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SHOWEAST (BOOTH #608), MIAMI -- Harkness Screens the world's leading screen technology company and thought-leader in on-screen brightness has launched a new higher gain version of its 4th generation 2D and 3D screen surface, Clarus XC.

Shipping in late 2014, the new Clarus XC 270 screen surface benefits from d-smooth coating technology which has specific properties more commonly seen in white screens. This technology enables Clarus XC screens to benefit from significantly improved light distribution compared to traditional 3D silver screens. Through this, visible hot-spotting is reduced and uniformity is greatly increased, making compliance with 2D industry standards more easily achievable.

"We developed our new higher gain Clarus XC 270 screen surface to allow cinema exhibitors struggling for on-screen brightness particularly in 3D to benefit from all of the visual performance improvements from using Clarus XC technology such as contrast, colour accuracy, image detail and 3D depth whilst increasing centre screen brightness," says Richard Mitchell, Head of Global Marketing at Harkness Screens.

Designed to work with all passive 3D systems, Clarus XC screens create visibly deeper 3D content which draws in the audience creating a more captivating viewing experience. A whiter look under projection mean that colours look visibly richer and more accurate both in 2D and 3D resulting in a more defined, sharper and crisper picture.

Mitchell adds, "The unique coating technology in Clarus XC 270 allows peak brightness at the centre of the screen to be increased by over 12% against our traditional Spectral 240 3D screen whilst not impacting on visual hotspot or uniformity. Clarus XC 270 provides a unique opportunity for exhibitors around the world to improve the brightness levels from their 3D screens and the quality of the visual performance all at the same time."

Clarus XC technology is the result of significant work by Harkness' Research and Development team and brings together a number of proprietary technologies to create a screen surface for the age of immersive cinema which has been approved by major Hollywood film studios.


Clarus XC technology is available in four different gain levels, 1.4, 1.7, 2.2 and 2.7 designed to suit all digital cinema environments from small screening rooms through to large format theaters. To date over 500 Clarus XC screens have been installed globally.
For more information on the Clarus family visit www.harkness-screens.com/clarusxc

 

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SHOWEAST (BOOTH #608), MIAMI, OCTOBER 27TH 2014 - Harkness Screens and Highlands Technologies Solutions (HTS) today announced an agreement to exclusively link Harkness Screens' technology to HTS Qalif measurement devices.

The two companies will jointly market an integrated screen monitoring package combining Harkness' screen optimization software and high performance screen surfaces with the Qalif. In field pilots will commence in November with both partners committing to launch a full service package at Cinemacon 2015.

The key elements of the package can be seen on Harkness and HTS trade booths and websites with immediate effect.
The new integrated package will allow cinemas to optimise presentation quality at design stage and then maintain this for the lifetime of the screen.

Commenting on the announcement, Harkness CEO, Mark Ashcroft said "this is another element in our screen lifecycle management portfolio. Working alongside partners to ensure the best presentation within the cinema is fundamental to our approach."

HTS CEO, Patrick Zucchetta said, "with such a bundle initiative, we are proud to be linked to Harkness to help the exhibition industry to improve the overall projection quality and at same time optimize the cost of ownership."

For more information on Harkness software and screens visit www.harkness-screens.com
For more information on HTS Qalif visit www.h-t-solutions.com/solutions/cineactive/qalif/

 

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SHOWEAST, Hollywood -- In order to serve its growing customer base in Central and South America, GDC Digital Cinema Network USA ("GDC DCN"), a subsidiary of GDC Technology Limited ("GDC Technology"), is pleased to announce the opening of new offices in São Paulo, Brazil and Lima, Peru. Focused mainly on providing VPF administration and technical services to clients in Brazil and the rest of Central and South America, respectively, these new offices - being the 10th and 11th international outposts - reaffirm the group's commitment to markets in both regions.

To date, 50 exhibitors in the region are committed to GDC's VPF program - 19 under the management of GDC's Brazil office and 31 under that of GDC's Peru office. The new teams are comprised of 13 professionals with great local knowledge across operations, legal, finance and technical services, and are fully operational as of August 2014. These markets are of growing importance to the company, and GDC's six staff in São Paulo, and seven in Lima, are primarily focused on providing the most accurate and efficient VPF administration, while at the same time offering local customers quality support on products and spare parts.

"These openings are an important move, to ensure that top of the line service and support are continuously provided to customers in Central and South America," said Dr. Man-Nang Chong, founder and CEO of GDC Technology. "We are confident that both of these offices will enhance our ability to deliver quality products and effective local support, especially on VPF administration, thus helping our customers to succeed in a fast changing and competitive market."

"Over the years, our customers in the region have rapidly grown their businesses. They need, more than ever, a reliable partner who can provide an efficient and sophisticated level of sales and support coverage. I believe this was the right time to launch these offices in São Paulo and Lima." Dr. Man-Nang Chong added.

Nick Conti, Vice President of Business Development at GDC DCN, said: "Together our offices in the region will allow the company to better serve existing and future VPF customers. Local knowledge and same-language support will be invaluable. We're excited to bring our business model - an efficient and practical local VPF service - to this market."

 

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By Daniel Garris

Universal's Ouija led the way this weekend with a first place debut of $19.88 million. The low-budget PG-13 horror film debuted on the low end of pre-release expectations. While it didn't reach the opening weekend heights of other Platinum Dunes horror films, Ouija still marks another solid performer for the production company. Ouija was no doubt helped out a bit by opening in close proximity to Halloween, but was also likely hurt a bit by arriving so soon in the marketplace after the breakout success of Warner's Annabelle. The film opened 23.5 percent ahead of the $16.10 million start of last year's Carrie and 33 percent below the $29.82 million debut of The Purge: Anarchy earlier this year.

Ouija debuted with $8.30 million on Friday (which included an estimated $0.91 million from late night Thursday shows), fell a respectable 8 percent on Saturday to take in $7.64 million and declined 49 percent on Sunday to gross $3.93 million. That placed the film's opening weekend to Friday ratio at 2.39 to 1, which is respectable for a horror film and was likely boosted a bit by the film's appeal with younger moviegoers. The audience breakdown for the film skewed heavily towards moviegoers under the age of 25 (75 percent) and towards female moviegoers (61 percent). Ouija received a C rating on CinemaScore, which while lackluster, isn't necessarily a troubling score for a horror film.

John Wick debuted in second place with $14.42 million. The Keanu Reeves led action thriller from Lionsgate opened towards the higher end of expectations, which had risen in recent weeks due in part to surging online activity for the film. John Wick represented just the second wide release for Reeves since 2008's The Day the Earth Stood Still (the other being last year's 47 Ronin) and showcases that Reeves still has some drawing power after being out of the spotlight in recent years. The film debuted 16 percent ahead of the $12.47 million start of 2008's Street Kings and will hope to hold up better than that film did, thanks in part to strong critical reviews.

John Wick opened with $5.45 million on Friday (which included an estimated $0.87 million from late night Thursday shows), fell a slim 1 percent on Saturday to gross $5.38 million and fell 33 percent on Sunday to take in $3.59 million. That places the film's opening weekend to Friday ratio at 2.65 to 1. The audience breakdown for John Wick skewed towards male moviegoers (60 percent) and heavily towards moviegoers over the age of 25 (77 percent). The film received a respectable B rating on CinemaScore.

Sony's Fury was down two spots and a sizable 44 percent from last weekend's first place debut to claim third with $13.36 million. The David Ayer directed World War II film starring Brad Pitt had held up nicely during the midweek, but likely took a bit of a hit over the weekend from the added presence of John Wick in the marketplace. Fury may also be relatively weekday heavy in general based on its performance thus far. The film has grossed a solid $46.41 million in ten days. That is on the lower end of expectations and is 5 percent ahead of the $44.14 million ten-day start of Sony's The Monuments Men earlier this year (which fell 30 percent in its second weekend to gross $15.48 million).

Fox's Gone Girl continued its impressive run with a fourth place take of $11.04 million. The critically acclaimed David Fincher directed film starring Ben Affleck was down a solid 37 percent from last weekend. Gone Girl continues to distance itself from pre-release expectations with a 24-day take of $124.04 million. The film is now on the verge of surpassing the $127.51 million final domestic gross of 2008's The Curious Case of Benjamin Button to become the highest grossing film of Fincher's career (without adjusting for ticket price inflation).

Fellow Fox release The Book of Life rounded out the weekend's top five with $10.05 million. The modestly budgeted 3D computer animated film was down a noteworthy 41 percent from last weekend's debut. The Book of Life may have taken a bit of a hit from the PG-13 rated Ouija this weekend and producer Guillermo del Toro's involvement may have also led to some additional front-loading. The Book of Life has grossed a solid $30.16 million in ten days. That is towards the lower end of expectations and is 6 percent below the recent $32.09 million ten-day take of The Boxtrolls.

In its first weekend of wide release, The Weinstein Company's St. Vincent was off to a promising sixth place performance with $7.75 million. The low-budget comedy starring Bill Murray and Melissa McCarthy received a larger expansion this weekend than was initially expected. The move paid off, as St. Vincent opened towards the higher end of expectations and took in a respectable per-location average of $3,395 for the frame. St. Vincent grossed $2.55 million on Friday, increased a healthy 31 percent on Saturday to take in $3.34 million and declined 44 percent on Sunday to gross $1.86 million. That placed the film's weekend to Friday ratio at an encouraging 3.04 to 1. The film's A- rating on CinemaScore is also a promising early sign going forward.

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