www.cinema-technology.com The world's leading cinema technology & business publication > VOL.36 NO.4 > 12/23
BEYOND BLOCKBUSTERS HOW CINEMAS ARE REDEFINING THE ENTERTAINMENT EXPERIENCE
Proudly a Carbon Neutral Publication > Supporting One Tree Planted.
Amplifying The Movie
Adding value to the cinema experience.
Cinema For The Community
S mall cinemas with big local appeal.
Mixed Entertainment Spaces - The Future? inemas, bowling, golf, C rock climbing and food.
An official publication of
THE GLOBAL CINEMA TECHNOLOGY NETWORK
Be seen, but not heard NC603L Laser Cinema, Silent, Sealed, Sustainable Deliver captivating movie experiences with our NEW ‘Super Silent’ NC603L Laser Projector. Ideal for boothless and Silent Cinema, with an unrivalled noise level below 39dB, 6000 Lumens and a dedication to lifecycle sustainability. Incorporating the highly efficient latest Laser technology, low power consumption of only 0,89kW, advanced dust protection with sealed engine and laser light source, 50,000 hours Laser life time and lenses interchangeable with the NC1000C family, it’s the perfect choice for longer term performance!
Discover more at sharpnecdisplays.eu
C T
V I E W
Richard Mitchell, President, Cinema Technology Community
A
nd so we end the
challenge by creating unique spaces,
Back in the spring, CTM took a focus
year on a high…of
enhancing comfort, improving food and
on Sustainability and with this subject
sorts.
From
beverage offerings and connecting with
amplifying in importance across the
Mission Impossible
movie-goers through unique experience
sector, we look at the direction film
and Super Mario
and marketing campaigns including but
production is taking to reduce cost and
Bros, to Indiana Jones and ‘Barbenheimer’
far from limited to national cinema days,
waste and also highlight the work being
and even Taylor Swift, 2023 has proven to
which as we have covered previously in
undertaken
be a significant step in the recovery of our
CTM have proven an enormous success in
Cinemas' to become a net-zero business
industry in terms of box office and
reinvigorating audiences.
by 2030.
by
UK-operator
'Savoy
admissions. Whilst challenges remain in
In this edition, we shine a spotlight on
As we draw this year to a close, it only
2024, we can close out this year assured in
some of those successes looking close to
remains for me (on behalf of the CTC
the knowledge that the writers strike is
CTM’s home at the way in which
team) to thank our writers who give their
now behind us, and that once the content
Oxfordshire-based 'The Living Room
time so generously, our advertisers for
flow is truly restored, the runway is clear
Cinema' has built a cultural connection
their
to complete our recovery and begin to
with the local community of Chipping
wonderful design and editorial teams for
grow the industry.
Norton and UK operator 'The Light' has
creating this cherished publication.
The last few years have taught us the
diversified
from
traditional
exhibitor to mixed-entertainment venue
sector has also identified the need to
operator. We also look further afield at
compete
harder
Turkey and North America at different
consumer
entertainment
out-of-home
support,
and
our
cinema
value of hard work and collaboration. The for
continued
spending
cinema-going offerings and how these are
particularly during the cost-of-living crisis
resonating with consumers and focus on
we currently face, to demonstrate value,
the key element behind driving success at
drive new experiences and build stronger
the box office, the way we market movies
ties with our local communities. Across
and build those unique experiences that
the world, exhibition has embraced this
movie-goers now demand. www.cinema-technology.com
1 2 / 23
3
C O N T E N T S C I N E M A T E C H N O LO GY M AG A Z I N E > V O L . 3 6 N O. 4 > 1 2 / 23
NEWS
07
Q-Sys, a division of QSC launches its brand new UK experience
centre.
09
Sharp/NEC announces new NEC NC1503L lightweight projector.
FEATURES
16
Comscore's Lucy Jones takes a look at UK box office and the path back
to £1 billion.
20
Does laser projection always have to mean speckle? We look at a
large format auditorium in Spain which suggests not.
24
David Hancock looks at VFX and
36
Our Green Shoots series this time
VP and the various benefits of
these.
46
shines a light on the work of UK
exhibitor Savoy Cinemas on their path to net zero.
40
Building a mixed-entertainment
43
Mixed
46
Community engagement matters
50
Sandie Caffelle talks to Hakan
54
Jenny Sidorova looks at how
space, learn about the design
challenges. entertainment
offerings
have arrived in the UK being led by
The Light.
54
as The Living Room Cinema
demonstrates. In the first of a new multi-part series, Markus Overath looks at
cinema seating, starting with how to define a seating concept.
28
32
We catch up with MAG Audio to learn about their history, current
innovations and working in a war zone.
Cinema Technology Community (CTC) 124 City Road London EC1V 2NX E: info@cinema-technology.com CTC PRESIDENT: RICHARD MITCHELL E: richard.mitchell@cinema-technology.com
Askar to learn about the Turkish
cinema market.
exhibition and indeed the wider
industry can amplify the cinema experience.
ART DIRECTOR: DEAN CHILLMAID E: dean.chillmaid@cinema-technology.com COMMISSIONING EDITOR: PETER KNIGHT E: peter.knight@cinema-technology.com ADVERTISING: ADVERTISING TEAM E: magazine.advertising@ cinema-technology.com
SUBSCRIPTIONS Cinema Technology is mailed to IMIS Members. For subscription details and to read the magazine online, visit www.cinematechnology.com or email peter. knight@cinema-technology.com
An official publication of
e v e n t s & v i e w s
CT NEWSREEL
n e w S ,
i n d u s t r y
r o u n d - u p
g l o b a l t h e o f
U p - t o - d a t e
Egham, UK
Q-SYS Launches UK Experience Centre Q-SYS, a division of QSC UK & Ireland
consultants and end-users a space where
High-Impact Space Transform a high-
Limited, has recently launched Q-SYS
they can explore new features and
impact space into a full broadcast-
House, a 12,000 square foot UK Experience
functionalities, equip themselves with
ready room for lecture theatres, cinema
and Training Centre located in Egham, just
the knowledge and skills to optimize
or presentation spaces.
outside London, England. The centre is
performance, and gain insights into the
Remote Monitoring & Management See
conveniently located just 10 minutes from
latest trends and best practices.”
how Q-SYS Reflect Enterprise Manager
Heathrow Airport and 30 minutes from
Ron Marchant, Vice President EMEA
can easily monitor your entire AV
central London, making it easily accessible
Sales and Marketing, Q-SYS, added, “We
system from anywhere in the world,
for visitors. The Q-SYS House offers
have always been committed to providing
including
customers a hands-on experience of the
our partners with the best tools, support,
peripherals.
Q-SYS audio, video & control Platform
and service to help them and their
Q-SYS
and Ecosystem. The Experience Centre
customers
create
meaningful
opportunity
showcases solutions for a variety of high-
connections
and
unforgettable
consultants, and end-users to explore
impact spaces including divisible rooms
experiences. The new spaces in the UK
new features and functionalities, equip
and a large auditorium, while the
Experience Centre do exactly that. We
themselves with the knowledge and
dedicated Training Centre is home to the
look forward to welcoming our partners
skills to optimize performance, and
award-winning Q-SYS training curriculum.
to the space and providing our customers
gain insights into the latest trends and
Duncan Savage, Managing Director
with more opportunities to discover,
best
experience and develop.”
destination for anyone interested in
for UK & Ireland, Q-SYS, expressed his
connected
House
practices.
is
an
for
It
is
At the Q-SYS House, visitors can take
Q-SYS UK Experience and Training Centre.
a journey through Q-SYS in 4 unique
Platform and Ecosystem.
He said, “We believe in fost ering strong
spaces:
www.qsys.com
Collaboration See how Q-SYS can
with the tools and resources necessary to
transform any collaboration space with
thrive in their businesses. This interactive
Q-SYS enabled multicamera switching.
Experience Centre will give integrators,
excellent integrators,
excitement about the opening of the
partnerships and providing our customers
third-party
a
must-visit
the Q-SYS audio, video & control
Divisible Space This interactive demo shows
how
Q-SYS
can
remove the complexity by managing room combining and automation, which can be customized to the needs of the space. www.cinema-technology.com
1 2 / 23
7
NEWS
Kortrijk, Belgium
Cinema Industry Executives Launch the Fithian Group John Fithian, Patrick Corcoran and Jackie Brenneman partner in consulting firm serving clients in the global movie exhibition industr y. FORMER National Association of
streaming – we got through all that, and
Theatre Owners executives John Fithian,
now,
Patrick Corcoran and Jackie Brenneman
agreements are another signal that it is
the
major
Hollywood
labor
announced recently the launch of their
the time to build.”
Barco strengthens its commitment to cinema and fully acquires Cinionic
new consulting firm – The Fithian Group
“The way we work has always been
LLC. With more than 60 years combined
about collaboration,” Brenneman said.
experience in the cinema industry, the
“We extend that way of working to how
three partners will put their skills,
we build value for our clients. In our trade
BARCO announced that it has reached an agreement
experience and track record at the service
association days, we knew that theater
with China Film Equipment Co., Ltd. (“CFEC”) to fully
of individual companies worldwide that
owners needed allies, whether it was
acquire Cinionic’s premium cinema solutions business.
seek to grow, innovate and invest in the
other cinema owners around the world,
theatrical space. Whether it’s a new
technology
creative
commitment to the global cinema industry. As the
company; a wider, more diverse range of
community, or distributors, and we
installed base of lamp-based projectors in the market is
films
worked
those
ageing, all focus is now on the renewal of these projectors
technologies, The Fithian Group will
connections. They paid off in times of
with next generation laser projectors. The integration of
advise
build
crisis and we believe we can leverage
Cinionic’s business will allow Barco to operate in the
partnerships, connect investors, bring
these partnerships to help our clients
cinema market with even greater operational efficiency
innovations
grow in times of opportunity.”
and agility to adapt effectively to market dynamics and
and
cinema
clients to
on
events;
or
strategy,
market,
and
new
design
strategic communications.
companies,
tirelessly
to
the build
Corcoran added, “We have always
Wim Buyens resigns as C EO
With this deal, Barco confirms and strengthens its
customer needs. Following the transaction and from 2024
“We have spent the last couple of
believed that the cinema industry was
onwards,
decades helping to guide the cinema
essential and strong. Telling that story to
marketing and service activities will be fully integrated
industry through the biggest challenges it
the press, the public, and Wall Street has
into Barco’s Cinema business unit, a part of the
has faced,” said Fithian. “Now, having
always been a priority for us. What the
Entertainment division. This business unit will continue to
survived those challenges, we want to
cinema industry needs is more: more
be led by Gerwin Damberg. Wim Buyens will continue to
help
seize
movies, more innovation, more diversity
work with Barco and support a smooth transition of the
opportunities and grow. Digital cinema,
and more investment. We will continue to
cinema business. The strong relationship between Barco
the long fight for theatrical exclusivity, the
tell that story on behalf of our clients in
and CFEC is maintained. In China, both companies will
pandemic and Hollywood going all-in on
the industry.”
continue to operate their successful joint venture “CFG
our
industry
clients
Cinionic’s
current
market-leading
sales,
Barco” to serve the Chinese market. Announcing his resignation from the position of CEO on social media, Wim Buyens stated: “In 2007, I joined a very different business and industry than the one I see today. I could not have imagined back then just how far we would come: full digital conversion, 4K projection, recordbreaking brightness, as-a-service business models, sustainability enhancements, the adoption of laser projection as the leading choice, and the trust of partners everywhere to realise a #1 market position. It’s been a journey of learning, evolution, innovation, and pushing
New York
boundaries. I am humbled to have shared in the realisation of so many achievements and the lasting impact they will have on cinema for a generation.”
(Left to right) John Fithian, Jackie Brenneman and Patrick Corcoran.
8
>
1 2 / 23
>
www.cinema-technology.com
Ferco Celebrates Milestones FERCO Seating Systems established by
including cinema of course. The UK team
venues too numerous to mention by name,
CEO Tim Barr and based in Malaysia, has just
celebrated
in
but include The Picture House Uckfield, Jam
celebrated 40 years of manufacturing and
Barcelona with their sister company K+ who
Jar Cinema, The Beau Sejour in Guernsey
supplying seating. From humble beginnings
are based in Spain. Over the years Ferco UK
and of course, quite recently, Battersea
it has grown into one of the world's largest
has built up a very loyal client base which
Power Station Cinema.
manufacturers
of
auditorium,
this
Silver
Anniversary
cinema,
includes independent chains such as Savoy
Over the past 25 years, and in recent
education and sports seating companies
Cinemas, WTW.Scott Cinemas, Arc Cinemas
times with the leadership of the current MD
and continues to retain its reputation for
and Parkway Cinemas. The Cineworld VIP
Jane Shepherd, Ferco has picked up many
excellent customer service. In 2023, Ferco's
Screen and IMAX at the Science Museum
awards and accolades - the most recent has
UK office is celebrating 25 Years of providing
are probably worth a mention too. There
been obtaining the Furniture Manufacturers
a full range of seating to varied venues -
are a huge number of boutique/smaller
Environmental Accreditation (BIFA).
Sharp/NEC announces new lightweight NEC NC1503L Digital Cinema Projector for flexible installations SHARP/NEC Display Solutions Europe
The NEC NC1503L digital cinema projector
consumption and overall lower total cost of
announced the launch of the latest digital
is the ideal replacement for current Xenon
ownership (TCO), the NEC NC1503L is the ideal
cinema projector: the NEC NC1503L is a
lamp-based models: it features a laser light
replacement for current Xenon models.
compact, lightweight and quiet projector
source for a reliable performance and optimal
“By adding the state-of-the-art NC1503L
model that features the same proven cabinet
brightness of up to 14,000 Lumen for a
projector to our extensive portfolio range of
as the NC1402L. The new model is using RB
lifespan of up to 50,000 operating hours. The
cinema projection technologies, we continue
laser technology, boosting its performance to
laser light engine also reduces the model’s
to focus strongly on supporting the cinema
up to 14,000 Lumen brightness.
power usage and the amount of replacement
industry,” adds Gerd Kaiser, Senior Product
allows
materials required. Additionally, the engine is
Line Manager Large Venue and Digital Cinema
for flexible installations and usage. As
In
addition,
the
NC1503L
optically sealed, which minimizes dust ingress
projection at Sharp NEC Display Solutions
there is no exhaust system required, the
and assures consistent performance without
Europe. “We wanted to provide cinema
NC1503L is suitable for floor and ceiling
special maintenance: This means lamp or
operators with a solution that is highly
installations as well as versatile content
filter replacements, additional personnel
performant, reliable, and flexible to install,
playback. These key assets make it an ideal
costs, or lamp stock are obsolete. In
all at a low TCO. With the NC1503L projector,
solution for small projection booths or even
combination with its almost maintenance-
we developed a solution that covers all
boothless, mobile cinemas.
free operation, significantly lower power
these needs.”
www.cinema-technology.com
1 2 / 23
9
NEWS
Sound Vision Technical Successfully Install Arts Alliance Media’s Screenwriter TMS Across Alamo Drafthouse Cinemas ARTS Alliance Media (AAM), the global
“It was crucial for Screenwriter to be
leader in digital cinema software and
installed without error and in a timely
support services, has confirmed that
manner”, said Frankie Vaquerano, Director
Sound Vision Technical (SVT), a technology
of Presentation at Alamo Drafthouse. “The
services provider offering digital cinema
SVT team remained flexible and receptive
conversions and installations worldwide,
throughout deployment, helping to train
has successfully deployed Screenwriter
staff and onboard us effectively, and we
throughout Alamo Drafthouse Cinemas’
now look forward to enjoying the benefits
main market sites.
of upgrading to Screenwriter.”
After
selecting
Screenwriter,
the
While each party was committed to
world’s most powerful, widely deployed
efficiency in deployment, the process’
Theatre Management System (TMS), as
fast-paced nature was the result of careful
their TMS of choice, Alamo Drafthouse
planning, thorough onboarding, and the
successfully brought 68 screens online
strong relationship between SVT and
across sites in Austin, San Antonio, New
Alamo Drafthouse.
Austin, Texas
Peter Kim, Global Sales Director at Arts Alliance Media, added, “Sound Vision
York City, and Boston. While, 32 screens in
“The ease and accuracy of the
Technical have our full support as they
Brooklyn, Naples, and Denver can expect
Screenwriter rollout is reflective of the
complete the deployment of Alamo
to begin centralising content, KDM and
product’s simplicity in setup and the trust
Drafthouse’s main market and prepare to
site management by December 2023.
we have built with Alamo Drafthouse,”
bring the franchisees online in 2024. We
of
explained Chase Taylor, Owner of Sound
remain dedicated to simplifying the install
Screenwriter was not only propelled by
Vision Technical. “From the moment we
process for both direct customers and
Alamo Drafthouse’s ambition to improve
arrived at each location, theatre-level staff
integrators.”
operational efficiency, but a reflection of
were on-hand, ready to start the process,
Screenwriter is set to be deployed
SVT’s meticulous professional services
and have been the catalyst behind every
throughout Alamo Drafthouse’s franchise
and attentive customer care.
smooth transition.”
locations from March 2024.
The
timely
deployment
Green screens: Powersoft signs commercial agreement with CinemaNext CINEMA owners in 60 countries can now benefit
from
the
energy
efficiency,
and Quattrocanali series, Mezzo series and new
and consulting services.
cloud-based
Unica
amplifier
platform.
environmental sustainability and world-class
The new partnership will enable Powersoft
Powersoft's global key account manager,
audio quality offered by Powersoft's portfolio
to better answer cinema customers' needs and
Francesco Cionini, comments: "As a particularly
of amplifiers.
explore new audio product opportunities,
dynamic and evolving industry, the cinema
Heralding further growth in the global
increasing its presence and visibility in target
market
cinema market, Powersoft recently announced
markets and new areas. In turn, by leveraging
technologies to reduce operational costs,
the signing of a commercial agreement with
the distinctive technical features of Powersoft's
improve customer experience and provide the
leading cinema exhibition services provider
products, CinemaNext will enhance the audio
best in audio and video technology. For this
CinemaNext.
solutions offered to its end cinema customers
reason, a number of cinema brands already
The largest company of its kind in the
1 0
glasses, TMS, digital signage, screens, seating
is
constantly
looking
for
new
with improved audio quality and product
trust Powersoft to provide high audio quality,
EMEA region, CinemaNext provides smart,
stability,
customers
reliability and sustainability for their venues.
comprehensive solutions across the board,
operational costs. The agreement includes a
We are very excited about this new partnership
from projection equipment to audio systems,
long-term supply in 60 territories in EMEA,
with CinemaNext, which will allow more
central systems, cinema outfitting, content
with Powersoft providing direct access to its
cinema owners to benefit from our innovative
management, 3D projection systems and
portfolio of amplifiers, including the Duecanali
audio solutions."
>
1 2 / 23
>
as
well
www.cinema-technology.com
as
saving
NEWS
London
Christie RGB pure laser projection powering screenings at 67th BFI London Film Festival CHRISTIE® continued its partnership with the BFI for the 67th
Winner Emerald Fennell, starring Barry Keoghan, Jacob Elordi,
BFI London Film Festival (LFF) in partnership with American
Rosamund Pike, Richard E. Grant, Alison Oliver, Archie Madekwe
Express. The BFI LFF returned to the Southbank Centre's
and Carey Mulligan. This year's American Express Gala film is 'One
prestigious Royal Festival Hall on the South Bank of the Thames,
Life', starring Anthony Hopkins. Headline galas also include the
where the concert hall is served as the main red carpet gala venue
Martin Scorsese film 'Killers of the Flower Moon' and Bradley
from October 4 to 15th.
Cooper's 'Maestro'. The festival will close with the World Premiere
Dominic Simmons, head of technical services at the BFI, says,
of Kibwe Tavares & Daniel Kaluuya's 'The Kitchen', co-written by
"Christie RGB pure laser projectors showed extremely vivid
Joe Murtagh, who was awarded Christie's 'Most Promising Student
colours and contrast on the screen. Last year, directors and film
Award' at the National Film and Television School in 2015.
representatives witnessed their work on the Christie Real|Laser illuminated projector and loved what they saw. I'm pleased that we're able to again screen films in high quality using Christie for the Royal Festival Hall." Christie Cinema Sales Manager, Phil Lord, commented: "It's a pleasure to continue our longstanding partnership with the BFI and the BFI London Film Festival this year, allowing us to provide projection befitting of such a prestigious event. With our RGB pure laser technology, the latest films will shine brightly, with
PHOTO CREDIT: DARREN BRADE
exceptional colour reproduction and vibrant images. Featuring CineLife+ electronics and Real|Laser™ illumination, Christie RGB pure laser cinema projectors exceed DCI standards, excel in image quality and brightness, operational efficiency, and offer reduced costs and increased sustainability. The Festival's opening night saw the International Premiere of 'Saltburn' directed, produced and written by Academy Award® 1 2
>
1 2 / 23
>
www.cinema-technology.com
The red carpet at BFI LFF.
Saltburn Director and Producer Emerald Fennell attends red carpet premiere of the movie at the 67th BFI London Film Festival.
Arts Alliance Media Agree MX4D Partnership with Lotte Cinema and AMPA ARTS Alliance Media (AAM), the global leader in digital cinema software and support services, has agreed a significant MX4D partnership with Lotte Cinema, the second largest multiplex cinema chain in Korea, and AMPA, a Korean cinema technology integrator. Presenting audiences with an unrivalled, multidimensional moviegoing experience, Lotte Cinema will introduce the immersive MX4D Motion EFX Theatre to 10 locations throughout South Korea as they prepare to enhance their PLF offering and accelerate box office revenue. Selected over recognised, local 4D solutions, MX4D will be installed at two sites in 2023, with the remaining eight locations set for completion throughout
Cinionic debuts new product at SMPTE Media Technology Summit Cinionic provides sneak peek of the Barco Series 4 SP4K-P at SMPTE 2023 CINIONIC, a Barco company and
bring a studio’s creative vision to life in
2024 and early 2025. Responsible for all installations,
global
cinema
today’s laser-powered cinemas. The Series
AMPA, the acting technology partner, will become Lotte
technology, debuted a new Barco laser
4 model combines the power of laser
Cinema’s first point of contact for MX4D’s motion and
projector
for
projection with specialised software for
special effects products and services.
post-production in a special first-look
more streamlined editing workflows and
demo
“We’re delighted to bring the renowned MX4D brand
leader
at
in
designed the
laser
specifically
Media
xenon-look capability to ensure image
to our cinemas in South Korea,” explained Kim Byung
Technology Summit in Hollywood. Part
SMPTE
2023
consistency across in-theater projection
Moon, Managing Director of the Cinema Business Division
of the company’s award-winning Barco
technology. The new Barco Series 4 SP4K-P
at Lotte Cultureworks. “Our primary objective is to offer
Series 4 laser family, the Barco Series 4
makes it possible to grade for both laser
unforgettable moviegoing experiences where audiences
SP4K-P is the first laser projector
and
can immerse themselves in the on-screen action. With
developed exclusively to meet the
projector, supporting the needs of creative
MX4D’s best-in-class motion technology, we can achieve
unique needs of the post-production
professionals
that objective.”
community. With the new Barco Series
transition to laser.
xenon
presentation during
with
the
one
ongoing
Combining a patented EFX armrest with ranging
4 SP4K-P, Cinionic introduces new tools
The Barco SP4K-P design is tailored to
motions and 10 in-seat special effects, including wind,
to create content that enriches both
the needs of the post-production industry,
scent, and water blasts, MX4D’s comfortable, state-of-
the
incorporating
the-art seats offer moviegoers a unique environment in
experience when presented in laser.
movies
and
the
moviegoing
features
that
enable
unparalleled laser image craftmanship,
which to ‘feel’ the on-screen action. Adding to the
The Barco Series 4 SP4K-P builds on
including REC2020 color gamut, 5000:1
auditorium’s appeal, rain, fog, snow, and carefully
the legacy of the Barco DP4K-P, delivering
contrast level, and is part of an HDR
programmed light EFX also contribute to creating a
the colour gamut and contrast needed to
grading solution.
thrilling theatrical setting.
Cinebox Selects GDC as a Technology Provider GDC Technology Limited, a leading global
Cinebox with GDC digital cinema servers designed
Henry, founder and CEO of Cinebox. “Our
provider of digital cinema solutions recently
with the latest and most powerful semiconductor
relationship is focused on a common goal to
announced that Cinebox signed an agreement to
technology for near-zero maintenance and
improve the experience for our guests. This server
replace all legacy media servers with GDC’s SR-
minimal total cost of ownership. Since its launch
replacement agreement with GDC is testimony
1000 Standalone Integrated Media Block with
at CinemaCon 2018, GDC has shipped over 24,000
that we have each other’s best interest in mind.”
diskless CineCache built-in cache memory
SR-1000 units to theatres globally.
storage. Cinebox is Mexico’s largest independent
“At
Cinebox,
we
base
Cinebox is the largest independent cinema business
chain in the Mexican Republic and has 12
theatre circuit and operates in 13 cities such as
partnerships on trust and mutual value. Our
our
cinema complexes with a presence in seven
Poza Rica, San Juan, San Martin, Tampico, Tula, and
partnership with GDC is built upon a mutual trust
states of the Mexican Republic and operates a
other Mexican cities. This agreement provides
that has been fostered over time, said Roberto
total of 71 screens.
www.cinema-technology.com
1 2 / 23
1 3
NEWS
Pearl & Dean strengthens its Irish business with the appointment of Damon Westbury PEARL & Dean, the UK’s bestknown
cinema
Collaborating
advertising
of
said: “We are delighted to be welcoming Damon to the Pearl & Dean team. Damon joins
strengthening of its Irish arm of
team, he will jointly report to
the business at a pivotal time, as we celebrate
the
the
Kathryn Jacob, CEO UK, and
our 70th anniversary and focus on further
appointment
of
Dean’s
Kathryn Jacob OBE, CEO Pearl & Dean UK,
directors and senior leadership
with
&
with
company, recently announced a business
Pearl
closely board
Damon
Eoin Wrixon, CEO Ireland. Prior
growth and new opportunities. His knowledge
Westbury as Chief Commercial
to joining Pearl & Dean, Damon
of the industry will be paramount in driving
Officer (CCO).
worked in numerous senior
this forward and he is going to be a huge asset
roles throughout the course of
to our team across Ireland as well as to the
his
wider team in the UK.”
Pearl & Dean Ireland, which rebranded
from
Wide
Eye
career.
This
includes
Media in 2022, is the market leader for cinema
Microsoft Advertising, Clear Channel Global,
Eoin Wrixon, CEO Pearl & Dean Ireland
advertising in Ireland and has 100% share of the
The European Broadcaster Exchange, Zinc
adds: “We are delighted to have Damon joining
cinema advertising market. The Irish operation
Media PLC and most recently with WPP’s
Pearl & Dean. His appointment is part of a
is also home to Adtower, Ireland’s largest
proprietary programmatic agency Xaxis. He
significant investment as we grow our cinema
Digital Out of Home Convenience Retail Media
brings over 20 years of experience to the
advertising, out of home and digital publishing
network and Packed.House an experiential
business with a unique background across,
business in Ireland. Damon brings a wealth of
and
traditional,
experience and expertise and is a key addition
digital
media
services
production
digital
and
programmatic
company, and publisher of much-loved online
advertising as well as branded entertainment
properties including entertainment.ie, Beaut.ie
and publishing.
and FamilyFriendlyHQ.ie.
to the Pearl & Dean team.” Damon
Westbury,
Chief
Commercial
The announcement of Damon’s role
Officer at Pearl & Dean Ireland: “I am thrilled to
In this new role Damon will be responsible
coincides with the celebration of Pearl & Dean’s
join Pearl & Dean at such an exciting time, to
for commercially scaling Pearl & Dean’s
70th anniversary in UK cinema advertising this
spearhead our commercial expansion across
powerful group media assets in Ireland and
year. The company has maintained its position
existing media formats, new mediums, and
new markets, building an omnichannel media
as the UK’s best-known cinema sales house,
markets. I look forward to architecting and
offering and driving new revenue and
with its impressive roster of Pearl & Dean
building a compelling cross-media proposition,
commercial partnership opportunities under
cinemas including new contracts with Curzon
under this iconic brand, for our media agency,
the wider Pearl & Dean media brand.
Cinema and BFI IMAX won earlier this year.
advertiser, retail and AdTech partners.”
T-Squared Social Heading to Scotland NEXUS Luxury Collection and its shareholders
extensive renovations to support its new
opportunities and the long-term future of the
Tiger Woods and Justin Timberlake announced
offerings, T-Squared Social will maintain one of
venue. We are excited to welcome Tiger Woods
plans to open its second T-Squared Social, a
the movie screen theaters for watching theatrical
and Justin Timberlake to St. Andrews.”
premium sports and entertainment gastro pub,
films, live-to-cinema events and marquee TV
in the New Picture House Cinema on North Street
programming.
in St. Andrews, Scotland, located just three minutes from the famous Old Course. T-Squared
Social
redefines
the
Morris continued, “The New Picture House will continue to operate as usual until further
On behalf of the Directors and Shareholders,
notice. The Directors look forward to supporting
David Morris, Managing Director of the New
T-Squared Social with their development plans
multi-
Picture House, said, “Since opening for the first
and to welcoming new and existing customers
dimensional dining experience, merging elevated
time in 1930, the New Picture House has been an
into the New Picture House on completion of the
cuisine and craft cocktails with state-of-the-art
integral part of the town’s entertainment base.
redevelopment works.”
Full Swing simulators for golf and other interactive
The planned T-Squared Social investment will
T-Squared Social (an homage to the “T’s” in
gameplay, duckpin bowling, darts, and premium
enable the local community, students and
Tiger and Timberlake) recently opened its first
sports-watching with large format televisions.
visitors, the opportunity to experience a broader
venue to great acclaim in the heart of New York
range of cinema, dining and entertainment at the
City (USA) and looks to St. Andrews - “The Home
within the New Picture House built over 90 years
popular
of with the seller represented by Entertainment
ago by local businessmen. After undergoing
opportunity will secure greater employment
The new T-Squared Social will be located
1 4
>
1 2 / 23
>
venue.
This
www.cinema-technology.com
unique
investment
Solution Services.
£1 BILLION T H E
R O A D
B A C K
T O
Lucy Jones, Executive Director, Comscore.
Annual UK & Ireland box office had exceeded £1.3 billion in each of the five years up to 2019. While box office is demonstrably recovering year-on-year, full recovery is now anticipated in 2024. Will 2023 be the first year since 2019 to pass the significant £1 billion milestone?
1 6
>
1 2 / 23
>
www.cinema-technology.com
A N A LY S I S
T
en months into the year, 2023 is running an encouraging 10% ahead of 2022 YTD at £892m. Just nine playweeks remain to
K & I R E L A N D B OX O F F I C E U T R E N D S S I N C E 201 7
make up the £108m required to hit that
UK AND IRELAND BO
BO CHANGE V PRIOR YEAR
NUMBER OF NEW RELEASES
2017
£1,380,541,205
+4%
926
2018
£1,377,835,217
0%
924
2019
£1,353,637,851
-2%
938
2020
£323,350,946
-76%
445
2021
£597,075,205
+85%
503
2022
£978,529,874
+64%
911
mythic £1 billion target. Casting a cloud over
the
summer
sunshine
of
“Barbenheimer”, the writers’ and actors’ strikes in Hollywood created shockwaves in the Q4 release calendar with major titles including Ghostbusters: Frozen Empire, Kraven The Hunter and Dune: Part II all moving to 2024. The news that the strikes have ended has re-injected some confidence into the final months of the year, with several significant releases yet to debut. Based on current forecasts, it will go down to the wire, with box office expected to pass £1 billion as late as the final week of December. Current forecasts from Gower Street Analytics show UK & Ireland box office topping £1 billion, probably hitting £1.05 billion, with the worldwide total expected to pass $34 billion (33% ahead of 2022).
‘Saturation’ Releases Matter Hot on the heels of The Hunger Games: The Ballad Of Songbirds And Snakes scoring the tenth-biggest 3-day opening of 2023, November concluded with Napoleon and Wish, while preChristmas audiences will be looking forward to Wonka and
Worldwide, after an unexpectedly strong summer, Q4 has
Aquaman And The Lost Kingdom. We know this is a strong period
faltered slightly. October 2023 was a relatively weak month,
for family audiences; last December Roald Dahl’s Matilda The
falling below October 2021 and slowing the pace of recovery. In
Musical exceeded all expectations in the run-up to Christmas,
UK & Ireland, seven October releases achieved over £5m, with
taking over £16m by Christmas Day on its way to £28m lifetime.
the month only marginally outperforming last October by 3%.
This was followed from mid-December by Avatar: The Way Of
Top new release Trolls Band Together was timed for the school
Water, achieving over £42m in-year and a grand total of almost
half-term holidays, and Halloween audiences boosted Five
£77m. The long period of strikes has not so far significantly
Nights At Freddy’s to a shock £10m take. But the big October
dented the volume of blockbuster releases. In 2022, 911 new titles
surprise came from Taylor Swift, with the announcement that her
were released into cinemas, a significant increase from 2021 and
Eras Tour would be broadcast into cinemas from 12th October
almost returning to the peak level of 938 releases in 2019.
over four weekends. The North America release was announced
However, there was a marked reduction in blockbuster releases
in early September but Swifties around the world thought they
due to production delays in 2022: pre-pandemic, 2019 saw 186
would have to wait until the live tour rolled into their city (not
‘saturation’ releases (those films opening in 250+ cinemas) while
until June 2024 for UK fans)… until the bombshell announcement
the equivalent figure for 2022 was 135 saturation releases. As the
on 26th September that the concert film would be available
average revenue for each saturation release was £6.4m in 2022
worldwide just over two weeks later.
and £6.9m in 2019, it was estimated that a return to 2019 levels of
This was exactly what cinemas needed. If we learned one
saturation releases could add £325m–£350m to annual box
lesson from the pandemic, it was the sector’s reliance on a
office totals. 2023 is looking much stronger with 142 saturation
constant stream of compelling content. Cinemagoing is a habit
releases by the end of October, 25% ahead of the 114 released in
and we need regular must-see events to jolt lapsed audiences
the equivalent months of 2022.
back into action. Boosting the October box office across
A N A LY S I S
K & IRELAND TOP 10 U EVENT CINEMA RELEASES*
more than 80 territories, the Eras Tour has broken all records for a concert film and the overall Event Cinema sector, scoring over $123m globally on opening weekend and $240m lifetime – not including exhibitor revenues from limited edition
DISTRIBUTOR & RELEASE DATE
BO TO 2/11/23 IN £M
ROCK/POP CONCERT
TRAFALGAR RELEASING 13/10/23
10.7
A LITTLE LIFE
THEATRE
TRAFALGAR RELEASING 22/09/23
1.4
3
EXHIBITION ON SCREEN: VERMEER - THE BLOCKBUSTER EXHIBITION
EXHIBITION
SEVENTH ART PRODUCTION 14/04/23
1.26
4
GOOD NT LIVE
THEATRE
NATIONAL THEATRE 14/04/23
1.25
5
ANDRE RIEU’S 2023 MAASTRICHT CONCERT: LOVE IS ALL AROUND
CLASSICAL CONCERT
PIECE OF MAGIC ENTERTAINMENT 25/08/23
0.85
6
ANDRE RIEU IN DUBLIN
CLASSICAL CONCERT
PIECE OF MAGIC ENTERTAINMENT 06/01/23
0.85
7
FLEABAG NT LIVE 2019 (RE: 2023)
THEATRE
NATIONAL THEATRE 09/06/23
0.81
8
BTS: (YET TO COME IN CINEMAS)
ROCK/POP CONCERT
TRAFALGAR RELEASING 27/01/23
0.80
9
CINDERELLA ROH, LONDON
BALLET
ROYAL OPERA HOUSE, LONDON 07/04/23
0.63
10
THE CRUCIBLE – NT LIVE
THEATRE
NATIONAL THEATRE 20/01/2023
0.62
TITLE
GENRE
1
TAYLOR SWIFT: THE ERAS TOUR (STILL ON RELEASE)
2
popcorn buckets and collectible cups. Taylor Swift’s home market of North America is by far the highest-grossing territory, contributing over 75% of the box office, but UK & Ireland is punching above its usual weight with almost 7% of the total. Mexico and Australia follow the same pattern, exceeding their usual share, with Germany making up the top 5 territories. It’s unheard of for an Event Cinema release to claim a spot in the worldwide Top 30 films of the year, but the scarcity/high price of live concert tickets and large number of showtimes helped to boost it to these heights. Initially scheduled for a fourweekend run, it looks likely to play on throughout November and beyond.
The Importance of Event Cinema Alongside the Eras Tour, theatre and concerts dominate the Event Cinema chart for the year to date, with A Little Life selling well despite its 18 rating and hard-hitting subject matter. The chart is typically diverse with art, ballet and classical music featuring alongside K-Pop. While no operas made the Top 10, it remains a popular genre with three new releases in the Top 20, all from the Royal Opera House. Ranking at No.14, 16 and 17 respectively and achieving a total of £1.1m, we had new productions of Turandot, The Marriage Of Figaro and The Barber Of Seville. Prior to the Eras Tour, the top UK & Ireland Event Cinema release of all time was the National Theatre’s Prima Facie starring Jodie Comer (£5.4m). With the Eras Tour coming so soon after the success of Barbie and The Little Mermaid, and following in the footsteps of other one-woman events Prima Facie and Fleabag (re-released in June), it feels like girls do run the cinema world. Did someone mention Beyonce? Showcased at the Event Cinema Association conference in November, before Wonka and Aquaman, the year ends with a diverse range of Event Cinema heavy-hitters. For music fans, Cliff Richard’s Blue Sapphire Tour plays cinemas in late Beyonce’s Renaissance film and Andre Rieu’s White Christmas. Continuing the Christmas theme, the traditional Nutcracker from the Royal Opera House beams into cinemas mid-month. Looking ahead to the new year and passing the baton to some leading men, theatre will dominate in Q1 with two blockbuster plays from the National Theatre. Football-themed Dear England debuts at the end of January, starring Joseph Fiennes as England manager Gareth Southgate, followed by Fleabag’s hot priest Andrew Scott playing the entire cast of Vanya in February. It’s becoming clear that audiences remain selective about which titles to see in cinema. More than ever, we need to harness that FOMO feeling and make it special, compelling, urgent.
1 8
>
1 2 / 23
>
www.cinema-technology.com
* JANUARY TO OCTOBER 2023. DATE RANE 6/01/23 - 2/11/23
November, and early December audiences can choose between
SPECKLE ON THE BIG SCREEN NEEDN’T BE A CONSIDERATION
Barbie on the iSense screen projected using NEC RB laser technology.
2 0
>
1 2 / 23
>
www.cinema-technology.com
SCREENING
The proliferation of laser projection in cinema has brought with it a number of complexities that didn’t exist with xenon. Whilst laser technology has a number of tangible benefits, many of which have been well documented in CT Magazine and across publications, conferences and technical white papers, some of the technical questions and indeed misconceptions still remain such as “all laser projectors produce visible speckle” and therefore “you can’t use a laser projector with a silver screen or a high-gain screen”.
Editorial Team, Cinema Technology Magazine
L
aser speckle is an interference pattern caused by coherent photon waveforms. Lasers work by finally producing photons which
are
coherent,
the
same
wavelength, amplitude etc. The problem is when a coherent waveform meets an
obstacle which has a rough surface. This changes the phase of the waveform, essentially incidence / reflected light on a multiple tilted surface, it bounces at different angles. Resulted wave forms will either be opposites which cancel out (destructive - dark) or increase in amplitude (constructive light areas of visible speckle). The human eye perceives green more easily so speckle from a green primary appears worse. Laser speckle produced by laser projectors (particularly RGB variants) can therefore cause a ‘disruptive’ viewing experience for cinema goers. Broadly speaking, higher gain screen surfaces, most notably silver screens, are affected most.
Current laser technologies & limitations There
are
ostensibly
three
different
laser
projection
technologies available. RGB, Phosphor and RB. RGB Laser, which is split into 3 or 6 primary lasers used to
generate colours (red, blue and green) with the 6P options using dual colours with differing wave lengths. Laser Phosphor utilises two blue laser light sources. The first
blue laser light source unsurprisingly, generates the blue colour with the second blue laser light source used to excite a phosphor wheel which generates the green and red. RB Laser is a half way house of sorts between Phosphor and
RGB. RB uses 2 blue laser light sources, one to generate the blue, one to excite a phosphor wheel to generate the green and a direct red laser source to create the red. Laser phosphor projectors have the ability to produce between 6,000 and 25,000 lumens (as stand-alone solutions) in terms of light output. Whilst the technology doesn’t suffer overtly from visible speckle, the limitations on maximum light output and indeed manufacturer guidance on starting power levels means that even with higher gain screens, there remains a screen size limitation which means that large screens require a different technology. RGB is an ideal solution for those large auditoria but here, speckle is more likely to be prevalent meaning that the
www.cinema-technology.com
1 2 / 23
2 1
SCREENING trade off is a lower gain screen to reduce the visibility of speckle.
It was clear that laser speckle was not
This is where RB laser technology is potentially the perfect
an issue at all - even from front row seats
solution in allowing higher brightness output (closer to that of
situated around 11m from the screen or
RGB) with the lower speckle contrast ratio (seen in Phosphor).
indeed closer to the screen. Laser speckle
But is it theoretical, can it be done, has it been done and if
from the RB projector was only detectable
so what has been the real-world result? We travelled to Spain
to the trained eye, unlike with most direct
to take a closer look at one such deployment to see whether
RGB projectors where detectable laser
the theory matched the reality.
speckle can be obvious and disruptive to the cinema viewer, something that
The evaluation and the result
exhibitors deem unacceptable.
Auditorium #7 of the Cinesa Open Sky cinema in Madrid affords
For this specific auditorium, RB technology has proved to be
us the setting to combine RB laser technology with a high gain
a great solution in illuminating a very large screen whilst allowing
screen. The cinema, owned by Odeon Cinemas Group (OCG) runs
OCG achieve realise all the cost-saving reductions versus xenon
auditorium #7 as its own brand PLF “iSense” featuring an
(power, lamps, etc) without needing to add incremental capital
enormous 21.15m x 10.2m screen on a curved frame.
cost.
The
The other two options available would have been
auditorium features a combination of an NEC NC3541L RB laser
implementing a dual-projection phosphor-based system (to
projector with 35,000 lumen output on a 2.2 gain Clarus XC
generate sufficient brightness) or installing a high-powered RGB
screen from Harkness.
projector and mitigating speckle through a lower-gain screen. Of
Designed for premium and large format screens, the NEC
course following the RGB route would have meant incremental
NC3541L 4K cinema operators are, NEC claims, able to take
energy costs whilst the only other option to reducing speckle
advantage of both laser phosphor and RGB laser technologies
would have been the installation of transducers attached to the
resulting in a powerful projector which delivers compelling
screen which then adds complications and costs such as noise,
benefits in terms of cost, operational efficiency and immersive
equipment failures and maintenance offsetting the savings
image quality. The use of a red and blue laser light source goes
made. The RB solution with a high-gain screen has proven a
beyond the colour and brightness output of traditional laser
perfect blend delivering a host of benefits, not least minimal
phosphor cinema projection systems providing a brilliant image
speckle resulting in a spectacular viewing experience.
with high uniformity.
To give further context to the visibility of laser speckle, the
Left to right, Matt Jahans (Harkness Screens), Paulo Pereira and Mike Bradbury (Odeon Cinemas Group) and Alain Chamaillard (Sharp/ NEC Display Solutions)
(L) content and uniformity, (R) NEC NC3541L with RealD 3D System.
A thorough evaluation of the screen and projector
absence of a green laser diode meant that the speckle was
combination was carried out using a 2D white test pattern from
equivalent to the speckle effect sometimes seen on a silver
the server with a view to understanding the capabilities of the
screen with a xenon lamp-based projector; incredibly soft and only in the very narrow
technology mix (RB projector and high-gain silver screen) from a
centre of a hot spot, a huge win in guaranteeing audience satisfaction. Of course, as with
peak brightness and laser speckle perspective. To ensure the test
all projection systems there are trade-offs. Yes, this is a laser-based system that is
was relative to standard operating situations, the projector power
3D-enabled and it has little to no visible speckle, however due to the high gain screen
was set to enable a peak reflected brightness of 14fL (within the
there is of course a less centre-to-edge uniformity than might be seen using a lower gain
DCI specification of 14fL +/- 3fL). Once the technology had been
screen, but in this instance, this has been offset by optimising the screen and applying a
evaluated using a white test pattern, the system was further
gentle curve. Having evaluated the technology in a real-world setting, it is clear that for
checked using content from the Barbie Movie and particularly
large screens or PLFs, there may be an alternative solution to RGB and low-gain screens
bright and light content - the scenes which is almost always least
which removes speckle as a concern and perhaps even affords exhibitors to look at a
favourable and makes any laser speckle easier to see.
lower-cost solution that provides a faster return on investment.
2 2
>
1 2 / 23
>
www.cinema-technology.com
CINEMA S E ATI N G When it comes to seating, everything comes at a price and often with a compromise. It can be a difficult path to navigate particularly for smaller exhibitors. Over my many years in the industry, I have experienced working on hundreds of auditoriums and whilst I do not claim for completeness in my knowledge, hopefully this multi-part guide that will span the next few editions of Cinema Technology Magazine will provide you with some fresh ideas and considerations on your journey.
Markus Overath, Director, Cinema Technology Community
E
verything is a matter of perspective especially when it comes to
can work independently or together if you target the right
cinema seats, sightlines and style. But what matters most in a
customer base and know what you are aiming for. Several cinema
modern cinema environment? What exactly does modern mean?
chains (predominantly bigger ones) charge the same admission
Where do we start a project and how well prepared are we to
price and give customers the same level of comfort, but we need
invest in long-lasting seats? Do you know how much degradation
to ask why.
can happen to a seat with thousands of uses each year? Comfort,
Buzz words like ‘boutique cinema’, ‘multi-seat-zones’,
space, price, return of invest? What are the key aspects to ensure
‘sightline areas’, ‘family zones’, ‘moving seats’ suggest the opposite
it’s a balanced investment? There are so many questions
concept. The more variety and price differentials you want, the
exhibitors have and often very basic guidance is available, so let`s
more you need to demonstrate the quality of comfort, as well as
start with a simple set of questions one should ask themselves
the way these are marketed to movie-goers.
when looking to improve the cinema experience.
marketing, pricing and targeting, the multi-zone concepts offers
seating concepts. What should we look for? What is our style?
the chance to maximise seat prices whilst ensuring cinema is
What is the magic number?
financially accessible to all. For example, if your cinema is located
Concept vs. Compromise: Does one type fit for all?
2 4
>
1 2 / 23
While the “one type fits all” approach has its beauty in simple
In this edition we will focus on the most common issue,
in a very family friendly or populated area with moderate income, you need to be mindful of affordability. If you have a customer base with disposable income that values the experience, you can
Should every movie-goer have the same luxury seat or do you
offer more than one type of luxury seat with different pricing.
want to have the most cost-effective seating arrangement with as
However, if you have a customer base that is comfortable with
many seats as possible? The simple answer is that either concept
your offering, you might consider using longer-lasting and high-
>
www.cinema-technology.com
PA RT O N E : S E AT I N G C O N C E P T S
quality fabrics rather than new seats and adjacent investments.
and give ideas but ultimately, it is you that must decide. But a
Of course, what we always want to avoid is the need to
solid platform of information can help. Is there a way to test
discount tickets because the movie goer perceives these as
concepts with the various customer groups in advance, perhaps
overpriced seats particularly where there is a single seat offering.
they don’t even care as they’ll be sat in a dark room. Dwell time
Instead, with the right information, various options can be looked
can be important so is there a way of identifying how long
at, VIP to standard and from family friendly to special experiences
customers are sat in the seat before, during and after a movie? Of
with space and comfort. The options and concepts are limitless,
course look to local competition, are they raising the bar or can
but inventing ”the price matrix” is the key to success and the
you develop your style which raises the bar?
biggest work everyone should do.
Whatever you think about this part of the homework it is
Every seat manufacturer will tell you their story and share
fundamental and your identity. The design of your auditoriums
experiences from other exhibitors, but does one size fit for all? Do
together with the holistic style of the entrance area, concession
we want all cinemas to look the same or can we be more
space, rest rooms, lighting, marketing and communication
experimental?
strategy on the website are all part of your identity. The amount
Do your homework
you are able to invest on seating need not be a deal breaker if the design and style is carried through the entire experience.
How integrated do you want the auditorium to be? Do you want
Typically the journey from lobby to seat is a short one in terms of
to align the wall covers, baffles, lighting and carpet with the new
time, so that first impression can matter just as much as the
seat design? What is your major focus?
quality and comfort of the seat.
Style, architecture and experience are the holistic aspects of new seating. External advisers can only provide recommendations
Given the repetitive use, and time they’re in use, seats have to last longer and provide more comfort than most other areas of
www.cinema-technology.com
1 2 / 23
2 5
Understand the local dynamics There is often a wealth of information from various sources available about the local area which may be changing both in terms of population and culture without you knowing or realising. These dynamics will have a huge bearing on the future customers of your cinema and their requirements. You need to have a good understanding of this to ensure that you make the right investment because if you get it wrong, the return on investment may never materialize. Do you really know your competition? How far away is the nearest cinema, what does it offer and is that offering comparable to yours? In some areas, the cinema may be competing with other entertainment experiences for consumer spend, for example, restaurants, bowling alleys, etc. What you are able to offer is often dictated by pure economics including staff wages, the quality and breadth of local supplies and the footprint of the building? Testing the competition in the local area may help you learn where your niche is, which in turn will the cinema, but remember a good overall impression is key to
often help provide direction on the seating concept and indeed
movie-goers coming back again and again. Neither a new
which will be most durable for your cinema.
projector nor or a new seat gets your audience back, if for example the smell of the carpet is unpleasant or the toilets dirty.
The space galaxy
It’s obvious really, but it does need restating.
One of the main focal points eventually is space. Some moviegoers prefer space between other like-minded patrons - perhaps
It’s great to have a vision, but a key barometer will be your
even those they’ve come with, whilst others like the coziness of
auditorium’s “heat map”. This will tell you everything you need to
sitting close to their group. Other movie-goers like the big screen
know about your conceptual ideas. It’s important to understand
and being surrounded by as many people as possible - to feel the
what percentage of visitors you have in most (!) rather than some
shared experience, whilst others prefer the small 2-seater in a
shows and what your most successful screeningsare no matter
private stylish cinema. There really is no happy medium. What is
which movie. Major releases can often make us blind to the
important to note however is that notionally a VIP-style seating
realities of day to day operation.
experience requires space – and typically at least 2m.
26
>
1 2 / 23
>
www.cinema-technology.com
i
PA RT O N E : S E AT I N G C O N C E P T S There are other considerations that affect the space and comfort you provide.
For example, your customers might
recliners or boutique seats are a fad, but they may only capture the imagination of the movie-goer for a relatively
demand space, and you might want to provide it for them with
short period of time.
recliners, but is that the right option if you’re unwilling or
on investment on a new concept versus the payback on a
financially unable to maintain the motors in the seats? Recliners
reliable classic style cinema seat (which will likely remain
often affect the cleaning budget for the auditorium too, not
relevant for 30 – 40 years) is worth bearing in mind. If you have
because they necessarily take longer to clean but actually
more than one auditorium, you may be able to try different
because the customer has an expectation of a cleanliness level
concepts as finances allow rather than committing down
associated with the higher ticket price.
one route for every auditorium. If you think you have all the
Every customer experience matters Experience matters particularly for those that are disabled. The old-fashioned last row position or first row corner seat model is
Weighing up the short-term return
data to hand and you really know your audience, then of course you can go full throttle and roll out a concept across the whole cinema.
unacceptable nowadays and often creates an uncomfortable
Financing
experience for these guests. We should perhaps understand
A project such as this isn’t necessarily cheap, but it can be
what the viewing experience is like for those in a wheelchair from
important for customers.
a sightlines and even audio perspective and factor in a better
through the pandemic recovery as welll as navigating the
experience in any new seating layout. There is a lack of awareness
continued surge in operating costs, it might be worth
within the industry of the type of solutions available for special
investigating if there are any governmental support schemes
groups but there are examples of great concepts in the UK and
available. Apart from the cultural investment funds in many
Scandics for disabled groups that are very promising.
countries, there are also a lot of supporting funds for
Short-termism or eyes on bigger prize
Whilst finances are stretched
accessibility or special cultural aspects.
Today’s trend may only be relevant for a short period of time.
This article is the first in a series. In upcoming editions
That’s not to say what exhibitors are deploying today in terms of
throughout 2024, we’ll look at other seating topics.
infinityseating_Layout 1 30/11/2023 16:42 Page 1
THE ARTISANS OF CINEMA SEATING
www.cinema-technology.com
1 2 / 23
2 7
www.infinityseating.co.uk
MAG’s brief history 2 8
>
1 2 / 23
>
www.cinema-technology.com
FOCUS
Cinema Technology Magazine caught up with leading highend audio equipment provider MAG to learn about the company’s fascinating history, its products and the difficulties of managing an international business in a conflict zone.
Peter Knight, Commissioning Editor, CT Magazine Product Design inside the MAG Audio factory.
M
AG is short for “magnet”, as the company’s first foray into the world of sound was through magnets. Ukraine used to be one of the leading world magnet
manufacturers,
and
Borys
Khasin considered it as a perfect idea to
start the business as he had knowledge, experience, and a team. A few years later and with a team passionate in music and audio technology, he had a vision to produce components for audio systems and with that, the company started to produce components for industry leaders. In the early 2000s, Borys involved his young sons in the business. Leonid and Alexander were excited and ambitious to start the production of MAG’s own product range. In 2008 the focus of the business shifted from component supplier to manufacturer of professional-grade speakers, with a specialty in touring events and cinema sounds. Today, the company operates based on its full-cycle production factory in Bila
Who are MAG Audio?
MAG Audio’s is a
Tserkva and seldom uses components produced by other manufacturers preferring to produce its own high and low-frequency
drivers
based
on
the
company’s
proprietary technology.
Current Products
Ukrainian manufacturer of
Today MAG operates with three separate divisions: The
professional audio
first two divisions are MAG Audio, which produces
equipment with a
speaker equipment for professional-grade venues and
special focus on
tours, and MAG Cinema, which is focused on providing
cinema sound. Its
speaker systems for commercial cinemas across the
story begins in the
world.
1990s in Bila Tserkva
120 countries.
MAG’s equipment is installed in more than
City, Kyiv district. In the middle of social and economic transformations caused by the fall of the Soviet Union, Borys Khasin established one of the first commercial firms in Ukraine (“cooperative” using the terminology of the late soviet
1
2
3
MAG Cinema is known for its MAG THOR cinema subwoofer. It’s unique frequency range of 18Hz to 120Hz with 145dB of SPL
Another key product of MAG is Tower screen system modular line array screen system for top-class cinema halls.
Coaxial surrounds
period).
www.cinema-technology.com
1 2 / 23
2 9
The newest division is MAG Theatron which produces professional audio systems for home cinema. MAG Theatron is
A View From The Top Alexander Khasin, CEO
MAG’s department dealing with B2C solutions. The main idea of the project is to deliver home cinema at the professional level. Given the company’s focus on proprietary technology and components, MAG has developed both industry recognition for the quality and longevity of its products which has afforded the company the ability o offer warranties of up to 10 years on the equipment, perhaps the best evidence of how confident MAG is about the quality of its products.
The future/challenges After the Russian invasion of Ukraine, MAG undertook significant efforts to save the team (in every sense) and indeed the company. The operation was fully restored within 2 weeks from the start of the war. Despite there being significant sympathy and understanding from the industry to the plight affecting MAG, there has been no compromise on their dedication to quality products.
The MAG team remain
incredibly proud that in the face of adversity, they have not appealed to a force-majeure clause even once – though the team readily admit that at times, it took incredible courage, determination and spirit to keep going. Of course, the business had to undertake a number of logistical changes in order to continue business as best as possible. This has meant the creation of a storage and distribution hub in Belgium to provide clients with a level of confidence about their orders. At the start of the Russian invasion, the biggest challenge (aside from survival) was to prove to customers that the company was able to continue to operate, something which the MAG team have more than proven. The team at MAG remain optimistic about the future. While dreaming about peace in Ukraine, the company is working on the development of a unique solution for LED cinema screens, which it hopes to present in 2024.
3 0
>
1 2 / 23
>
“MAG continues to operate as a
Ukraine” approach.
family business – it is not a universal
challenge with this is that the audio
model, but it gives the business extra
industry is conservative. We often view
flexibility, and the ability to make
it as comparable to high-end fashion
quick decisions,” explains Alexander
and luxury cars – so having a non-
Khasin, co-CEO.
The biggest
“What is more
European brand initially made it
important, my brother and I manage
incredibly hard to fit in. Moreover, there
different directions. Leonid is the
was no association with quality and
head of the manufacturing facility,
high-tech products with Ukraine of the
he is co-CEO of the manufacturing
early-2000s, so it took time and skills
process, and I work with sales and
to win a place in the industry.”
marketing. Our father is now 75
Though MAG is mostly focused on
years old and he still takes an active
B2B sales, the choice of audio provider
part in the business and provides
is linked to very personal preferences
guidance and support when it comes
and impressions. The team at MAG
to the most complicated decisions,”
often compare that preference to the
he adds.
luxury car world where each sound
Over the years, MAG has faced
professional has a favorite brand – and
various challenges, some of the key
it is not that easy to convince them to
ones surround the complication of
try something else, and indeed to like
marketing the business and its product.
something else. “It is a field of emotions
As Alexander explains, “The first of
in many ways. We tried different tools
them takes us back to the 2000s when
to try and circumvent the system. Years
we decided against the idea of
ago, I was certain that blind auditions
registering a trademark in Germany or
were a great way to prove the quality
France so that we could be perceived as
of sound from our products. In the end, I
a European manufacturer. At the time,
learned that it is helpful – even more so,
we chose to stay with the “Made in
if the participant of a blind audition
www.cinema-technology.com
FOCUS
(Left) The production processes at MAG. (Above) Tower Screen System and Stack.
chooses MAG as the best sound instead of
right
their favorite brand. We’ve often seen
configuration can be complex at times, so
people
even
MAG focuses on providing guidance on
disappointed. There has also at times
sound design to their clients to ensure that
been a bias against our products and a
every install achieves the desired results.
refusal to accept that simple errors such as
Whilst MAG believes they have many
the
surprised
clients’
confused
team
set
or
products
and
the
correct
equipment
competitive advantages, they recognise
incorrectly, because the product was from
the value of the people inside their
an unknown Ukranian manufacturer,” Alexander explains. Because MAG is a much smaller business, the team constantly feels the need to focus on quality and innovation, in a way that they feel other audio manufacturers perhaps don’t need to. “We
understand
those
perception
challenges and the best way to overcome those was to invest in quality. We made a commitment to producing products that are built to last and our 10-year warranty
business and invest heavily in supporting and growing their team. Whilst unknown to many, there are incredible engineering traditions in Ukraine and MAG benefits from
having
engineers
from
three
different generations in its team. The team continues to innovate by blending experience
(one
of
MAG’s
senior
development engineers specializing in electronics is 75 years old) and youth to create high quality products.
Having
is, we feel, a better way of conveying our
been in business for more than forty
confidence in the quality and robustness
years, the MAG team continues to look
of
our
products
explanation
about
than
perhaps
an
forward and an ongoing cooperation
the
quality
of
with Kyiv National Polytechnic University
components,” concludes Alexander.
enables MAG to identify the next
Key for the MAG team is ensuring
generation of talented engineers that will
that they work closely with customers to
help shape the future of the business and
achieve great products.
its products.
Selecting the
(Top right) Sphera auditorium in Athens featuring MAG speakers, (Bottom right) outdoor installation.
www.cinema-technology.com
1 2 / 23
31
A N A LY S I S
32
>
1 2 / 23
>
www.cinema-technology.com
With its roots in gaming, Virtual Production (VP) is a disruptive technology-led production solution that is set to disrupt the long-established workflows of the global film industry. Virtual Production (VP) is any area of production that can leverage realtime tools, extending or replacing the original workflow. It is also known as real-time VFX and has its roots in VFX. It was first used and developed by James Cameron on Avatar, although it now works for all production types. The TV series Mandalorian is filmed entirely in a Virtual Production studio, while features like Thor: Blood and Thunder and Bullet Train also had significant proportions shot in VP. In essence, it works by bringing the VFX element forward to the film shoot and allowing the director and actors to work within that digitally created environment in real time.
David Hancock, Chief Analyst, Media & Entertainment, Omdia
V
rtual production uses a studio space with a large LED display wall, and a gaming engine to drive the visuals that are being used. You could think of it as 21st century green-screen, much advanced, very versatile and non-linear. It is a growing
market segment and has the capacity to be highly disruptive to the film industry as it is set up now, as it reduces the need for
84x7m
VFX and post-production, set building, location shooting, travel and a substantial number of film set roles. Deloitte Global
UK’s Winnersh Studio boasts a whopping 84m x 7m LED screen
feature film (51% for a tentpole film according to Screen New
predicts that the market for virtual production tools will grow to $2.2 billion in 2023, up 20% from an estimated $1.8 billion in 2022, and one estimate raises this value to $5.2bn by 2030. VP offers some clear advantages to film producers and the wider world. The environmental impact is one of them. The world’s first carbon neutral film, using global locations in one virtual studio, was shot for COP26 by UK’s Garden Studios. The film emitted one tonne of carbon, compared with 120 tonnes if the film had travelled to all locations that were used in the film. A tentpole feature emits around 3,000 tonnes of carbon.
Reduced Carbon Footprint of Production Transport is the single biggest source of carbon emitted on a Deal report), and the energy-consuming nature of film production (travel, transportation, portable generators, set building, lighting) is high. While VP does use power, as the LED
screens are very large and gaming engines use a lot of processing power, there is little overseas transportation involved and throw-away sets are not needed as the visual
3k
environment is on screen. VP does also require a lot of manufactured equipment which also has a carbon footprint. This suggests that the environmental impact of VP is higher in the immediate short term but reduces significantly over the period of the shoot. Virtual Production is technology-driven. The first technology needed is the LED
display. They vary in size according to the studio but the widest I have found will be
51%
Transport is the biggest source of carbon emitted on a feature film and 51% for a tentpole film
within the Winnersh Studio in the UK, which features a huge 84m by 7m LED screen (140 million pixels). The majority are around 25m wide and the highest are 10m but most are between 5 and 7m in height. The second element is the 3D gaming engine that drives the virtual environment, usually Epic Games’ Unreal engine, and less frequently Unity,
A tentpole production emits around 3,000 tonnes of carbon
which provides real-time rendered sets. The merging of gaming and film allows CGI characters to interact with real-life actors. The third element of technology is the
www.cinema-technology.com
1 2 / 23
33
A N A LY S I S
100
30%
cameras, which need to be motion tracking to make the most of
the LED screen. Motion tracking means the object is followed from the camera’s perspective, and the information is fed back
to the 3D engine, which renders the correct perspective of the scene. This way of working means that film locations and
The UK is an emerging hub for major Virtual Production studios, with 30% of global Tier 1 studios based in London alone in 2022.
infrastructure. For their part, film authorities probably need to
animated characters can be built into the gaming engine and
pivot towards a hybrid approach, encouraging investment into
used in real time in the studio. VP has a significant impact on the
VP studios, technology and skills (of which there is a major
workflow of film production and the skills needed. The most
shortage)
visible is the fact that the post-production element of a film is
infrastructure, whilst encouraging existing suppliers to move
greatly reduced as much of that process is being done either in pre-production or in real time during the shoot. Virtual Production (VP) can significantly reduce costs of film and TV production, with little reduction in quality that may have been the case from poor quality CGI/VFX in the past (although it
is also possible for the VP environment to be poor quality too if the pre-production set building is not done properly). One FX supervisor has stated that a movie can do for $25m what did cost $100m by using VP as a production method, rather than a location set and VFX. This is down to the lower budget needed for VFX down the line and fewer people needed on set. The
there around 100 financing and tax credit and/or rebate systems for filmmakers globally.
5-7m but most LED screens range between 5 and 7m in height.
within
its
existing
studio
and
production
towards greener solutions for producers that still wish to shoot on location or in studios.
How VP Might Change Production The rise of Virtual Production is certainly an existential threat to existing film studios. The sprawling backlots, water tanks, sound stages, production offices and locations are expensive to build and maintain, and the cost of getting to a particular studio is also a financial and environmental cost. The VP studio avoids many of these downsides. Producers will still be attracted to location shoots, for reasons such as authenticity, so film studios will need
shoot is also shorter (anecdotally, 30-40% more script pages
to invest to make their sites as environmentally friendly as
were finished each day on The Mandalorian compared to a
possible and build VP stages as part of an overall package. New
traditional shoot) as factors such as weather didn’t hold up
studios (Electric Owl in US, Tage in Portugal) are being conceived
production, which also contributes to lower costs.
as green environments and provide an argument against the
For the VP service provider, set-up costs are still high, so
advantages of VP studios. The Electric Owl studio in Georgia
some companies offer bespoke virtual studio construction as
open in June 2023, conceived as world’s first LEED (Leadership in
and when needed but the trend is towards a growing number of
Energy and Environmental Design) Gold certified sustainable
static virtual studios being built and opened. According to the
facility and a second sustainable studio is being built in Tage in
UK’s Creative Industries Council, the UK is an emerging hub for
Portugal. This approach enables producers to minimise the
major Virtual Production studios, with 30% of global Tier 1
carbon emissions in their productions while retaining the ability
studios based in London in 2022. VP studios can form part of a
to travel if the script and project require it. As a new way of
wider studio complex, so traditional and VP film production are
working, one of the obstacles to VP’s development will be the
not mutually exclusive even if they are competitive.
lack of skills in this space, even if the number of VP studios is
The Advantages to VP
rising. VP specialists are recruited primarily from gaming and film, which will contribute to the increased merging of these two
Traditional film production is driven by financing and tax credit
sectors, as the IP from one is exploited in the other. However, the
and/or rebate systems for filmmakers and these have been
skilled technicians required to exploit the new techniques in VP
growing over the past 30 years, to the point where there are now
fully are scarce, making the path towards
around 100 such schemes around the world. They form a major
full-scale use of VP longer.
plank for attracting film and TV production into countries for
Virtual Production is an exciting new
government treasuries and film authorities due to knock-on
way to build a film project, offering new
multiplier effects from a film production. However, there is an
creative paths for film and television, but
inherent tension between shooting on location or in a studio
also a flexible, non-linear, and more
the traditional way, motivated by the tax benefits on offer and
efficient shooting process. What up until
shooting in a VP studio. The latter is significantly cheaper than
now has only been possible using VFX
location/studio shooting but can produce similar results. VP can
after the filming process is done, can now
be more efficient in terms of days needed, the weather is always
be achieved on set and for lower cost. It
suitable, and the process is non-linear so different parts can be
certainly has the capacity to be harmful
worked on in a more effective manner. Added to this the
to the existing film infrastructure that has
environmental advantage of a VP shoot and VP becomes an
been built up over many years, but the
attractive option to push. The resulting drop off in location/
old ways have a challenger that is leaner
studio shooting, having built up the required infrastructure,
and greener. It offers producers more for
studios and skillsets, could be very damaging to the film
less and that is often a winning formula.
34
>
1 2 / 23
>
www.cinema-technology.com
SUSTAINABILITY: at the very core of Savoy’s business values
Savoy Cinemas, with a footprint of six unique and individual multi screen cinemas located in the heart of urban communities in the Midlands (UK), is committed to promoting sustainability in all aspects of its operations.
Tim Potter, Founder, Trigage
T
here
is
a
commitment within the business to
halving
its
1 Culture Savoy has a great staff culture where every
combustion produces CO2.
individual has a role to play. As such the plan the
W aste needs to be managed better – the South
business is putting in place to reduce carbon
China Sea is becoming very full!
work towards achieving net zero by 2050.
footprint entails working together with all
E nvironmental issues are rising higher on the
To achieve this goal, the team is
employees to explore initiatives that encourage
public agenda and legal requirements will
developing, alongside their sustainability
sustainable practices across the operations. A
follow soon.
consultancy Trigage, a comprehensive
Director responsible for Sustainability and a
C ollectively the team needs to work together to
Sustainability lead have been appointed to
achieve some of the above objectives.
ensure there is accountability for their actions.
T here is a requirement to combine environmental
During October, Trigage facilitated a workshop
sustainability AND produce significant cost
carbon
footprint
by 2030 and to
plan that encompasses four target areas: Culture, Buildings, Retail and Suppliers. The plan will outline the current state of Savoy Cinemas and the actions they are
with Savoy’s head office team, cinema managers
saving.
and deputy managers.
The workshop included themes such as ‘Balancing
taking to promote sustainability and
The purpose of this was to highlight that:
the Climate Crisis and the Geopolitical Landscape’,
reduce carbon emissions with one
T he continued use of fossil fuels is not
‘The Big Fat Carbon Quiz’, ‘Savoy in 2050’ and
overarching condition - that the actions
sustainable – what with limited resources,
break out workshops to create some smart
have to be economically sustainable as
geopolitical macroeconomics and that
initiatives to build into the action plan.
well as environmentally sustainable.
3 6
>
1 2 / 23
>
www.cinema-technology.com
GREEN SHOOTS
2 Buildings CINEMA PROJECTION Savoy has already taken a bold step by converting all its projection technology from xenon to laser in sites owned by Savoy, a first for a UK cinema chain. This move has not only significantly reduced carbon emissions, but has seen a 75% reduction in projection energy costs. LED LIGHTING All tungsten has been replaced with LED lighting - which is known for its energy efficiency and long-lasting performance - for lighting auditoriums, public spaces, staff rooms and film publicity displays. Also the front billboard of the Nottingham cinema has been converted. HVAC Recycling HVAC, through a system that recycles air, reducing the need for fresh air intake and ultimately reusing heat. These systems intelligently sensor the levels of CO2 in the auditoriums and ensure the correct mix of fresh and recycled air. A large portion of the Boston sites carbon emissions comes from gas heating, and this system is currently undergoing a significant upgrade which will dramatically increase efficiency. BUILDING MANAGEMENT SYSTEMS Savoy has leveraged TMS automation to manage the power on and off of sound, vision and lighting in auditoria.
PIR sensors have also been installed to
automatically switch off lights in back-of-house spaces. One of the tasks for the coming year is to evaluate what other software and hardware solutions can be implemented to further automate energy consumption through the cinema. Savoy Cinemas Worksop
INSULATION A number of Savoy’s buildings are relatively new and follow recent building regulations. These are thus well insulated and this can be seen in the CO2e charts later in this article. However, Savoy will be further evaluating solutions to find creative ways to further insulate older buildings, especially the 1930s built site in Nottingham. There are some challenges to overcome, for example external walls that cannot be clad and a ceiling that has air ducts and wiring that need access for maintenance. WATER Water-saving devices such as low-flow taps, dual flush cisterns and waterless urinals have been installed to conserve water. Rainwater harvesting will be evaluated as a potential solution to provide water to cisterns and urinals.
Savoy Cinemas Nottingham Signage
www.cinema-technology.com
1 2 / 23
37
3 Retail ENERGY To ensure that energy consumption is monitored and
Savoy is reviewing food sourcing with
provide customers with Savoy branded
optimised, Savoy has installed half-hourly electricity
the aim of using, where commercially
reusable cups and popcorn containers -
feasible, local suppliers.
this will be evaluated in the coming
meters. This allows the team to track energy usage and identify areas where they can further reduce energy
Single-use plastics have become a
months. A waste management program
major concern for individuals and
pilot has started with a trial of recycling
that offer a combination of competitive pricing and a
organisations
plastics,
points at the Boston cinema. These
provision of renewable energy sources and investment
including straws, cups, and popcorn
recycling points are advertised through
in such resources.
containers, have been identified as a
an on-screen message to customers. If
significant contributor to the global
successful, these will be rolled out
waste crisis. Savoy has already taken
across the estate. The first feedback
steps to ensure that many of these items
from the recycling trial
are now, or soon will be, recyclable. One
going to need bigger bins”. Sounds like a
idea that came from the workshop is to
quote from an infamous film!
consumption. The team are also evaluating energy suppliers, with the ultimate goal of selecting providers
SAVOY NOT TINGHAM The Savoy Cinema Nottingham on Derby Road is the only surviving pre-war cinema in the city. It was the first cinema in the UK to install a licensed bar and opened in 1935 with the Dick Powell film Flirtation Walk. At the
alike.
These
was “we are
time there were 52 cinemas operating in the city! This cinema was built according to the construction norms of
4 Suppliers
that time when sustainability was not a consideration. Nonetheless, Savoy Nottingham now uses modern sustainable technology, HVAC and insulation throughout
Savoy will be working with film distributors and
and as previously mentioned Solar PV recently installed
advertising providers to understand the carbon impact
on its roof.
of the production and distribution of content projected on their cinema screens, displayed on posters and digital signage in their foyers. They will jointly explore how this impact could be mitigated. The team will also be engaging with suppliers for all aspects to collectively mitigate the risk around carbon emissions especially embodied carbon in capital purchases and buildings being developed.
(L) Solar PV on the roof of Savoy Cinemas Nottingham. (B) LED step lighting.
3 8
>
1 2 / 23
>
www.cinema-technology.com
GREEN SHOOTS
5 Carbon Footprint One of the early big undertakings on this project was to
For the purpose of creating an emissions baseline there are
assess Savoy’s carbon footprint. A baseline was required so
two large impact areas that sit within Scope 3 emissions
targets could be set. Carbon footprint is measured in CO2e.
which require further work with Savoy’s supply chain to be
CO2e (Carbon Dioxide equivalent) is effectively a measurement
able to report on:
of all greenhouse gases that create issues for our atmosphere
C O2e from the production and distribution of food, beverage
and have a direct impact on global warming. Usually measured
or the embodied carbon for materials used in the cinemas
by weight - kgs or tonnes. The GHG Protocol, set up as a global
(anything from popcorn containers to steel). C O2e from the production and distribution of filmed content.
standards body for measuring greenhouse gas emissions, has three scopes of CO2e:
The plan is to understand more on these two activities in readiness for next year’s update.
SCOPE 1
What Savoy has included, where others might not, is audience
Direct Emissions from fuel combustion - either through burning
travel. This was included because firstly, through a
of fuels for heating or cooling or for company-owned vehicles.
comprehensive travel survey, a good estimate could be prepared and secondly there are some small actions that can
SCOPE 2
be taken to help customers make a sustainable choice when
Indirect Emissions from electricity you purchase for your own
travelling to the cinema. Nottingham even has its own bus
use.
stop! The significant CO2 emissions across the three scopes is split across the 5 reporting cinemas, four emissions groups,
SCOPE 3
top emission types and modes of transport. Please see below
Indirect Emissions through waste disposal, audience and
for a breakdown. Also separately measured for the last
commuter travel, products purchased, supply chain etc..
normalised year 2019.
S AV OY C I N E M A S CO2E IN TONNES C02 SPLIT PER CINEMA IN TONNES
6 Action Plan The final piece of the jigsaw is to prepare
C02 BY EMISSION CATEGORY IN TONNES
a comprehensive action plan detailing the next steps to net zero. The action plan is set and then developed over time as
WASTE
WORKSOP
Savoy, Grantham
each initiative comes to fruition. The plan
120
158
will outline the steps to achieve the
BOSTON
275
BUSINESS TRAVEL
23
NOTTINGHAM
159
sustainability goals. This includes setting AUDIENCE TRAVEL
333
ENERGY
211 GRANTHAM
targets for energy consumption, waste reduction, and carbon emissions, as well as implementing new technologies and
DONCASTER
practices to achieve these targets. At this
110
point Savoy starts to engage with its
134
stakeholders, including the remainder of their employees, customers, suppliers,
C02 BY TOP EMISSIONS IN TONEES
C02 BY MODE OF TRANSPORT IN TONNES
landlords and local authorities to ensure that their sustainability efforts are aligned with everyone’s needs and expectations.
74
120 GAS
The ultimate objective is to get to net
LOCAL BUS
LANDFILL
LOCAL BUS
74
TRAIN
66
5
ELECTRICITY
145
TRAIN
5
CAR
278
CAR
278
zero emissions by 2050. Savoy Cinemas’ plan will be an ambitious effort to start this journey and to promote sustainability in all aspects of their operations. By focusing on Culture, Buildings, Retail and Suppliers they are taking a holistic approach to sustainability that will help achieve their goals and contribute to a more sustainable future for all.
www.cinema-technology.com
1 2 / 23
39
F E AT U R E
C I N E M A E N T E R TA I N M E N T C E N T E R S :
A NEW ERA
Cinemas have long been a place to go with friends for enjoyment, escape and to take a step out of normal life. As social hubs, cinemas draw us in but the tradition has always been to sit in a line and not be social. With operators looking for means to capture new revenue from outside of Hollywood, a new way to be social in the cinema is emerging, the cinema entertainment center (CEC).
Theresa English, Principal, TK Architects
C
inema entertainment centers are deeply rooted in the desire of younger generations to spend time outside the home in social activities. Adding other amenities to a cinema provides guests with multiple options under one roof for spending time
together. There are so many options for what those activities are and these can tailored to the specific market. Here are a few: Bowling Arcade/Redemption Games Duck Pin Racing Sims Laser Tag Ropes Course Climbing wall Darts Axe Throwing Dark Rides Mini-golf Bumper cars—even ones that flip upside down! VR Go-karts Trampolines Outdoor games
4 0
>
1 2 / 23
>
www.cinema-technology.com
This list barely scratches the surface of options out there and of course, always more F&B is important. One of the beautiful aspects of a CEC is the appeal to a broad demographic. They work well for families, teens, young professionals and adults because of the bevy of choices.
CECs quickly become the
entertainment destination in a community with long dwell times leading to increased profit. There are three ways to create a CEC: C onvert an existing cinema to reduce screen count and add new amenities Expand a right sized cinema to become a CEC Build a new purpose designed building
Converting an existing cinema
Build new Let’s start with the easiest: Building new. This gives you the flexibility to right size all the different components. Structure
This approach is a blend of challenges and benefits but is especially appealing
can be located as you need. You can control the amenities you
for over-screened locations. The first question is how many auditoriums are you
include and arrange them in an order that works for your ideal
keeping and how many are you demolishing?
guest experience. Deciding on the ordering may be the hardest part of designing a new facility. For new builds typically we are seeing 6-10 screens including diverse offerings in screen size including VIP and PLFs.
12-20 lanes of bowling, arcade
redemption games and up to 6 other amenities. Don’t forget to include outdoor amenities.
Mechanical, Electrical and
Plumbing Engineering are pretty straight forward. The kitchen is a crucial aspect within the CEC.
based on their market. Armed with that information they can work with the architecture and engineering team to determine the feasibility and where the amenities will fit. BENEFITS OF CONVERTING AN EXISTING CINEMA INCLUDE: Pre-existing roof and walls H igher ceilings providing fewer constraints for the amenities an exhibitor can consider Potentially accelerated construction due to starting from a dried in building Customers already know the location With careful planning, the site can stay open during construction
Right size plus expansion Expanding an existing building can be a great option. If the theatre is blessed with a vacant piece of property adjacent or if the theatre has converted to recliners and no longer needs as much parking these create opportunities for the expansion.
Exhibitors can work with
consultants to help determine what amenities their facilities should include
When thinking about expansion, the guests
CHALLENGES WITH A CONVERSION INCLUDE: Limitations imposed by demising walls, especially if these are precast, icf or concrete rather than columns. Demolition and getting the large equipment into the building to effectively be able to take down the steel from the stadium structure and getting the large pieces out of the building.
should enter and exit through the entertainment area. This
Mezzanine columns—some amenities, like bowling, for example, are
encourages them to come earlier or stay after the movie or
constrained to a certain size. This may necessitate relocating some columns
simply come just to enjoy the new attractions. How are the
and new beams.
two parts connected?
Working through the balance of what floor needs to be demolished and
This takes careful planning and
consideration by the structural engineer.
What are you
punching through? Is there x bracing? Is there a roof step and how does that load transfer if you open up under that step. How does the new massing work with the existing façade? Connecting the roof planes and working through
poured back at a different elevation vs areas where it may be easier to raise the floor to a new level or match to a level and avoid some demolition. Determining if the existing structure can support or needs to be reinforced for any new roof top units.
modifying how the roof drains work is critical with an
Conclusion
expansion. The new structure may require specialty footings
One of the most critical aspects of a conversion project is involving the general
when against the existing building.
When considering
contractor early in the process as an engaged team member. As decisions are being
expansions knowing where the underground utilities are
made about approaches and areas, especially if multiple options are investigated, they
located within the site is important before locating your
can provide insight as to the more cost effective choice for construction. Any of these
expansion. Having to move a sewer line can be costly. Also,
three approaches lead to a new kind of cinema for exhibitors with high ROI and less
with expansions and more disparate uses, if restrooms are
dependence on Hollywood content and release windows.
added, checking to see if there is fall for the new drains is a
destinations to be social and enjoy the escape that movies provides. While news stories
consideration. As architects and engineers we work through
will continue to toll the death of cinemas, (like they have for a hundred years) cinemas
all these questions to help exhibitors navigate through to
will continue to evolve into new spaces where people of all ages enjoy gathering and the
creating a great cinema entertainment center.
art of storytelling.
www.cinema-technology.com
Cinemas become
1 2 / 23
41
F E AT U R E
BEYOND BLOCKBUSTERS:
How cinemas are redefining the entertainment experience Patrick von Sychowski, Digital Marketing & Communications Manager, CinemaNext
Would you go to the cinema to do something other than to watch a film? At a time when streaming services are changing how viewers consume content, some cinemas are rewriting the script on what it means to step into a movie theatre. The Light Cinemas in the UK stands out as a trailblazer in this regard, pioneering an innovative approach that goes beyond traditional film-watching for a fun night out. With bowling alleys, darts, mini golf, karaoke, climbing walls, and an array of other entertainment options, The Light Cinemas is leading a small cinematic revolution. It’s not the only or even the first one to try this, but as blockbuster releases are delayed or postponed, it is demonstrating how cinema can evolve beyond relying on the vagaries of an uncertain film slate.
The Light Cinemas: Elevating the Entertainment Game To understand what is meant by the idea of a cinema offering ‘more than movies’, it is worth visiting one that has gone all-in on the concept. The Light in Redhill, south of London, opened on June 16th this year. It is the 13th venue of the operator and offers six premium screens and an array of 11 activities, as well as several food, drink, and concession areas over the 45,000 square feet (4,180 square metre), two-storey facility. The entertainment venue is located on Redhill’s High Street and forms part of the multi-million-pound regeneration of the town centre being led by the local Reigate & Banstead Borough
(Left) Arcade and (Above) the entrance to the karaoke booth.
www.cinema-technology.com
1 2 / 23
4 3
Council. Speaking to the local Surrey Live newspaper at the opening of the site, the Mayor of the Borough of Reigate and Banstead, Cllr Eddy Humphreys said, “I have no doubt that this will further transform Redhill’s High Street into a vibrant destination that people from across Surrey will want to visit.” It is this ambition that cinema can attract a wide variety of people throughout the week, rather than just film fans on weekends when there is a popular film on release, which is driving The Light and other operators to broaden the entertainment proposition. A recent study by British Film Institute (BFI) and Creative Industries Policy and Evidence Centre found that cinemas deliver ‘significant and positive wider value to society’, equivalent to £600,000 per cinema per year. With more than just films to attract people, that means the figure could easily reach well over £1,000,000 in terms of an annual cash injection into the local economy. The Light Cinemas, with its tagline “More Than Just Movies,” has long had a vision of redefining the cinema landscape.
no Climbing Lite, but the real thing. The mini golf area is compact
This UK-based chain was founded on the idea of turning movie
but makes up for it with ingenuity and clever movie-tie ins for
nights into full-fledged entertainment experiences. The inclusion
each hole. Chatting to the staff they attested to how busy it gets,
of shuffle boards and karaoke rooms alongside traditional movie
particularly on weekends and especially now in the run-up to
screens is slowly changing perceptions about what a trip to the
Christmas. Even on the weekday noon time of the visit there were
cinema entails. Co-Founder of The Light Cinemas, Keith Pullinger,
at least a couple of people playing at almost every attraction.
shared his vision in 2021 ahead of the opening of The Light
Redhill locals are really spoiled for choice here, even before we
Banbury, the second site to feature a separate section with
get to the cinema.
boutique bowling and more, “We see this area as a separate business almost. We want to see this as a real destination for the
A Luxury Cinema Too
town. We saw an opportunity... to create a whole new
All these attractions would be less impressive if the cinema itself
entertainment space. We see this as an offer in its own right.” Co-
was not of the highest standard. No compromises were made
founded in 2007 by Pullinger and John Sullivan, The Light has
here either. As soon as you approach it, you are greeted by a small
always worked closely with local councils and positioned itself as
but lovely touch; a collection of hand-written and beautifully
an ‘anchor’ to attract people, particularly at a time when high
decorated signs of What’s On films. The corridor neatly signposts
street retail is being challenged by changing consumer habits.
each screen. Inside the auditoriums there is a choice of three
Would You Like Popcorn with Your Ten Pins? Approaching The Light Redhill, there is only a small sign sticking
diverse types of seats in the front, middle and back, offering various degrees of reclining, from loungers in the first row to recliners in the back.
out, but the windows have big light displays proclaiming FILM –
With high quality in mind, CinemaNext completed the design
BAR – FOOD over an LCD screen with trailers and posters. Round
and installed the projection and sound in the six brand-new
the corner and the message becomes CLIMB – SWING – THROW.
screens, with two of them being 3D, for a total of 548 seats. On the
It is brought together by The Light’s tagline of MEET + WATCH +
technical side, the install was a combination of NEC Laser
PLAY. Entering the premises, you are greeted, not by a box office
Projectors, MAG Audio amps, speakers
or a popcorn counter, but by a large and welcoming bar with signs
and subs, Harkness Perlux HiWhite and
of Pizza, Burgers, Wines, Cocktail and Beers. No mention of films,
Clarus XC screens, Williams IR HOH and
but the ambiance immediately draws you in. There is stylish and
Volfoni 3D. There are also nice touches in
comfortable seating on either side. Off to the right there is an
terms of auditorium lighting. wThe staff
arcade area, with its flashing lights and sounds enticing visitors.
are equally helpful and enthusiastic,
Beyond it there are pool tables, a generously sized bowling area,
which is another sign of a well-run cinema.
with a kids double bowling lane and small karaoke rooms tucked
Whilst leaving the auditorium a jumble of
away between. On the opposite side there is everything from
toys are visible in a corner – there was a
shuffle boards and darts to axe throwing.
parent and baby screening earlier and
The sign for the upstairs section promises Cinema, Adventure
even the smallest cinema patrons are
Climbs and Action Shots! There is another long bar, this one more
entertained
concessions-focused, with a pick-and-mix opposite and seating
screening, even if they are more likely to
between. The climbing wall is both high and challenging – this is
crawl than climb any walls.
4 4
>
1 2 / 23
>
Ten pin bowling.
www.cinema-technology.com
before
and
after
the
Climbing Wall.
F E AT U R E the industry to move beyond traditional cinema models and offer diversified, revenue-generating experiences that others such as B&B Theatres in the US, The Light in the UK and visionary operators such as Korea’s CJ CGV (a pioneer in its own right in re-thinking what a multiplex – or as they call it ‘Cultureplex’ - can be). Taken together, these initiatives signify a potentially seismic shift in the cinema industry, signalling that cinemas need no
Pioneers Around the World The Light might be perfecting the ‘more than movies’ concept, but
longer just be a place to watch films. They are becoming hubs of entertainment, offering diverse experiences that cater to a wide range of interests.
they themselves would acknowledge that they were not the first
As the industry navigates changing audience expectations,
to pioneer it. It is pointless to argue who was first, but prior to the
cinemas are thus embracing the challenge, bringing a sense of
pandemic, two exhibitors in particular were working actively to
adventure back to movie-going. Whether it’s scaling a climbing
widen the entertainment proposition and revenue potential of
wall, knocking down pins, or catching the latest blockbuster, the
the typical multiplex: Canada’s Cineplex and Australia’s Village
modern cinema as demonstrated by The Light Redhill and its
Cinemas. Both companies are actively diversifying their offerings
brethren across the world is an all-encompassing entertainment
to transform their cinema complexes into all-encompassing
destination. Cinema purists might turn up their nose, but cinema
entertainment destinations.
has survived for 125 years by being a continuously evolving
Village Cinemas, with its ‘50% goal’ strategy, aims to generate over half of total revenue from sources outside Hollywood box
medium. And anyone who doesn’t fancy wall climbing can just go straight to the screening.
office. Adrian Witcombe, Head of Strategy & Innovation for Village
So, the next time you plan a night out, consider the cinema.
Cinemas, emphasised growing the overall offering rather than
Cinemas are not just about the movie—it’s about the entire
abandoning Hollywood dependence. By expanding food and
experience, where the proverbial reel meets the real, and
beverage (F&B) options, introducing Vjunior children’s screens,
entertainment knows no boundaries, scaling new heights (with
adopting 4DX experiences, and investing in event cinema, Village
safety ropes attached).
(Left) Full service restaurant, (Below) concessions offering and entrance to the auditoriums.
set out a strategy to evolve into Village Entertainment, focusing on creating a comprehensive entertainment experience beyond movie screenings. In a similar vein, Cineplex in Canada has sought to cover all aspects of a customer’s night out, moving beyond traditional box office dependence. CEO Ellis Jacob envisions customers spending an entire evening at Cineplex, stating, “We basically want to own your entertainment dollars.” Despite challenges, particularly during Canada’s extended Covid cinema closures, Cineplex’s diversification is paying off, evident in increased annual revenue. By enhancing concessions, developing gaming rooms like the Rec Room concept, partnering with Topgolf for driving range facilities, and teaming up with VRstudios for Virtual Reality (VR) arcades, Cineplex is expanding its entertainment ‘portfolio.’ Combining gaming, dining, and live entertainment with traditional cinema offerings, the Rec Room has been promoting itself as a playground for all ages. Sarah Van Lange, Executive Director of Communications at Cineplex, told Medium as far back as 2017, “first and foremost, we are a film exhibition company and an entertainment destination, but people may not know that we’re also a digital signage company, an eSports company, and one of the largest food service providers in Canada. We’re much more than just movies so it is our diversity that ensures that no two days at Cineplex are ever the same.” These initiatives, driven by a customer-centric approach, have demonstrated the viability of the cinema industry shift towards creating a holistic entertainment experience. Both Village Cinemas and Cineplex serve as pioneers, setting a precedent for
www.cinema-technology.com
1 2 / 23
4 5
WHY
A HIGH-END CINEMA IN A SMALL TOWN...
4 6
>
1 2 / 23
>
www.cinema-technology.com
LIVING ROOM CINEMA
...CAN BE FOR EVERYBODY How the Living Room Cinema works with the community to make everyone feel at home.
Patrick von Sychowski, Marketing & Communications Manager, CinemaNext
T
wo screens is considered ‘ideal,’ but - not
From Hardware to Homeware
to blow my own horn - the one screen I
“Chippy feels like it never fulfilled its potential,” says Claire.
program damn well. Two screens is
“Everyone knows Soho Farmhouse, the Cotswolds, and the
actually a bigger expectation,” says Claire
Bakehouse, which is very Instagram friendly.” But there is an odd
Beswick, co-founder of The Living Room
mix of shops on the high street – with Quality Discount nestling
Cinema (LRC), which opened its second
next to designer plant shops. “Yes, there’s affluence and poverty,
operation - with big expectation - in the town of Chipping
but also a middle ground. We wanted to do something for
Norton (Oxfordshire this summer. The single screen she is
everyone, without losing our identity.”
referring to is the first Living Room cinema in Liphook, which
Plans for LRC ‘Chippy’ began even before LRC Liphook had
opened in April 2022 and has been an immense success since
opened. The result is a delightful two-screen cinema, one with
day one (reviewed in CTM September 2022). It is now joined by a
40 seats (Screen 1 downstairs, screen size: 6m x 2.51m) and a
two-screen sister site. So, what is different in ‘Chippy’?
second with 48 seats (the narrower Screen 2 upstairs, screen size:
The Living Room Cinema pitches itself as “Quality films in
4.81m x 2.6m). Both have loungers at the front, sofas in the back
intimate surroundings. A welcoming home from home, at the
and regular seats between. Rather than a traditional cinema seat
heart of your community,” explains Claire. With boutique
supplier, a contract furniture manufacturer called Derry in
cinemas currently being very much in vogue, both in UK and
Northern Ireland was used. For public areas, regular household
abroad, LRC manages to set itself apart from others by not
furniture that was bought was re-upholstered and made fire-
feeling like an Everyman/Curzon/Tivoli clone, instead having
retardant, to comply with safety regulations.
more of a 1 Hotels vibe. There are plenty of plants everywhere,
The design was made in-house with Claire’s business
books on cinema and furniture that looks like it could be
partner, award-winning film producer Nicole Carmen-Davis,
from a trendy home. But it is the engagement with the
who hails from this part of the country. There is a terrific attention
community that really sets it apart, demonstrating how small
to detail, which does not simply copy other art deco-inspired
upmarket cinema can work in smaller towns and specifically
interior trends. Vintage pieces, such as a mid-century modern
not just catering to an ‘upmarket’ clientele.
side table, were sourced from eBay. The ironmongery is the
www.cinema-technology.com
From left to right: Exterior of LRC Chipping Norton, in-seat tables and inside one of the cinema’s two auditoriums.
1 2 / 23
47
same as the brass on the handles and elsewhere. It has a bar and café that would not look out of place in a trendy London boutique hotel. There is also what is probably the most luxurious disabled toilet in any UK cinema. No less attention was paid to the technology behind the scenes. Projectors are NEC NC1202L with a Dolby IMS3000, suspended from hush boxes in the ceiling. Processors are QSC DCP 300 with one MAG AOH-6800 Amplifier for each screen and MAG Audio speakers/subwoofers. Screens are from Harkness and the TMS by UniqueX. Claire and the team had 11 weeks after taking over the shell of the building, with Sound Solutions doing the kit-out. “When you build a cinema, there are so many companies involved in the fit out at the end and it is crucial that they all gel. It’s a small part of the industry, and you want a team that work well together,” Claire reflects. “I had a very positive experience with all of my fit out specialists in the first cinema and was keen to ‘get the band back together’, so to speak. Jordan [Bedding] and I had previously worked together at Curzon many years ago, and so it really was a no-brainer for me to pick up the phone to CinemaNext once again”. DCM supplies the cinema advertising, and the cinema will get Movie Transit later this year, which is already in place in
farmer Jeremy Clarkson. LRC also designs its own cocktails, such
Liphook. Rosie Mulford, the attentive Marketing and Membership
as the Chippy & The City (aka Cosmopolitan), as well as popular
Executive at LRC, also highlights the good relationship with POS
classics such as Espresso Martinis and Old Fashioned. There are
and ticketing partner Admit One. “We have fast become one of
movie-themed cocktails, such as Top Gun: Maverick’s ‘Maverick’
their favourite clients,” Rosie says. “Demanding, sure, but we
and ‘Iceman,’ the latter proving so popular it stayed on the menu
helped them develop their product. At first, we were the
even after the film. For Halloween there was a red Rocky Horror
annoying women, but now we are not so much the problem
Picture Show cocktail. There was a popular Barbitini and Pink
child. They have developed new bits to have for us.” The staff are
Pina Colada, as well as pink Mocktails for teenage Barbie fans.
friendly and efficient in getting the right order to patrons in both
Claire reveals that the cinema sold more bottles than glasses of
the lobby and the auditoriums.
rosé wine for this summer’s big hit, but as far as film-and-food
Local Coffee, JC IPA, and Rose by the Bottle As with all boutique cinemas there is a big focus on F&B and
pairings, she was not a fan herself of last summer’s Elvis hotdog. But pizzas are planned for when the LRC Chipping Norton expands its food offerings.
given the ‘competition’ on the High Street, there is an
Community, community, community
understandable need to excel in what it must serve up for all the
In a sign of how quickly LRC put itself on the Chipping Norton
senses of the patrons. It is also here that the community
map, some local pubs already offer pre-theatre/cinema menus.
engagement starts to shine through, not least as the cinema has
Far from seeing this as F&B competition, Claire says “we want to
rapidly become a destination, not just for films but also for those
work with them.” The LRC team could have taken the easy route
who just want a good capuccino.
of leaning into the ‘Chipping Norton set’ of celebrities, but “that’s
“Coffee trade is growing,” Claire acknowledges. “We are
not who we are,” Claire affirms. “We’ve created something for the
working with Stow Coffee, a local coffee supplier that roasts and
community, not for those with second homes in Chipping
grinds its own coffee, run by a
Norton.” They realised that the town
husband-and-wife team.” This is just
had lots of people who had moved
one example of the local business
out of London and missed not having
community engagement. “We work
the ‘London experience,’ in terms of
with local suppliers whenever we
things they can do. “But there are lots
can,” says Claire.” Yes, we have Jimmy’s
of locals who don’t go to the South of
Popcorn, but we try to support local.”
France. We wanted to provide a great
This includes a famous local celebrity.
experience to the local community,”
Selling as well as coffee is the
Claire says with a passion that is
Hawkstone IPA beer and cider, from
clearly born out of the experience
the farm of local petrol-head-turned-
with her first cinema.
4 8
>
1 2 / 23
>
www.cinema-technology.com
From above to right: LRCs custom designed sofas and concession offers including traditional popcorn and an upmarket bar serving wine and cocktails.
LIVING ROOM CINEMA
“We have the regulars in Liphook,” sha says. “We realised
shares that some of the biggest draws have been films without
early on that this is why we do it. There is a guy who comes in
a famous name, such as the producer and co-director of the
every single day and has a latte. We calculated that he spent over
“Lancaster” documentary. “Conversation between audiences is
£1,000 per year on coffee. He was a cinema member who
great but to have a real connection with the subject [of the film]
sponsored a seat in memory of his late wife.” When the year was
means you don’t have people coming off the street to watch
up, and he still had not used all his free tickets - members get
them, but ones genuinely interested in the subject,” explains
four free tickets and a £1.25 discount after that – Claire urged him
Claire. “We had someone whose grandfather was a Lancaster
to use it to see what was on before they expired. The film playing
bomber pilot. It’s like a self-help group.”
was Magic Mike 2. “He came out after 20 minutes, saying “That
And while two screens compared to one means more
was the worst film I ever saw.” But he still comes back for coffee,
flexibility in programming, Claire also notes that it also involves
and they have gifted him a new free membership.
twice as much cleaning.
Then there is a lady who has a severely autistic, non-verbal
Who are LRC Chipping Norton?
LRC Chipping Norton is situated in a seven-storey
son. She comes to screenings most weekends, not for the special
The Next Living Room Cinema(s)
autistic-friendly screening, but instead sees the same movie
The Living Room Cinema is clearly a success by having struck a
with her son. She had been gifted a premium membership
chord with the local communities in which the first two are
anonymously by a friend, Claire revealed. “She runs her own
deeply embedded. So is there a formula and how far can it be
business. She’s seen Mission: Impossible four times. ‘This is the
replicated, by them or others. “The aim is not to compete with
only time I get to sit down and not think about my life.” The man
Everyman,” says Claire, but to target “towns with no purpose-
and the woman were just two of the locals invited to the first
built cinema.” LRC is looking at towns, particularly market towns,
birthday celebration of LRC Liphook, rather than just the
that do not have a cinema within a 20-minute drive. With the
cinema’s shareholders.
Odeon Banbury and Oxford Magdalene Street, the nearest
around 7,000, located in the
Film programming at LRC ‘Chippy’ skews mainstream,
multiplexes are Cineworld Witney and The Light Banbury.
“while we find our feet,” and as there is “lots of training of
Claire’s business partner Nicole, who is a local, felt the area could
audiences to be done.” But there are initiatives such as Living
handle the ticket price, which is £16.50 for an adult.
former hardware store, with eleven serviced apartments on top, located along the town’s high street. Chipping Norton itself is a market town with a population of
picturesque Cotswold Hills, about half-way
Room Presents, a strand of curated films once every other
While it would take someone with the passion, commitment
week. This has included The Last Rider by Dogwood (“near full”
and vision of Mses. Beswick and Carmen-Davis, there is clearly a
screening), Mark Cousin’s Alfred Hitchcock documentary and
market for well-run cinemas in smaller towns, strongly anchored
Squaring the Circle. LRC is also trying to incorporate films such
in the community. LRC ‘Chippy’ even attracted a new General
as the Korean drama Past Lives into their mainstream
Manager, who joined from Vue Croydon, “who wanted a change
(frequented by
programming. There is the Little Living Room £5 kids’ club
in pace of life.” We could see another LRC at some point, but it
Margo Robbie) and
screening, which has been showing Disney 100th anniversary
will be “at least a year until the next one,” sighs Rosie Mulford, “to
titles. There is the ‘In Conversation With’ series, with talent
preserve our sanity.” Launching a new cinema at the height of
connected with a particular film. While this has included
#Barbeinheimer clearly brings both rewards and challenges.
famous names such as Julian Fellowes and Asif Kapadia, Claire
Time to order a Barbitini.
www.cinema-technology.com
between Oxford and StratfordUpon-Avon. It is famous for the Soho Farmhouse
celebrity residents such as the Beckhams and former PM David Cameron.
1 2 / 23
49
Sandie asks Hakan Askar for his view of the Turkish market, the most recent innovations within this Territory, and they talk about how cutting-edge technologies and forward-thinking cinemas in this region have maximised the customer experience, paving the way for remarkable success.
A SPOTLIGHT ON... Fact File
CineWam, Istanbul
Hakan Askar, Director of Operations,
Hakan Askar has a wealth of knowledge in the cinema industry and, more importantly, its technology. Hakan is currently Director of Operations at CineWam in Istanbul, Turkey. CineWam is committed to offering the best content selection in the best environment with the best technology available. Prior to
I
holding this position, Hakan was Director of Digital Cinema Systems at CGV and Mars Cinema Group. He was instrumental in overseeing the deployment of 530
n the ever-evolving world of cinema, staying ahead of the curve is crucial for not only for survival, but for thriving. The cinema
industry
has
witnessed
remarkable transformations in recent years, with technological advancements
redefining the customer experience.
digital projectors and servers during the conversion from 35mm to
5 0
Embracing Gold Class Luxury “Cinema enthusiasts in this territory no longer view movie-
Digital.
going as “just another outing”; it’s a premium experience. Gold
>
>
1 2 / 23
www.cinema-technology.com
Class screens, an emerging trend in the local cinemas, epitomise
Luxury and quality redefined inside Turkish cinemas.
this luxurious transformation. These screens are equipped with state-of-the-art sound and projection systems, plush recliners, and gourmet dining options. Venues that have embraced Gold Class (Paribu Cineverse for example) have seen a surge in customer loyalty. Patrons are willing to pay a premium for the ultimate cinematic indulgence. Chains adopting Gold Class technology, have achieved remarkable success by providing an exceptional, upscale movie-going experience,” explains Hakan. The allure of reclining in plush leather seats and savouring delectable meals while enjoying a blockbuster film has elevated the cinema experience to new heights. Venues have witnessed not only an increase in attendance, but also
IMAX and Dolby Cinema, have been met with enthusiasm by
enhanced customer satisfaction and loyalty.
audiences seeking unparalleled visual and audio quality.
Premium Large Format (PLF) The Bigger, the Better
Hakans explains that “theaters that incorporate IMAX technology, have seen record-breaking box office results as they set new standards in cinematic immersion. The colossal
In a world where home entertainment systems are increasingly
screens, immersive sound systems, and razor-sharp visuals of
sophisticated, cinema chains are responding with larger-than-
IMAX have proved to be a game-changer for them. It’s not just
life experiences. Premium Large Format (PLF) screens, such as
about watching a movie it’s about experiencing it on a grand
www.cinema-technology.com
1 2 / 23
51
A SPOTLIGHT ON...
scale. The adoption of PLF technology has not only attracted a
attention
diverse audience but also significantly increased box office
preferences and staying at the forefront
revenues.”
of technological advancements, they
The Rise of Premium Service Formats (PSF)
have
set
to
new
shifting
industry
consumer
standards.
“Cinema, in its essence, is a dynamic industry. To thrive, cinemas must evolve
The concept of premium service formats (PSF) encompasses a
with the times. Those that recognise this
range of innovative approaches aimed at delivering exceptional
and invest in technologies and services
service. Their success story highlights how PSF can be a game-
that enhance the customer experience
changer. Some are redefining the movie-going experience by
are the ones that stand out. They are
focusing on the finer details. From offering valet parking and
prime examples of cinemas that have embraced change,
personalised concierge services to a menu of gourmet cuisine,
adapted to new technologies, and reaped the rewards of their
they’ve made every visit a luxurious escape. By providing
innovation. By offering a Gold Class experience, adopting
impeccable customer service and introducing premium perks,
Premium Large Format screens, and providing Premium Service
theaters have created an environment where patrons not only
Formats, they have become pioneers in our region’s cinema
watch a movie but also enjoy an unforgettable experience. In
industry, setting new benchmarks for excellence,” Hakan
doing so, they have cultivated a loyal customer base that
concludes.
appreciates attention to detail and the personalised service. The numbers speak for themselves - increased customer
Conclusion
retention, higher per capita spending, and packed houses are a
As the cinema industry continues to evolve, it is clear that
testament to the success of these.
innovation and technology are driving forces behind the
Anticipating Changes & The Success That Follows
maximisation of the customer experience. The success stories of cinemas prove that embracing Gold Class, PLF, and PSF can create a win-win situation for both businesses and movie-goers.
The key to success in the cinema industry is to anticipate and
It’s not just about watching a film or what’s on the screen, it’s
adapt to changes proactively. Cinemas that have successfully
about delivering an unforgettable experience. With visionary
incorporated these latest technologies and innovations have
leaders and investments in cutting-edge technologies, the
reaped the rewards in the form of increased attendance,
cinema industry is poised for an exciting future, where every
stronger customer loyalty, and thriving revenues. By paying
visit promises an extraordinary adventure.
52
>
1 2 / 23
>
Hakan Askar, Director of Operations at Cinewam.
www.cinema-technology.com
More info
www. cinewam.com
BEYOND THE SCREEN:
AMPLIFYING THE CINEMA 5 4
>
1 2 / 23
>
www.cinema-technology.com
F E AT U R E
A look at how cinema can create unique experiences for movie-goers that generate incremental revenue and help amplify culture at a local, national and international level.
Jenny Sidorova, Head of Marketing, DX dx.tech
arly in October, I had the pleasure of attending UNIC’s Cinema Days in Brussels. But I have to be honest, the highlight of the two days was the UNIC Women’s Cinema Leadership Programme session. I’m one of the lucky few people that got to participate in the program this year as a mentor. It’s been a humbling and rewarding experience, especially this late in my career. Yes, late. I’ll be turning 40 in January, which means I’ve been in the workforce for close to 15 years and this is my first official opportunity to be part of a program that emphasizes supporting other women. It’s quite ironic as neither the cinema industry nor the technology industry are particularly advanced when it comes to gender equality in terms of representation, yet here I am, new to both the cinema and technology industries, and it’s been an experience of many firsts, including the ability to officially support other women. I couldn’t be more grateful to Laure Galtier and the entire UNIC team for giving me the opportunity. The two days in Brussels were kicked off with an extended in-person meeting as part of this incredible program, and it really set the tone for the next two days. The inspiring Edna Epelbaum who was the special guest for the Women’s Cinema Leadership meeting said “revenue generation and amplification of culture, that’s the cinema industry.” I frantically wrote that down and knew I would quote her many times, as it’s just that. If we take a double-click out of the cinema industry and ask ourselves (and me as a marketer) what drives revenue generation and amplification of culture today, in 2023? The answer seems all too obviously, experience!
Amplifying Culture Let’s take it back to the cinema industry though. Experience and that which cinemas can provide to their audiences indeed generates revenue for cities, municipalities and communities. Those experiences have the power to amplify culture in ways few industries can: through messages, emotions, political viewpoints and even a collective experience that is shared. We all know the power of a story and the message behind it as we’ve seen with some of the world’s greatest films. And we all know the power of experiencing strong emotion with a room full of strangers or sitting next to our closest family or friends. So if experiences can generate revenue and amplify culture today, then cinema is perfectly positioned to ride the wave of that trend. And many cinemas have already caught on. Some of my favourite examples during the UNIC Cinema Days’ panels and presentations included Laura Fumagalli from Arcadia Cinema sharing their Cinema & Science series that was launched a little
EXPERIENCE...
over six months before the release of Oppenheimer. I love this personalised example that shows that cinemas have the power to amplify studio marketing through their own creative and
www.cinema-technology.com
1 2 / 23
5 5
more experiential initiatives. This series became so popular that it even started touring scientific festivals in Italy, demonstrating perfectly how cinema and other industries can seamlessly fit together when executed with intelligence, relevance, and a target audience in mind. Laura also shared the fantastic example of the Ministry of Culture in Italy jumping in to support cinema operators due to Italy’s cinema market being down 50% compared to pre-pandemic years. The Ministry of Culture
€20 Million
Invested by The Ministry of Culture to bring audiences back to the cinema
invested €20 Million to bring audiences back to the cinema and
+56.4%
fight the summer “apathy”. This included investment in promoting cinema-going, but also partially funding cinema tickets. The terms of the offer in the campaign: “between June
In the first six months of 2023 admissions were 31 million and 600 thousand - up a healthy +56.4% when compared to the first six months of 2022
16-September 16, admits for Italian and European films will be reduced by about half to €3.50 ($3.85). The difference will be covered by the ministry.” Cinetel data on first results: “In the first six months of 2023 admissions were 31.6 million (+56.4% in the
32 16
first six months of 2022). And in terms of the number of admissions, we are 16 weeks ahead of 2022: achieved already in the penultimate week of June versus what had been achieved from January to the beginning of October 2022 (source: MIA Mercato Internazionale Audiovisivo, Italy).” Laura recapped that this meant 32% growth. It’s interesting to see how marketing and special offers can reduce summer “apathy”. A national campaign can be the perfect context to experiment with cinema marketing tactics & learn from data on both a national and individual level for cinema operators. At DX,
€3.50 Admits for Italian and European films will be reduced by about half to €3.50 according to the ‘June 16 September 16’ campaign.
In terms of the number of admissions, we are 16 weeks ahead of 2022 at the time of writing.
Etimated percentasge of growth from 2022 to 2023 according to Laura Galtier, speaking at UNIC Women’s Cinema Leadership Programme session.
this gives us great food for thought for our data dashboards. It would be most convenient for cinemas to be able to filter their cinema operations tool to identify which initiatives are cinema
Disney’s Wish by Chris Buck & Fawn Veerasunthorn
led versus national led (and why not versus distributor funded). I think we can agree that Italy took experiential cinema to the
A more mainstream movie and likely well-budgeted by the studio in terms of
next level with both initiatives described above.
marketing efforts, yet a lot of people at each round table picked ‘Wish’. I loved this
Creating Experiences
decent budget and still amplify the experience through their own tactics. A great
Part of what I found really unique during the 2 days in Brussels was that half of the conference was top down, presenters and panelists on stage talking to the audience. But half was also bottom up with workshops and brainstorming sessions that
choice because it shows the ambition behind exhibitors’ desire to take a film with a example of how distributors and exhibitors can benefit from partnering together, planning ahead of time, and driving the largest possible audience. A few ideas that were shared include: Involve influencers and focus on
release. Of course this idea would
premium screenings of the title,
have had to be planned up front - but
allowing influencers to offer a wish to
we were brainstorming here.
were communicated from the audience working together. I had the privilege of leading one of the several marketing
a young kid and also allow that kid to
workshops and to introduce a session. I presented a few marketing trends in my presentation ‘From AI to Fandoms,
watch the film with his or her family in
Stick luminescent stars glowing in the
a unique atmosphere.
dark in places that are highly visited
Navigating the Future of Cinema Marketing Through Trends and
by
families,
such
as
schools,
Insights’. One of the trends I focused on was how immersive
Disney could pre-release parts of the
playgrounds etc. But also all around
experiences can create multiple touchpoints for customers
film’s
and inside your cinema.
AND can be translated to promote almost any film. It doesn’t
soundtrack.
Organize
a
competition on social channels to generated
Lots of potential ideas around ‘Make
content) and create hype around the
A Wish’ trees and related local
release. Use the UGC on cinema-
traditions. Focusing on children from
owned channels, make videos of best
low income families, allowing other
it on a bigger scale. A few easy ideas to implement include a
submissions that can be shown before
audience members to grant wishes.
movie-themed photowall or booth (think Barbie), a themed
screenings during the first week of
Place a wish tree inside your cinema,
have to be big scale or complex. It’s about thinking of ways the audience can become more involved in their cinema visit, how they share their enjoyment of the film and how they experience
menu for those serving food, costume-screening with prizes
5 6
>
1 2 / 23
>
www.cinema-technology.com
generate
UGC
(user
F E AT U R E
for best dressed, a Spotify playlist of movie-music created by
Searchlight Picture’s Poor Things by Yorgos Lanthimos
the cinema staff that audiences can enjoy at home, a quiz-night related to a movie, and so on. They don’t have to be big budget but require thinking ahead about how you can offer your audience an experience they can take with them beyond the
An interesting choice that several people focused on. I
film, and of course, share on social media! Symra Kino in
found this interesting because it’s a perfect example of a
Norway, for instance, created a Spy Quiz Game to celebrate the
film that may need a little boost of creativity from
release of Norwegian film ‘Nabospionen’, a kids animated
cinemas to make this one a success. A less mainstream
movie. Children could collect a printed sheet with clues which
film will almost certainly have less of a marketing plan
once completed could enable them to win free tickets to the
from the Studio, and thus create a window of opportunity
film. The same cinema also had staff dress up as Mario and
for cinemas to fill the gap by rolling up their sleeves and letting their teams get creative and get involved in
Luigi for families to pose with for the release of the Super Mario
amplifying the experience for this film. A few ideas that
Brothers film.
were generated include the following:
Industry Ideation
Organize a competition around the film using AR filters,
I’d like to wrap up highlighting the treasure I left for home from
where you can blend animal traits/masks with your
Brussels with, and that is all the brilliant ideas generated by
human features. Prizes could include season pass for
some of the attendees of the two days’ conference during the
the cinema.
Marketing Workshop.
Poor Things and Barbie double screenings, to tap into
The brief for the round tables was simple: 1. Pick an
similar audience and fan bases, with related pre and
upcoming film, 2. Think about the target audience. 3. Share
post-show activities and events.
outside of the box ideas that can enhance the cinema experience, inspired by the marketing trends I presented. The
Tap into a broad range of key audience groups, from
amount of ideas stimulated was impressive. It was like the gates
women/feminist themes to fantasy and book lovers,
just flew open. The ideas were mostly organised by film, so I’ll
classic film fans, etc.
leave you with two. Create a make-up competition on social media. Winners could be invited to take part in an event related to the film premiere, or focusing on make-up artists. A whole unique atmosphere could be created around this, such as organizing an event outside of a cinema, inside a allowing kids to write or draw their
staff, even singers coming up on stage
wishes, and work with local companies
to recreate parts of the film or other
to make some of these come true.
Disney titles.
Collaborate with and nominate a local
Organize
competitions
about this experience is how ready to jump in and
charity. Organise competitions with a
around the film with kids, to be done
generate ideas everyone was, no matter their role in the
gamification aspect with potential to
on social media. Kids could dress up as
industry. I think this shows that if we partner as an
win various prizes - with the same
their favorite Disney character to show
industry, our collective creativity can make cinema more
finality to grant a wish to someone
their drawings.
experiential which in turn will generate revenue and
ghost train. As you can see from the above, there were a lot of ideas, some more expensive than others. What I loved most
who needs it more, making a wish come true. Create a Spotify playlist with songs from Disney movies, create awareness around it and target parents to grow family admissions. Organize a pajama party with wine and local food (to get the older Disney fan base). Create fun pre-show events, with dressed-up audience members and
painting
amplify culture.
U K C A
V I E W
A Year In Review Phil Clapp, CEO, UK Cinema Association
U
nderlying confidence in the cinema
kind and almost certainly the biggest such promotion anywhere
business was demonstrated by the
in the world. At the same time the industry delivered the second
audience response to a series of
UK National Cinema Day (in recent times), taking place on
‘blockbuster’ titles throughout 2023. Yet
Saturday 2 September, with the overwhelming majority of
against undoubted high-points, there
cinemas offering tickets to see any film for just £3. The event once
was a clear absence of the smaller and mid-range titles which
again provided a national ‘moment’, with over 1.56 million
would ordinarily draw in more diverse audiences and which are
admissions, accounting for almost £5.3 million at the box office.
in normal time vital in filling the gaps and help with audience
Away from its involvement in marketing and audience
development, engagement and encouraging the cinema-going
development efforts, the Association has continued its core
habit. Matters have of course not been helped by the strike in
functions around advocacy and lobbying, as well as championing
the US, which although now resolved was sufficiently long-
the big screen experience. The organisation has also progressed
running to have both an immediate and medium-term impact
several key projects. Amongst these are:
on the supply of films. Issues around the ‘cost of living’ crisis have
The Technology Challenge Fund, launched in 2018 was
added to current pressures, directly in terms of the costs of
designed to find a way of delivering closed captions to
cinema operation and also through the ongoing squeeze on
audiences in cinemas on a personal device. After the significant
disposable income, impacting on the ability of many cinema-
impacts of COVID, work on this strand, which centres on a
goers to return to the big screen as frequently as they would like.
glasses-based solution developed by the not-for-profit organisation Built for Good Technology, has accelerated
Demonstrating Value
significantly in the last year, and it’s hoped the solution will be
In the face of these challenges, the UK cinema sector has had to
ready to roll out in early 2024; and
work hard to continue to be seen as attractive and competitive
a follow-up to the Association’s annual spring conference,
compared to other out-of-home activities. While some of the
which focussed on the environmental impact of cinemas and
increased costs have inevitably had to be passed onto the
the wider sector. Such was the engagement of members with
consumer, with an average ticket price of around £7.50, the
the subject, the Association is now working with the Zero
sector can still proclaim itself as offering one of the most affordable cultural activities available. But value is not only of course considered in relation to cost
More info
but also experience, and here too the sector has attempted to Cross-industry marketing group Cinema First, has in the last
‘Road Map to Net Zero’ for cinemas. Having kicked off in September, it is currently hoped that the provisional ‘Road Map’ will be launched at the Association’s conference next March.
be proactive in improving the cinema-going experience. month confirmed a five year extension to its partnership with
Carbon Forum and a cross-section of members to flesh out a
Whatever the immediate fortunes of the sector, there is
www.cinemauk. org.uk.
no lack of confidence in the strength of the underlying business model, nor indeed any lack of willingness on the
Compare the Market around their Meerkat Movies 2 for 1 cinema
part of the Association to continue working and fighting on
ticket promotion, now the longest running ever UK offer of its
behalf of its members.
5 8
>
1 2 / 23
>
www.cinema-technology.com
C T C U P DAT E
By Your Side Richard Mitchell, President, Cinema Technology Community (CTC) AS we look back on a highly successful 2023 with pride, we also look ahead to an exciting 2024. The CTC leadership team has over the past twelve months continued to support the industry through its recovery offering practical and impartial technology and business guidance to our global community which is now just shy of 900 members across
(Left and Right) supporting Film & Kino at the recent Den Norske Kino konferansen in Fredrikstad, Norway.
direction of travel for CTC and how best we can continue to support the global industry. And that support culminated in a unique partnership with our friends and colleagues at Film & Kino, the Norwegian Cinema Association, which saw CTC produce more than three hours of content at their recent four-day conference in Fredrikstad.
more than 85 countries.
Whilst cinema has a bright future, we believe that the focus must
During the past year, we have continued our focus on making
remain
on
providing
high-quality
movie-going
knowledge sharing accessible to all with our revolutionary no-
experiences, from the lobby to the auditorium and beyond. In
cost membership option that has enabled professionals from
particular, the CTC team takes presentation quality seriously
around the world to engage with our content without any
and we recently completed a set of room test materials
economic barriers in place. This year, we have sought to provide
(available in 2-channel, 5.1 and Atmos),
guidance through white papers including our detailed look at the ‘Economic Benefits of Screen Technology’, recently created a
designed ostensibly for Event Cinema
Join our cause
broadcasters
to
ensure
quality
short best practice guide to decommissioning legacy cinema
Behind
we
presentations but also available as a 5.1
servers, produced a second series of our extremely popular ‘Tech
do at the Cinema Technology
DCP for exhibitors to use on a daily basis.
Talks’ - our short seminar on-demand series, produced multiple
Community is a passion for
Looking to 2024, CTC will turn its
episodes of our incredibly popular ‘In The Pub’ podcast featuring
ensuring that moviegoers have
focus to skills development with the
some fascinating guest insights and of course this very
the
reintroduction of our technical training
publication.
possible.
everything
best
cinema
that
experience
courses. Whilst traditionally delivered
We continued to bring our community together through our
If you share that ambition,
in the UK, the team are gearing up to
annual networking event at Barcelona in June, an occasion which
please join our community today
take these overseas to support local
helped us gain valuable feedback from colleagues on the
by heading over to our site:
markets. In recognising the global reach
cinema-technology.com
of our community, the CTC team is also looking at localising key deliverables to
CTC EXECUTIVE TEAM Richard Mitchell (President), Graham Lodge (Vice President), Joseph Boutros, Mike Bradbury, Sandie Caffelle, Chris Connett, Mark Kendall, Peter Knight, Sarah Lewthwaite, Adam MacDonald, Saul Mahoney, Andre Mort, Markus Overath, David Pope, Toni Purvis, Ulf Qvicklund, Simon Tandy, Patrick von Sychowski, Kristina Warner, Paul Willmott
CTC ADVISORY COUNCIL Tom Bert (Barco), Mark Christiansen (Paramount Pictures), Brian Claypool (Christie Digital), John Dowsland, Theresa English (TK Architects), Ruth Hinton (Vue International), Mark de Quervain (Showtime Analytics), Jan Rasmussen (Nordisk Film), Dominic Simmons (BFI), Alice Tentori (Digima), Julia Vinokurova (RealD)
enable these to benefit the widest possible audience. 2024 promises to be an exciting year, you can guarantee CTC will be working tirelessly
to
support
the
industry
through the next challenges on the path to full recovery. www.cinematech.today
1 2 / 23
59
I M I S
V I E W
Looking Forward to 2024 David Pope President, IMIS (International Moving Image Society)
S
eason’s
warmest
have a tremendously powerful members section where our
regards to all CT magazine readers,
Greetings
members can exchange information and contribute to our
CTC
wealth of knowledge from the past 92 years of the society’s
members
and
and
IMIS/BKSTS
members.
existence.
It’s that time of year when we
reflect on the months past and wonder where did all that
A Successful 2023
time go? What did we do, what did we achieve, what are we
As regards to what we have been doing with all that time,
going to do for the coming year?
far too many things to mention here but suffice to say, our
Starting from the latter question. We love this
small team of volunteers have been hard at work. Attending
collaboration with CTC and are proud to contribute to the
events at Pinewood, networking and making great
continuing print publication of this superb magazine. We
connections for collaborating on future events. IMIS
look forward to working closer with CTC over the coming
members
months and hopefully organising some joint networking
Widescreen Weekend in October. Theo Gluck – a long
and training events together.
standing IMIS member and former Director of Library
were
again
in
attendance
at
Bradford’s
Restoration and Preservation at Disney in Burbank,
Looking Ahead
introduced the fabulously restored “The Lady and The
Our plans for 2024 are to re-engage with our membership
Tramp” to the festival audience. Film industry couple Dave
by organising regular networking events around the UK.
and Carin-Anne Strohmaier also attended. Dave has led the
Leveraging our close working relationship with Pinewood
digital restoration of the full back catalogue of the 3 strip
Studios, we also plan to broadcast global streaming events from Pinewood in collaboration with some of our high-tech neighbours on the lot.
analogue Cinerama films of the 1950s and 1960s, the last in
More info
collaboration with Warner Brothers. Carin-Anne has had an extensive career in post-production having worked on a number of Robert Zemeckis movies. The couple have
Stable Foundations Regarding our achievements over the past year, we have kept you informed of our progress in newsletters, but it is worth underlining some of these again as we look towards
extended generous hospitality to IMIS members who have
www.moving image society.net
visited Hollywood over the years. IMIS was delighted to return such hospitality by organising a visit to Pinewood Studios. We showed them around the studio, including
relaunching the society and restarting membership
meetings with Ruhan Loterring and a visit to the Kodak film
subscriptions. One of our main objectives for 2023 was to
processing facility, and we also met up with Jens
reduce the running costs of the society so that we are in a
Christensen, Head of Post-production at Pinewood.
good place to invest our members’ subscriptions to give the
The board of directors at IMIS extend our sincere best
best return. Part of this was a complete rebuild of our
wishes to all for the year ahead, we hope it is a happy,
website and a great byproduct of that process is we now
profitable, and healthy one for all. www.cinema-technology.com
1 2 / 23
61
U N I C
V I E W
Cinema Days 2023 Sonia Ragone Industry Relations and Research Manager and Kamil Jarończyk Communications and Policy Assistant
O
n 19 and 20 October UNIC was delighted to welcome to Brussels nearly 180 cinema professionals for its yearly Cinema Days. The two-day event brings together experts from all over Europe to network and provide
insights on a wide range of topics through panel discussions, quickfire sessions and workshops. The UNIC Cinema Days opening session featured Laura Fumagalli from Arcadia Cinemas in Italy and Gregory Theile from Kinopolis in Germany. Both shared their optimism after the summer results with the “Barbenheimer” phenomenon and successful national cinema-going campaigns like Cinema Revolution in Italy and Kinofest in Germany. In order to keep the momentum, both exhibitors hoped for a steady flow of releases for 2024 and stressed the importance of innovation in enhancing the cinema-going experience. The following panel, hosting key European operators and distributors, offered insights on the shifting landscape of the cinema exhibition industry and identified strategies to ensure that cinemas
UNIC Cinema Days
remain an attractive and viable investment in this evolving market.
deaf or hard-of-hearing audiences. Afterwards, an open discussion between operators, integrators and manufacturers investigated the issue of ageing equipment and potential incompatibility and security issues. The technology workshops focused on a variety of topics from recruiting, training and retaining technical staff, to cyber-security
Workshops
issues, premium cinema, event cinema delivery, HDR standards and
Key topics of the quickfire sessions and the marketing and technology
sustainability & energy efficiency.
workshops of this edition included accessibility, sustainability, marketing strategies and initiatives, ranging from national cinema days
Diversification
to reward programmes, social media campaigns and audience analytics.
Among the topics covered in the marketing workshops one could
In the technology lab UNIC presented the main findings of the
see an emerging trend of cinemas becoming “more than just a
survey on training for technical staff that was launched last summer
cinema.” Cinemas across Europe are focusing more and more on
addressing all European exhibitors. Over 130 replies from 20 countries
diversifying their offer and services to maximise attendance,
were collected, highlighting that the main needs were related to
targeting different demographics than just the traditional cinema
training courses and materials in local languages, a high-level training
audience or encouraging existing visitors to remain in the cinema
course for technical staff led by cinema technology associations or
space after screenings. Of those cinemas attempting to expand their
national associations and the opportunity to have on-site intensive
offering, we can see more investing in concepts such as dine-in
sessions by experienced trainers. The attendees also had the
auditoriums,
opportunity to test “WatchWord closed captions” which are AR
entertainment centres with arcades, mini golf, bowling, axe throwing
glasses developed by the Built for Good Technology company for
or laser tag. Examples of such venues are common in the US with
62
>
1 2 / 23
>
www.cinema-technology.com
in-venue
restaurants,
cafés,
book
shops
and
Santikos and Cinergy cinemas, but are growing in Europe as well,
concert phenomenon in the US and in Europe as well as the much
for example the Cinelandia group in Italy, which renovated some
anticipated Beyoncé concert to be released in December. Events
of its multiplexes to convert them into family entertainment
around music album releases, live opera concerts or pop culture
centres. What became clear is that cinemas, now more than ever,
documentaries can surely attract audience groups that wouldn’t
have to be innovative and widen their contentand services.
necessarily be regular cinemagoers.
Diversifying the offer also means bringing new and varied
There are also strategies to create anticipation and excitement
film content to the big screen, especially in periods with fewer
around film releases. These include a themed decoration of the cinema
strong releases, in order to curate cinema programming with
spaces or foyer to invite visitors to immerse themselves in the film
dedicated film
cycles and activities to cater to all audience
universe, create interactive experiences where audiences could
groups. This can translate into children screenings with birthday
participate in contests or challenges inside the cinema for The Hunger
party rooms, parents & toddlers screenings, football matches or
Games: The Ballad of Songbirds & Snakes or Napoleon for example, or
sport events, esports - playing and watching, special events for
attend painting sessions for Wish or chocolate workshops for Wonka.
Oscar nights or national award ceremonies, cycles targeting
A report of the UNIC Cinema Days can be found on our website.
specific demographics like autism-friendly screenings or
Cinemas are continuously experimenting with new concepts
matinées for seniors with coffee and cake, to name but a few.
and innovative experiences to attract new audiences. A deep dive
Private hires are also an option for cinemas to maximise
into cinema innovation will be available with the upcoming UNIC
attendance, while meeting the needs of specific target groups,
Innovation Brochure, which will be published in February 2024. In the
for example professional conferences or university lectures,
brochure you will find many great examples of innovation in
influencer-hosted events, juke-box screenings (visitors choosing
technology and cinema spaces, in audience engagement and in
their own film in advance and promoting the screenings among
content from all across Europe.
their friends). Dedicated on-demand cinema screenings are also
The next UNIC event is the Retail & Circular Economy meeting
growing in popularity, with visitors being able to choose what to
which will take place in March 2024 at Apollo Cinemas in Tallinn,
watch, when and with whom, as well as being in charge of the
Estonia. It will be a great opportunity to investigate new concepts of
room settings (light, temperature, sound). Music content can also
retail offerings in cinema spaces and sustainability initiatives from
drive cinema admissions as clearly proven by the Taylor Swift
European exhibitors.
www.cinema-technology.com
More info
www. unic-cinemas. org.
1 2 / 2 2
6 3
I C T A
V I E W
Looking Ahead to 2024 Frank Tees, ICTA President
I
CTA
recognizes
between
that
cinema
the
synergy
exhibition
technology but also ensures that the industry continues to
and
benefit from the fresh perspectives and innovative ideas of
technology providers is the driving force behind
innovations
that
new talent.
attract
The ICTA is in the process of launching a mentorship
moviegoers and creates an increasingly
program to encourage and support employment in the cinema
compelling experience. Together, we work tirelessly to ensure
industry. By mentoring and educating the next generation of
that the marvel of cinema remains a captivating and
professionals, we cultivate a pool of experts who can drive
unforgettable journey.
forward the integration of technology in the cinema exhibition industry. More information on the ICTA mentorship program
Education Initiatives
will be announced at CinemaCon 2024.
One key initiative for ICTA is education and training. The ICTA crash-course in cinema technology that we call “The
2024 Los Angeles Seminar Series
Fundamentals of Presentation Technology” continues to
Our annual networking and technical forum, the Los Angeles
receive rave reviews.
Over the past six months, we’ve
Seminar Series (LASS), is just around the corner, beginning
delivered the program at a number of US-based industry
January 8th - 10th 2024. It’s a unique forum where experts and
events. The program was especially designed for non-
enthusiasts come together to explore and define the future of
technical management and staff in exhibition who feel their
cinema. We are deeply grateful to The Cinema Foundation for
business could benefit from knowing a little bit more about
their enduring support, which enables us to host this event and
the presentation technology that is the lifeblood of what
strengthen our shared commitment to the cinema experience.
happens inside their theaters. What we’re learning is that
Taking place once again at the Hilton Los Angeles in Universal
even beyond exhibition, there is a need for this kind of primer
City, the LASS program is full of informative topics on a variety
– we’re seeing interest from technology providers who have
of technical and business issues.
hired new staff, corporate level theater chain executives,
Summer Business Retreat
and even from some studio personnel. We think we have struck a nerve!
Mentorship Program
More info
Plans are underway for our annual ICTA Summar Business Retreat, taking place July 21st - 24th in Orange County, California. At this smaller, more intimate gathering, ICTA members
Related to our education initiative, we are working to advocate
network with their peers and ICTA leadership to help plan the
for the mentorship of individuals from within the cinema
direction of our association. There are always lively discussions
exhibition industry who aspire to pursue careers in cinema technology. Nurturing this bridge between the worlds of
www.ictaweb.com.
and exchanges of ideas about how to make our organisation – and the industry – ever stronger and more vibrant. As usual,
cinema and technology is essential. It not only creates
significant others are welcome and treated to special
opportunities for those passionate about cinema to explore
programming and events.
6 4
>
1 2 / 23
>
www.cinema-technology.com
NO BARRIERS NO BOUNDARIES KNOWLEDGE SHARING FIRST. With nearly 900 members in over 80 countries, Cinema Technology Community (CTC) is the world’s leading independent, not-for-profit trade organisation providing valuable educational resources to the global cinema industry. With a highly engaged global community and a regular stream of content designed to help the industry improve the movie-going experience for consumers, CTC is the go to place for cinema industry executives. And what’s more, it’s completely free to join because, at CTC we believe that the industry is stronger and better when we all learn and share together, so we’ve removed the biggest barrier.
THE GLOBAL CINEMA TECHNOLOGY NETWORK
Join our global community today for FREE by visiting
www.cinema-technology.com With continued thanks to our sponsors: Admit One, Christie Digital, Cinionic, Deluxe, DX, Ferco Seating, Harkness Screens, MAG Audio, QSC, RealD, Arts Alliance Media, Audio Network Distribution, Compeso, Dolby, GDC Technology, Movio, Sharp/NEC & Strong/MDI.
Q & A
Toni Purvis, Director of International Delivery and Operations, Amblin Partners From Projectionist and Technical Operations Manager for a major exhibitor, through to International Delivery and Operations Director for a global distributor and even CTC Director and regular podcaster, Toni Purvis has developed a unique skillset and deep knowledge of the movie industry having spent more than half her life in the industry. CT: Please introduce yourself and tell us
that question succinctly. Ultimately, I work
the fully calibrated preview theatre. Having
about your background?
closely with the Amblin teams over in LA (Post
the knowledge and experience doesn’t make
I’m Toni. I’ve been working in the cinema
Production,
Publicity,
the pain go away, but I find that if you’re able
industry since my first year at university, which
Finance) to ensure that our international
to make sense of the situation and have a level
is when Odeon Leicester tempted me in with
partners have everything they need to release
of empathy, a solution is often just around the
staff tickets and discount on my favourite ice
a title in their local language. I focus on TV
corner and everyone involved can go away
cream (Coffee Coffee, Buzz Buzz Buzz in case
spots, trailers, theatrical feature elements and
relatively happily with the resolution.
you were wondering). I was fortunate enough
home video masters, working with various
to be trained up in the projection booth,
vendors and labs globally. Audio splits and
CT: In terms of diversity, how has the
attending to 12 beautiful purring Vic 5s. I
textless sections are my bread and butter, I
industry changed since you’ve been a part of
Legal,
Marketing,
it?
remained in the booth for the digital revolution and once graduated, moved to London to become the Technical Manager at the refurbished Odeon Swiss Cottage. From there, I was privileged to take on the role of Operations Manager Digital for the Odeon Leicester Square and the West End sites, which launched me into the world of
“I feel very fortunate to have experience across the sector as I feel it allows me to put myself in the shoes of most people I interact with.”
premieres and film festivals. From this role, I
I think I was very lucky to start my foray into projection at Odeon Leicester. Both of my chiefs there were exceptionally fair, and we had a diverse pool of trainee/part-time projectionists. I found it slightly unnerving when I first moved to London and had some challenges finding acceptance as a relatively young, female technical manager. I would
transitioned into distribution initially with
suppose! I have also been privileged enough
Entertainment One, then over to international
to be the boots on the ground for various
delivery for Mister Smith Entertainment, and
European screenings, attending set up and
finally I found myself delivering for Mr
rehearsals in Cannes for example.
love to say that everything has changed in the
Spielberg’s Amblin Partners. Gosh. When I type this out, it seems like a
CT: You’ve worked across the sector, how
lot has happened in what feels like a blink of
does your knowledge help you understand
an eye. In my spare time, you can mostly find
the pain points of the various stakeholders
me on a bicycle, running up and down some
in the business?
hills, or in a brewery.
I feel very fortunate to have experience across the sector as I feel it allows me to put myself
CT: Tell us about your current role. What
in the shoes of most of the people I interact
does your day to day look like?
with. I can understand the panic of a missing
I am currently Director of International
KDM for a duty manager, and I can understand
Delivery and Operations for Amblin Partners.
the frustration when, in a standard cinema,
Each day is different, so it’s tricky to answer
content doesn’t look and sound like it does in
6 6
>
1 2 / 23
>
www.cinema-technology.com
Toni Purvis with the CTC podcast team in Norway (2023).
last decade, but I think that our industry still
our storytelling, creating, and delivering. I
back into the habit of going to the cinema. I
remains a very white, and very male industry.
think that we need to educate children and
love the ‘Into Film’ initiative we have here in
In the UK, distribution and production is still
young adults as to what careers can be
the UK which is valuable on so many levels,
very London-centric which can potentially
available to them in the film industry and
but I particularly love that it can help bring a
restrict those from lower socio-economic and
encourage that. Seriously, if I’d known what a
younger audience into the cinema and show
regional
Leeds,
Foley artist was when I was growing up, that
them the magic. We then have the ‘Cinema
Sheffield and Manchester have some amazing
would have been number one on my list,
Day’ initiatives making tickets affordable and
facilities in the North which could potentially
swiftly followed by becoming a Boom
that was seen in various iterations throughout
help with diversification. Glasgow, Edinburgh,
Operator. I’m positive there are people out
Europe. I found my wonder of the cinema with
Cardiff and Belfast all have studio spaces too
there that can’t get enough of equipment tear
a £1 kids ticket to 101 Dalmatians at Odeon
which is really positive.
downs, knowing how things work, being able
Coventry in my youth, so perhaps I’m being a
to fix them. What better a place to follow that
little naive and nostalgic.
backgrounds.
That
said,
CT: How much further do we need to go to
passion than in a cinema where the magic
create a vibrant and inclusive environment
happens?
that’s appealing to all?
There
CT: What’s your favourite thing about are
already
people
and
working in the industry?
I think we have a long way to go but I believe
organisations in our industry that are chipping
That’s an easy one. Cinema is where I escape
the journey is underway. Education is my
away at making our world more technicolour,
from the demands of everyday life. It’s where I
favourite word when it comes to this topic. I
we just need to keep going.
can laugh heartily or cry freely, sometimes I
feel we, as a community, need to educate
do both simultaneously. So, the best thing
those already in places of influence; to show
CT: What do you see as our biggest challenges
about working in this industry, is being part of
how wonderful our industry would be if we
going forward?
the network that can provide that same
had voices from all walks of life inputting into
Industry wide? I think we need to get people
escape to others.
www.cinema-technology.com
1 2 / 23
67
THINK GLOBAL, DELIVER LOCAL. What you need, when you need it.
Global Network Electronic Delivery End-to-End Services Dedicated Regional Teams And more...
Your #1 Partner for all Cinema Services WWW.BYDELUXE.COM
@ DELUXE1915