PRESS RELEASE:

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Kortrijk, Belgium, 23 June 2015 - Barco, global market share leader in digital cinema projection, is proud to introduce the smallest member of its digital cinema projector portfolio. The DP2K-6E brings the renowned Barco image quality, reliability, modularity, and powerful Barco Alchemy processing to chains and independent cinemas with screens up to 7.5 meters (24 feet) wide. The brand-new projector will be commercially available in October 2015.
"The newest E-series projector brings the acclaimed Barco image quality to the smallest theaters in the industry," comments Stijn Henderickx, Vice President Digital Cinema at Barco "We offer the most complete range of DCI-compliant digital cinema projectors available, providing our customers with a perfect match for every cinema screen - from the smallest to the most high-end cinemas. That's one of the reasons Barco is market share leader in cinema, with over 50,000 digital cinema projectors installed in the field."

Easy to use
Twice as quiet as the quietest digital cinema projector currently on the market, and super compact, users can install the DP2K-6E anywhere. It also comes with an optional ceiling mount for even more flexibility. And as it's geared with two UHP lamps that are easy to swap, maintaining the projector is a breeze as well. Sharing its clever modular design with the other Barco digital cinema projectors, the DP2K-6E ensures fast and simple maintenance, for maximum uptime. The projector can be controlled easily in various ways: locally via the Barco Commander software; or remotely, via the Barco Web Commander software.

Turnkey and cost-effective
Fully integrated, the DP2K-6E is geared with the unique Barco Alchemy technology that combines media server functionalities, Series 3 cinema processing electronics, and on-board storage. The projector gathers all required functionalities in one turnkey unit, enabling small screen commercial exhibitors and independent cinemas to benefit from top-notch digital cinema image quality in a budget-friendly way. The projector's UHP lamps also guarantee a low dollar/Watt ratio.

Reliable
The DP2K-6E fully complies with all of the stringent DCI projector specifications, a cast-iron guarantee that you can go digital without worries. The DP2K-6E unites the acclaimed Barco hallmarks in a small projector: premium image quality, superior optical design, patented sealed engine, user-friendly modularity, and powerful Barco Alchemy processing. What's more, it shares its lens fleet with the Barco S-series projectors.

Discover the DP2K-6E at CineEurope
See the DP2K-6E in action at CineEurope 2015, from 22 - 25 June in Barcelona, Spain. You'll find Barco at Suite A.

 

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CineEurope, Barcelona (June 22, 2015) - GDC Technology Limited ("GDC"), a world leading digital cinema solutions provider, will showcase a comprehensive set of reliable and cost-effective digital cinema solutions at booth 729 at Centre Convencions Internacional Barcelona (CCIB) in Barcelona, from June 23rd to 25th during CineEurope 2015. CineEurope delegates visiting the GDC booth will have the opportunity to experience GDC's innovative digital cinema solutions that save you time and money in your cinema multiplex operation.
SX-3000 Standalone Integrated Media BlockTM ("IMB") with scalable storage solutions

GDC designs and manufactures the industry's first standalone IMB that eliminates the need of an external file server. The SX-3000 IMB raises the standard for digital cinema solutions with its simplicity, flexibility and ease of use. It offers High Frame Rate ("HFR") capability in both 2D and 3D, seamlessly integrated live 2D/3D support, digital connectivity for alternative content such as 3G-SDI, and certified HDMI input with broadcast quality image scaling. With more than 40,000 worldwide auditoriums installed with GDC media blocks, SX-3000 IMB is the most stable standalone IMB that significantly lowers operation, maintenance and installation costs.

As the ideal complement to SX-3000 IMB solution, GDC designs and manufactures industrial-grade storage devices to work in arduous 24x7 cinema environment. The Portable Storage device is equipped with 4 redundant hot swappable units of enterprise grade 2.5" HDDs; it is designed for boothless operation where the Portable Storage can be attached to the DLP Cinema® projectors. The rack-mount Enterprise Storage and Enterprise Storage Plus devices provide robust and versatile storage options ranging from 4TB to 16TB of redundant hot swappable storage that is based on 5 units of enterprise grade 3.5" HDDs. The Enterprise Storage Plus features a built-in CRU which provides direct content playback from CRU - a unique product in the digital cinema market. All GDC industrial designed storage devices also offer an optional 10 year warranty (excluding HDDs).

GDC's IMB featuring built-in real-time DTS:X immersive audio decoder

With cinemas worldwide adopting immersive sound to bring audiences a superior cinematic experience, GDC and DTS:X work together to offer premier immersive audio DTS:X to cinemas worldwide. To spearhead DTS:X adoption, GDC has been appointed a worldwide DTS:X certification services agent with an exclusive appointment in Asia. During the event, GDC's team is ready to provide you the latest information related to this technology.
TMS-2000 Theatre Management System

GDC's TMS-2000 Theatre Management System ("TMS-2000") delivers the ultimate user experience with over 50 new features and improvements from its legendary TMS-1000 which are in use in over 14,500 auditoriums worldwide. Its startup time is 13 times faster than the previous version and is compatible across most Microsoft Windows platforms. Some of the key new features are (i) SmartRestore function that enables server recovery in one-click, (ii) new Apple iPad app, TmsRemoteTM that extends theatre management to mobile platforms for utmost convenience, and (iii) QualityManager module that brings excellent value in ensuring optimal levels for projector brightness, crisp color and lucid audio. By streamlining theatre operations with automated workflow, the TMS-2000 makes theatre management highly efficient, and assures of quality screening that is less prone to human error.

QMS-1000 Quality Management System

GDC's QMS-1000 Quality Management System ("QMS-1000") which can be integrated with the Theatre Management System, performs automatic monitor and data analysis of luminance, chromaticity and sound-pressure level. It provides test reports in multiple formats and carries out intelligent and automatic adjustment to ensure high quality movie experience.
ACS-2800 Automation Control System

GDC's ACS-2800 is a new automation product that is specially designed for digital cinemas to help exhibitors to achieve automatic control of their lighting, sound and screening equipment with maximum efficiency. ACS-2800 enables users to control and manage their theatrical equipment with multiple options of interface including software based Ethernet, GPIO and commonly-use physical buttons required for daily theatre operations. 
ACS-2800 is rack-mount and provides quick-connecting wiring design making installation, maintenance and replacement easier and faster. More than 600 screens are currently using ACS-2800 for their automation need since early 2014.2800thatpecially and

CLA-2000 Content Library Adapter

The CLA-2000 Content Library Adapter ("CLA-2000") is an innovative content ingest and backup solution that streamlines theatre operations. Users can simultaneously transfer content from a single CRU drive to backup storage devices such as the GDC's Portable Storage, Enterprise Storage, or Enterprise Storage Plus; ingest content from a Linux based CRU drive to a Windows based LMS server; and access content on the storage connected to the CLA-2000 over a network using the NFS/CIFS and FTP protocols on any client computer. The CLA-2000 also offers 2 USB ports and 2 eSATA ports to concurrently connect up to 4 storage devices, supporting access to all major file systems and takes the multiple file transferring workload away from a TMS server.

An Innovative Library Management System

GDC introduces an innovative Library Management System ("LMS") by combining the powerful features of CLA-2000 Content Library Adapter, Enterprise Storage Plus and TMS-2000 Theatre Management System. The proposed LMS and TMS system is highly efficient and fulfills beyond the theatres' operational needs and budgetary expectation.

Network Operations Center (NOC)

GDC's state-of-the-art NOC, featuring remote monitoring and reporting, technical call support, preventative servicing, on-site emergency response, and critical spares replenishment programs, safeguards exhibitors to run their business at optimal level of 24x7. GDC Technology's technical support team is professional and skilled, and stands ready to provide early identification of potential issues, giving exhibitors the added confidence that they are well covered in the event of an emergency or malfunction of the digital cinema equipment.

Visit us at CineEurope 2015 (http://www.filmexpos.com/cineeurope):
Booth No. 729, Centre Convencions Internacional Barcelona (CCIB), Barcelona, June 23-25, 2015

 

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Basingstoke, 22nd June 2015 - Join Sony Digital Cinema 4K in Barcelona (22-25 June) and discover how we're bringing the best-looking 4K pictures to even wider audiences.

At CineEurope we are giving visitors the chance to experience the unbeatable clarity and contrast of Sony 4K. Throughout the show we're running ‘see for yourself' demonstrations, highlighting the key role of projector contrast in creating impactful images. The difference is clear: higher brightness levels alone can't outshine the immersive contrast, clarity and detail that only Sony 4K delivers.

CineEurope delegates can also take a break from their busy Barcelona schedules at our chill-out room in Room 133 on Level 1. It's the perfect place to unwind with a drink and get hands-on with Sony's latest 4K consumer products.

New 4K Projection System for large screens

Shown for the first time in Europe, our brand-new SRX-R515DS 4K System brings class-leading Sony picture quality to large cinema screens. The SRX-R515DS combines two DCI-compliant SRX-R515 projectors, delivering reference light levels on screens up to 19.5m for 14ft-L on white screen with 1.8 gain, or 3D on screens as large as 23m/75 feet for 4.5ft-L on silver screen with 2.4 gain (installation conditions dependent) with industry-leading 8000:1 contrast ratio. More reliable and cost-effective than conventional xenon lamp sources, Sony's efficient HPM multi-lamp array helps ensure show continuity while minimising maintenance requirements and costly downtime.

The matched pair of projectors can be operated either side-by-side or stacked vertically to suit any projection booth. Set-up is quick and easy, using the included auto alignment system that ensures accurately-calibrated images across the whole cinema screen.

Managed Services make 4K even more accessible
Visitors to CineEurope can learn more about Managed Services from Sony Digital Cinema 4K - the more flexible, affordable way to bring audiences the best-possible 4K pictures, today and tomorrow. Appealing to large operators and independents, Managed Services gives cinemas access to the latest 4K projection technology from Sony at a fixed monthly cost, with maintenance and technical support included. Reducing uncertainty and upfront capex while boosting peace of mind, Managed Services are equally suited to cinemas replacing their aging first-generation projectors or screens going digital for the first time.

"As VPF programmes come to an end, cinema owners need two things: the knowledge that their projection equipment consistently offers an excellent visual experience and screen uptime, and a business model that lets them invest in making every visit special for cinemagoers" says David McIntosh, Vice President, Sony Digital Cinema 4K Solutions for Europe and the Americas. "With Managed Services, we're giving cinemas the opportunity to build a sustainable business, with the peace of mind and freedom to focus on their customers".

Leading the way in Event Cinema
Projected in Sony 4K for an unforgettable experience, the fast-growing Event Cinema market is attracting new audiences with a revenue-boosting blend of live and recorded events to suit every screen owner.

In February 2015, Sony Digital Cinema 4K announced a ground-breaking initiative with the National Theatre and Vue Entertainment to screen four NT Live stage productions in detail-packed 4K. The first of these - Behind the Beautiful Forevers - was recorded in March and screened as a series of exclusive 4K presentations across Vue's 83-site estate.

Details of the next 4K productions covered by this historic agreement will be confirmed during the ECA (Event Cinema Association) hosted panel discussion: "Event Cinema- Taking Stock and Looking Forward", which takes place at CineEurope on the tradeshow floor, 4pm on Tuesday 23rd June. Addressing the session will be Emma Keith, National Theatre Live and Johnny Carr, Vue Entertainment. They'll be discussing the recording of Behind the Beautiful Forevers - and outlining more exciting technical developments for the upcoming shows - with John Bullen, VPF and Content Manager for Sony 4K Digital Cinema (Europe).

"It's great to be back at CineEurope once more", says David McIntosh. "Since we last came to Barcelona a year ago, Sony Digital Cinema 4K has successfully implemented a unified new global business structure. Today we're seeing this pay dividends with an improved service for our exhibition customers, significant business wins across Europe and beyond - and a further strengthening in our product offering, with industry-leading 4K solutions for cinemas of every size."

Sony 4K Digital Cinema is a proud sponsor of CineEurope 2015.

 

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Fueled by successful franchise hits such as Fifty Shades of Gray, Furious 7, Pitch Perfect 2, and Jurassic World, Universal Pictures announced today that it hit $3.819 billion in global box office grosses for the year, surpassing 2013's previously established record of $3.691 billion and making 2015 the highest grossing year in the studio's 103-year history. 

"This has been a fantastic year for our studio, as we've had the privilege of releasing some of the most highly- anticipated films of 2015," said Shell. "Together with my partners Ron Meyer and Donna Langley, I'm incredibly proud to lead a team of people at Universal who are the truly best in the business."

"We are fortunate to be in business with some of the most talented filmmakers in the industry today," said Langley. "Together with our Universal team, we're thrilled to celebrate a slate of fantastic films that audiences have embraced all over the globe. From production to marketing and publicity, music, and the front lines of distribution, it is that passion, commitment and hard work that makes an achievement like this possible."

Some of the worldwide highlights so far this year include:

Fastest a studio has ever reached $2 billion at the international box office and $3 billion at the worldwide box office.

Highest opening ever at the international ($316.8 million) and worldwide ($525.6 million) box offices with Jurassic World, marking the only time a film has ever opened to $500 million or more in history. 

The biggest second-weekend hold internationally ($163.4 million) for a day-and-date release with Jurassic World.

Furious 7 is the fourth-highest-grossing film of all time worldwide, ranking with Avatar, Titanic and Marvel's The Avengers. It is the third-highest-grossing film internationally, behind only Avatar and Titanic

Universal Pictures' films held the No. 1 position at the worldwide box office for eight weeks-more than any other studio in 2015.

Jurassic World had the quickest climb to $1 billion in history-reaching that milestone in 13 days.

What makes this record year even more remarkable is that the studio still has six months to go and a summer slate with more for audiences to look forward to, including Ted 2, the follow-up to the highest-grossing original "R"-rated comedy of all time, from writer, director and voice star Seth MacFarlane and Minions, Illumination Entertainment and Universal's comedy adventure that stars the voices of Sandra Bullock and Jon Hamm. In July, Universal will release Trainwreck, the latest film from director Judd Apatow, written by and starring breakout comedy star Amy Schumer, and Straight Outta Compton, the astonishing story of the meteoric rise and fall of N.W.A., which is directed by F. Gary Gray.

Later this year; Universal releases writer, director, producer M. Night Shyamalan's return to the genre that launched his career in a new original thriller, The Visit, produced by Jason Blum; Everest, an epic adventure from Universal, Cross Creek and Working Title, inspired by the incredible events surrounding an attempt to reach the summit of the world's highest mountain that is directed by Baltasar Kormákur; the drama Steve Jobs, from the brilliant minds of director Danny Boyle and writer Aaron Sorkin, produced by Mark Gordon, Guymon Casady, Scott Rudin and Christian Colson; the haunting gothic horror story from Legendary directed by Guillermo del Toro, Crimson Peak; the musical-adventure Jem and the Holograms, from director Jon M. Chu; the drama, By The Sea, the new film from writer/director Angelina Jolie Pitt, starring Brad Pitt and Jolie Pitt; Legendary's horror-comedy, Krampus; and the eagerly-awaited comedy Sisters, starring Tina Fey and Amy Poehler and directed by Jason Moore.

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By Daniel Garris

Jurassic World continued to roar at the box office this weekend with a first place take of $106.59 million. The Chris Pratt led 3D blockbuster sequel from Universal and Legendary was down 49 percent from last weekend's record-breaking opening weekend performance. That represented an exceptional second weekend hold for a film of this size; especially given the significantly stronger than expected start of Inside Out this weekend. Jurassic World set a new record for the largest second weekend gross of all-time, as it topped the $103.05 million take of 2012's Marvel's The Avengers by $3.54 million. The feat is made even more impressive given that Jurassic World was coming off of much stronger first-week midweek business than The Avengers did thanks in part to opening in June as opposed to May.

Jurassic World has grossed $402.80 million in just ten days of release, which represents the largest ten-day start of all time. Jurassic World is also the fastest film to ever hit the $400 million mark domestically, as it easily beat the previous mark of 14 days that had been set by The Avengers. Thanks in part to its stronger midweek business Jurassic World is running $29.73 million and 8 percent ahead of the $373.07 million ten-day take of The Avengers.

Without adjusting for ticket-price inflation Jurassic World is already the 18th highest grossing film of all-time domestically. The film has now surpassed the $402.45 million unadjusted domestic lifetime gross of 1993's Jurassic Park and in the coming days will zoom past the $449.45 million current gross of Avengers: Age of Ultron to become the highest grossing release of 2014 thus far domestically. At its current rate Jurassic World shouldn't have any problem becoming only the fourth film of all-time to reach the $600 million unadjusted domestic mark (the other three films being 2009's Avatar, 1997's Titanic and The Avengers).

In a stunning box office performance of its own, Disney's Inside Out was off to a very strong second place start of $90.44 million. The critically acclaimed 3D computer animated film from Pixar far exceeded expectations which had been held in check after the break-out performance of Jurassic World and tended to range anywhere from $60 million to $75 million heading into the weekend. Without adjusting for ticket price inflation, Inside Out delivered the largest opening weekend performance ever for a non-sequel from Pixar, as it easily topped the $70.47 million start of 2004's The Incredibles. Inside Out claimed the second largest opening weekend take ever for a Pixar film (including sequels); behind only the $110.31 million debut of 2010's Toy Story 3. The opening weekend for Inside Out was the seventh largest ever for the month of June without adjusting for ticket price inflation.

Inside Out was no doubt helped out by its nearly universal glowing reviews, by its unique concept in a summer especially driven by sequels, the relative lack of family and computer animated fare thus far in 2015 and by a strong marketing campaign. Inside Out opened with $34.27 million on Friday (which included an estimated $3.7 million from evening shows on Thursday), decreased 10 percent on Saturday to gross $30.94 million and declined 18.5 percent on Father's Day to gross $25.23 million. That placed the film's opening weekend to Friday ratio at 2.64 to 1. Inside Out received a strong A rating on CinemaScore and in all likelihood will hold up very well over the next few weeks until Universal's highly anticipated Minions enters the marketplace on July 10.

The audience breakdown for Inside Out skewed heavily towards moviegoers 25 years and under (60 percent) and towards female moviegoers (56 percent). Family audiences represented 71 percent of the film's overall audience.

Fox's Spy placed in a distant third with $11.23 million. The Melissa McCarthy led comedy stabilized nicely this weekend as it was down a healthy 28 percent from last weekend. Spy has grossed a respectable, but softer than expected $75.10 million through 17 days. That places the film an underwhelming 20 percent behind the $93.62 million 17-day gross of 2013's Identity Thief.

Warner's San Andreas also stabilized very nicely this weekend with a fourth place take of $8.71 million. The Dwayne Johnson led 3D disaster film was down just 19.5 percent, as the film was helped by the Father's Day holiday and by rebounding from the hit it took from the launch of Jurassic World last weekend. San Andreas continues to significantly exceed expectations with a 24-day take of $132.70 million.

Dope rounded out the weekend's top five with a $6.10 million start. The Rick Famuyiwa directed comedy drama from Open Road debuted just below its already modest expectations. Strong critical reviews and strong early buzz from Sundance earlier in the year were ultimately unable to transfer into any type of opening weekend break-out for Dope. The film's debut was very similar to the $6.20 million debut of Beyond the Lights last November.

Dope opened with $2.38 million on Friday (which included a significant $0.425 million from Thursday evening shows), fell 14 percent on Saturday to gross $2.04 million and decline 18 percent on Sunday to take in $1.60 million. That gave the film a fairly front-loaded opening weekend to Friday ratio of 2.57 to 1. Dope received a promising A- rating on CinemaScore and will hope to build off of its strong initial word of mouth and critical reviews going forward.

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