preliminary results for the first half of this year – all of

and severity of the unprecedented

which is available on the UNIC website (www.unic-cinemas.

social

challenges

org). The report provides an update on UNIC’s policy priorities

COVID-19

for the year ahead, as we continue to ensure that the social,

pandemic. European cinema operators

economic and cultural relevance of cinema-going remains

suffered a 68.4% drop in admissions in 2020, accounting for a

front-and-centre in relevant regulatory discussions at EU

total loss of €6.2 billion in box office revenue alone.

level.

and

brought

economic

about

by

the

But box office losses alone do not provide a full picture of

UNIC has been closely monitoring the impact of the

the impact of COVID-19 on the industry as they represent

COVID-19 outbreak on the cinema industry across Europe,

only a share of each exhibitor’s income, with significant

regularly updating publicly-available research on the topic

revenues also arising from in-theatre sales or private events.

since March 2020. This exhaustive document includes

And, of course, this doesn’t even come close to touching on

detailed information on national closure processes, support

the

Equipment

mechanisms, measures relating to employment, taxation, as

manufacturers, service providers, as well as colleagues from

well as rent and other related costs. In addition, UNIC

the retail sector have also suffered terribly from this crisis.

contributed to a regularly updated list of the various technical

Thankfully,

authorities

recommendations published by manufacturers and other

announced measures to support jobs and livelihoods and

industry stakeholders to ensure the good maintenance of

provided a range of support schemes to help the sector

digital cinema equipment during closure. Again, all of these

survive.

documents are available on the UNIC website.

social

impact

as

time

of

the

pandemic.

progressed,

national

Recent record-breaking performances following the releases of various international and local blockbusters in

Staying Connected

September and October 2021 have confirmed that the

The UNIC Technology Group remained active throughout

cinema industry is truly on the road to recovery. And the

these

pandemic has further highlighted the relevance and success

informal online get-togethers with colleagues at the EDCF,

of local European releases, which have played an essential

ISDCF, CTC and ICTA. If anything, lockdowns and travel bans

supporting role in recent months.

have encouraged us all to remain engaged and find new

UNIC: The Annual Report The International Union of Cinemas (UNIC) published its

times, via regular virtual meetings in addition to

projects to collaborate on. And, to everyone’s delight, the group finally had the opportunity to meet in person during CineEurope 2021, held in Barcelona.

Annual Report on 4 October 2021, which includes detailed

As part of the EDCF, we have been working on making

facts and figures on the European cinema industry in 2020 as

sense of new global optical safety distance standards for

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www.cinematech.today

Covid

CINEMA ADMISSIONS

ACROSS EUROPE 2000-2020 (IN MILLIONS)

SOURCE: UNIC, EUROPEAN AUDIOVISUAL OBSERVATORY AND MEDIA SALES

1,002 1,124 1,131 1,087 1,145 1,045 1,094 1,094 1,125 1,197 1,206 1,213 1,194 1,173 1,185 1,254 1,296 1,326 1,282 1,342 2000

2001

2002

2003

2004

2005

2006

2007

2008

lamps published in December 2020 and the relevance to the European cinema industry. This collaborative exercise has proved particularly successful and resulted in the drafting of an exhaustive FAQ available on the EDCF website – www. edcf.net.

An Industry Online In 2020 and 2021, UNIC organised several webinars on the state of the industry and reopening challenges with the support of colleagues from Celluloid Junkie, Comscore and

2009

2010

2011

+34% The growth between 2000 and 2019. The European cinema industry was on a steady growth trajectory when it was struck by the COVID-19 pandemic

2012

2013

2014

2015

2016

2017

2018

430

2019

2020

CineEurope - In Real Life!

Last but certainly not least, it was fantastic to see so many colleagues in Barcelona at CineEurope. After being cancelled in 2020 and delayed in 2021 due to the COVID-19 pandemic and related local restrictions, we were finally able to celebrate a very special 30th edition of the show with our partners at the Film Expo Group. For most of us, CineEurope was the first opportunity since March 2020 to network with industry colleagues and engage in the latest trends and developments in our business.

The Boxoffice Company. And at the beginning of the year,

Highlights of the event included a panel sponsored by

UNIC brought together over 100 industry colleagues for a

Creative Europe MEDIA on the role of local films, an executive

packed, three-hour programme, looking into the short-to-

roundtable exploring the future cinema landscape, a focus

long-term consequences of the current crisis on cinema

session on future cinema design and a seminar exploring

technology, from the perspective of different stakeholders in

audience behaviour and the new cinema experience. In

the film and cinema value chain.

addition, the Coca-Cola sessions presented key opportunities

In April 2021, UNIC organized for the first time a session

to emerge stronger from the crisis, to drive sustained growth

focusing on the issue of sustainability involving members of

and ‘build back greener’, while the ICTA sessions looked into

the three UNIC expert groups on cinema technology,

various innovative solutions for cinemas.

marketing and retail. As part of the webinar, participants shared

insights

on

challenges

relating

to

As always, the CineEurope Trade Show showcased

energy

products to enhance the cinema-going experience, while

consumption, future concerns related to the acquisition of

both Hollywood and European studios shared some of their

spare parts as well as upcoming legislation on energy

great line-ups for the coming months. We cannot wait to see

efficiency. The issue was again discussed at CineEurope and

you at CineEurope 2022, scheduled for June 20-23. Save the

we will ensure that it remains high on the UNIC agenda in the

date(s)!

coming months.

What Doesn’t Kill You...

Before that, we are looking forward to seeing many of you again in person in Brussels in February 2022 for the upcoming UNIC Cinema Days. From all of us at UNIC, see you soon!

The last two years have shown the strength and resilience of our whole industry. We would like to thank each and every individual and company for the invaluable support provided to our organisation and its members as we navigated these challenging and unpredictable times together. www.cinematech.today

01 9 2 / 12 81

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C T C

U P D A T E

Bringing Audiences Back, Supporting the Recovery Richard Mitchell, President, Cinema Technology Community (CTC) THE GREAT news is that cinema is back, audiences are

countries, making CTC the world’s largest cinema technology

returning and box office revenues are recovering - with the

trade organisation. This scheme will remain in place until the

recent UK figures for “No Time To Die” in particular proving to

end of February 2022 (visit cinema-technology.com for details).

be nothing short of remarkable. We’ve proved the doomsday

And as we emerge from the pandemic, CTC’s focus has

merchants wrong (again), cinema remains as resilient as ever -

now moved to supporting cinemas to ensure that presentation

battered and bruised perhaps, but far from irrevocably broken.

excellence remains a top priority. The team has been working

It remains to be seen how complete the global recovery is yet,

on an ambitious project to provide a set of test materials for

however the indications are that the climb back is very much

event cinema, to be rolled out over the coming months. We’re

underway, with increasing momentum.

also revisiting our Projection Handbook to provide significant updates to this valuable resource and

The CTC has, over the past 20 months, supported the

Join our cause

are actively pursuing the restart of our

seminars and podcasts, our team has worked tirelessly to

Behind everything that we

bridge the inevitable skills gap that’s

create a platform to educate, collaborate and inform the

do at the Cinema Technology

likely to exist as a result of the pandemic.

industry. We wanted to ensure that when the recovery

Community is a passion for

But as the industry rebuilds, it

commenced, our members would be in the best possible

ensuring

position from a technical perspective to provide amazing

have

movie-going experiences once again. And the global

experience possible. If you

commitment to diversity and equality

community responded.

share that ambition, please

in our industry remains strong and we

Our free Community Membership scheme saw our global

join our community today by

recently recorded a second series of

membership grow to more than 700 members in over 70

heading over to our site:

“Women In Cinema” interviews at

cinema-technology.com

CineEurope. In December we’ll be

industry in ways never previously envisaged as we entered the pandemic. From white papers, technical guides, videos,

that

the

moviegoers

best

cinema

acclaimed training courses to help

needs to do so bolder, more diverse and

better

than

before.

Our

unveiling our 2021 award winners and CTC EXECUTIVE TEAM Richard Mitchell (President), Graham Lodge (Vice President), Mike Bradbury, Sandie Caffelle, Michael Denner, John Dowsland, Peter Knight, Sarah Lewthwaite, Adam MacDonald, Saul Mahoney, Andre Mort, David Norris, Markus Overath, Alessandra Pavan Bernacchi, Grainne Peat, David Pope, Toni Purvis, Simon Tandy, Patrick von Sychowski, and Paul Willmott.

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to CTC ADVISORY COUNCIL Tom Bert (Barco), Mark Christiansen (Paramount Pictures), Brian Claypool (Christie Digital), Theresa English (TK Architects), Mark de Quervain (Showtime Analytics), Jan Rasmussen (Nordisk Film), Dominic Simmons (BFI), Sriram Sistla (CinemaNext India), Alice Tentori (Digima), Julia Vinokurova (RealD)

round

out

our

Community

Membership scheme, we’ll be hosting our second One Community Day event in February 2022 to, once again, bring together

the

global

cinema

community for a day of learning and networking online. www.cinematech.today

www.cinematech.today

Free online access to current and archive issues, news and articles.

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O P I N I O N An industry like no other...

After a recent spate of in-person events, Peter Knight muses on where we are now and shares his gratitude at once again being able to enjoy the many pleasures the industry has to offer.

I

sn’t it great to be back again?! For those

those who don’t feel able to return to our screens even if they

that

to

would like to, no matter what’s showing. The real question is

CinemaCon, CineEurope or the UKCA

how we can encourage them back, instilling the confidence

conference this year it has been such a

in them to return and enjoy the experience. Here, as we all

treat to be able to reconnect with so

know, is where sharing best practices and insights really is

have

managed

to

get

many industry colleagues after so long. Sitting in the main auditorium at CineEurope watching some of the slate

crucial.

presentations, and even when investigating some of the new

Lessons Learnt

equipment being presented on the tradeshow floor, I was

The pandemic has allowed - indeed, forced - people and

overcome with emotion, more than once, at how wonderful it

companies to innovate in ways they never would have

is to be part of this industry. And I am sure that I am not the

envisaged pre-2020. Hopefully, these innovations will go on

only one.

to enhance both our professional and private lives. Some

Real Connections Win Every Time

cinemas have developed additional opportunities alongside their traditional business models: private rentals, streaming

Staying in touch with colleagues via various video

services, concessions sales. The list is impressive. We’ve also

conferencing tools is all well and good, but those interactions

seen an increase in drive-in cinemas using LED screens for

are just not the same as real-life connections. And let’s be

outdoor movie screenings. These are all things that I am

honest, the same is true of trying to watch a movie at home

sure will continue to exist in one form or another in the

compared to seeing it on the big screen. I would bet that

future alongside the traditional experience.

most of us would be able to recall the location of the cinema

Another thing we’ve seen is that the pandemic has

and the people we were with for most movies that we’ve

given many an opportunity to re-evaluate and head in an

seen on the silver screen. But I’d guess that most of us can’t

exciting new direction, ultimately benefiting customers,

say the same about films we’ve seen at home. Looking at the

businesses and, in turn, ourselves.

box office figures out so far, it seems that our audiences would wholeheartedly agree.

But I can’t stress how great it is to be back, meeting people for real, having a drink in a pub, or a coffee in a cafe.

On a Radio 4 programme the other day, there was an

While we know that things haven’t completely settled yet,

encouraging interview with a ‘young person’ who wanted to

it’s so refreshing and motivating to be reminded why I love

go with their friends to the cinema, rather than stay at home

our industry in the way that I, and so many others, do. And

to watch another online movie. But, of course, there are still

I’m so proud to be a part of it.

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