Kortrijk, Belgium, 24 June 2015 - The laser-illuminated projectors of digital cinema leader Barco will soon be making their debut in some of the most prestigious cinemas in the Middle East. CinemaCity and Prime Cinemas, two trendsetting brands of the World Media Holding group, will install seven of Barco's laser projectors (DP4K-22L and DP4K-30L) in their flagship cinemas, to open early 2016 in the luxurious Mall of Qatar in Doha, Qatar and Abdali Mall in Amman, Jordan, respectively. Besides the laser-illuminated projectors, Barco will provide the cinema exhibitors with a total of twenty-six more Alchemy digital cinema projectors later this year.

CinemaCity and Prime Cinemas both operate under the World Media Holding, the Middle East's fastest growing company in cinema development. While Prime Cinemas is the largest cinema chain in Jordan, CinemaCity operates theaters in Dubai and Lebanon. Both share a commitment to provide superior movie and entertainment experiences. CEO of World Media Holding, Hammad Atassi: "From a luxurious foyer and lobby, easy access and great food through to super comfortable chairs and the latest visual and audio technologies: everything about our cinemas is designed for the enjoyment of our guests." Committed to exceptional movie-going experiences, both cinema chains are determined to further raise the bar for the flagship cinemas that they will be opening in the prestigious Mall of Qatar and the Abdali Mall in 2016.

33 Barco digital cinema projectors
To achieve that lofty objective, CinemaCity will equip its nineteen-screen cinema at the Mall of Qatar with one Barco DP4K-30L and four of Barco's DP4K-22L laser flagship projectors. Prime Cinemas, for its part, will introduce two DP4K-30L laser projectors in its eleven-screen cinema complex in Jordan. Launched just last April as part of a laser family of four models, the 22L and the 30L laser-illuminated projectors provide the perfect projection solution for medium-sized screens. "As we're really dedicated to creating an amazing movie experience, we decided to take the next step in projection and install Barco's laser-illuminated solution in selected theaters. The brightness and image quality is unbelievable," said Hammad Atassi. Besides the laser projectors, Barco will deliver 24 more Alchemy-based projectors to CinemaCity and Prime Cinemas..

A new era in entertainment standards
"The shopping malls that will soon open in Qatar and Jordan will mark a new era in retail and entertainment standards," says Wim Buyens, Barco's Head of Entertainment. "It's just fantastic that our laser-illuminated projectors will help the trendsetting CinemaCity and Prime Cinemas to deliver a cinema experience that has not been seen in the Middle East before. Laser-illuminated projection is simply indispensable for cinema exhibitors who want to take the movie experience to the next level."


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CINE EUROPE, BARCELONA, SPAIN, JUNE 23RD 2015 - Harkness Screens (booth 323) the world's leading screen technology company and thought-leaders in on-screen brightness is the preferred screen partner for Cine Europe 2015, the leading professional exhibition for European cinema.
The show's auditorium in the CCIB (in Barcelona) features an 18.35 x 7.90m Harkness produced Precision White 140 low gain 3D screen powered by RealD's pioneering coating technology.

Designed to enhance both 2D and 3D presentations, Precision White Screen technology from Harkness Screens and RealD has wide viewing angles and significantly improved uniformity at the edge of the screen. The improved screen efficiency results in significantly more total light coming off the screen, providing more uniform brightness and a richer visual image for all content compared to traditional first generation silver screens.

"We're absolutely delighted to once again be the screen of choice for CineEurope and to support both RealD and indeed the team at CineEurope in providing the best premium 2D and 3D viewing experience for film studios to show their content to European exhibitors. Cinema-going is all about the experience and with Precision White screens, the RealD 3D viewing experience is incredible" says Richard Mitchell, Head of Global Marketing at Harkness Screens.

Available exclusively for RealD 3D customers utilizing RealD 3D Cinema Systems, Precision White Screen technology from Harkness Screens is used for cinema projection and combines 2D white screen performance with the ability to project polarized 3D images.


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Cinema Equipment Supplies (CE+S) and Unique Digital Ltd. are pleased to announce their new partnership, blending the market leading positions of CE+S and Unique Digital to provide a comprehensive software and support solution for the American markets.

"The combination of CE+S's market knowledge, innovation, rich history and respected track record aligns with Unique Digital's ground-breaking and deployed product offerings. This will create a seriously strong offering in the marketplace" commented Mark Stephen, Director of Sales at Unique Digital. "The team at CE+S gets it! Simple as that. We have found developing the relationship with the team to be an absolute pleasure".
Mark Stephen added "The combination of both of our existing software products for the market, with an eye on the new products being developed for release in H2 2015, make this the ideal time for both sides to combine forces".

The partnership of Unique Digital's exceptional workflow products in RosettabridgeTM TMS and BasekeyTM, its game changing content distributionproducts such as Movie TransitTM, together with CE+S's mobile proactive monitoring and support solution, CieloTM, provides the most robust set of solutions for the industry. 

"Adding Unique Digital offerings to CE+S's comprehensive portfolio of solutions adds tremendous value for our customers in The Americas," commented Alex Younger, VP of Sales at CE+S. "Both companies share the same vision of driving operational efficiencies and revenue growth for our customers, so this new partnership makes sense for everyone."

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Interview by Daniel Loria

You've worked with Seth MacFarlane long enough to be able to consider both of you frequent collaborators. How did your working relationship start with the first Ted film?

This will be our third film and we've also worked on a television series together. I'd been pitched the original Ted a couple of years before it was made. [Seth McFarlane] had a very clear vision of how he saw the teddy bear; he wanted the movements to resemble the physical movements of a person as opposed to the type of Pixar style animation. It was difficult to figure out how to create that concept in an R-rated comedy because these movies aren't really the most expensive movies to make. As a producer, I read every draft of the screenplay, and my lasting impression with Ted was laughing out loud even after reading the same joke for the tenth time. I connected in a very big way with the
humor and I'm a huge fan of Family Guy, so it was truly an honor to work with Seth.

The two of you have also worked together for television.

My collaboration with Seth grew from that experience and we made A Million Ways to Die in the West and now Ted 2. Along the way, I was introduced to Ann Druyan, Carl Sagan's widow, and exposed to the chance of rebooting Cosmos on TV. I have a son who studies physics in college and I've always been a bit of a science geek, but to be exposed at that level...I jumped in with both feet and Seth had our back all along the way. I'm thrilled to have had the opportunity to work with him in these three films and television series.

What was the hardest part of getting the first Ted film off the ground?

unnamed-2.jpgOur challenge was to create Ted within our budget and our schedule while still allowing for the opportunity of improvisational acting between the CGI character and the actors. We came up with a way where Seth could record his dialogue in the exact same environment while directing the movie, eye-line pulls and reference materials that were easy to capture and didn't slow down the production team or the actors and a way where Seth could wear the motion capture system without requiring a volume to surround him in. The result was that we were able to capture his subtle performance reactions, the physicality to the lines, and it made the humor come to life because it was captured at the moment with the other actors reacting. I think it was a big plus in creating the kind of vitality and energy required by comedy. We found a couple of great animation houses, a bit off-the-beaten-path. We had to match the CGI with the teddy bear we'd designed, so these two separate animation houses in two different continents helped us bring that to life.

Ted ended up being a tremendous box office hit, including more than $330 million overseas. What was that experience like and what do you think contributed to the film's global success?

It was nothing short of thrilling. If you read a script ten times and you're still laughing out loud, you hope you're not just dumb or crazy - a lot of people embraced. I think it's a testament to the pairing of Mark Wahlberg and Seth's performance as Ted, the writing, the idea of taking a Pixar movie -what if your teddy bear came to life?- and flipping it on its head twenty years later. When we set out to do it, our concept was to create a world in which everything feels familiar. People react to Ted in the same way people react to The Muppets, they don't go "Oh my god, there's a talking frog!" -it's just a guy. I produced the two Stuart Little movies and have been involved in CGI character creation before and have been on the pioneering end of these type of movie ideas, as was the case with Monster House as well. The chance to apply that experience to an R-rated comedy, which is something I gravitate towards, at a price point that made the movie go, was a huge opportunity. Then to have people embrace it, to treat it as a character movie and not an effects movie, it was an awesome experience.

What can we expect from Ted 2?

Whenever you do a sequel, it's hard to recapture the novel aspects of the original. What you really have to do is try to develop a story that captures the relationship of the characters in a way that feels like the relationship has moves forward. I think this film really accomplishes something with heart and humor that feels very original and the right evolution of the characters' story. I think that's what you want to try to accomplish in a sequel: come up with enough invention to keep it fresh.

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By Daniel Garris

Jurassic World took in $11.57 million on Monday to continue to lead the daily box office. The Chris Pratt led 3D blockbuster sequel from Universal and Legendary has topped the daily box office for ten of the past eleven days. Jurassic World was down a sharp, but understandable 70 percent from Sunday's inflated Father's Day performance and down 54 percent from last Monday. Jurassic World has grossed a massive $414.37 million through eleven days of release. Without adjusting for ticket price inflation that already ranks the film as the 15th highest grossing film of all-time domestically. And by the end of today the film will likely have moved into eleventh place on the all-time list. Jurassic World is currently running $33.38 million and 9 percent ahead of the $380.99 million eleven-day take of 2012's Marvel's The Avengers.

Inside Out placed in a close second with a strong $10.49 million. The critically acclaimed 3D computer animated film from Disney and Pixar declined 58 percent from Sunday. Inside Out surpassed the $100 million domestic milestone on Monday and has grossed a much  stronger than expected $100.93 million in four days. Inside Out is the second fastest Pixar film ever to reach the $100 million milestone, behind only 2010's Toy Story 3 (which reached the milestone in three days). Inside Out is running an impressive 8 percent ahead of the $93.45 million four-day start of 2013's Monsters University and 20 percent behind the $125.91 million four-day take of Toy Story 3.

Fox's Spy took third place with $1.26 million. The Melissa McCarthy led comedy fell 66 percent from Sunday and a healthy 28 percent from last Monday. Spy continues to stabilize as of late thanks in part to strong word of mouth. The film has grossed a respectable $76.36 million in 18 days. However, that places the film an underwhelming 19 percent behind the $94.55 million 18-day gross of 2013's Identity Thief.

Warner's San Andreas landed in fourth with $0.958 million. The Dwayne Johnson led 3D disaster film was down a sharp 70.5 percent from Sunday, but only down a slim 17 percent from last Monday thanks in part to just how much the film stabilized over the past weekend. San Andreas continues to significantly exceed pre-release expectations with a 25-day take of $133.65 million.

Open Road's Dope rounded out Monday's top five with $0.788 million. The critically acclaimed Rick Famuyiwa directed comedy drama declined 53 percent from Sunday. Despite its strong critical reviews, Dope is running slightly below its already modest expectations with a four-day start of $6.89 million. That places the film 5 percent ahead of the $6.54 million four-day take of last year's Beyond the Lights. Dope will hope to hold up well going forward with help from its strong word of mouth and reviews.

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