PRESS RELEASE

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CINEMACON, Las Vegas (April 23, 2015)  GDC Technology Limited ("GDC Technology"), a world leading digital cinema solutions provider, is pleased to announce it recorded strong sales of its integrated projection systems in the Southeast Asia region in Q1 2015. GDC Technologys relentless pursuit of and commitment to the development of technology innovation and advancement has affirmed its leading position in the region.

Despite the challenging market environment in the region, GDC delivered a strong first quarter. As of today, the sales of GDCs integrated projection systems reached 67 units this year, in Southeast Asia alone. GDCs integrated projection systems were shipped to Indonesia, Thailand, Laos, Cambodia and Vietnam. GDCs commitment in the region is the key to its success.  In addition to the opening of the Network Operations Center in Singapore, GDC opened its first office in Indonesia last year making it the dominant digital cinema solution provider for three key local exhibitors now. Cinemaxx, a new cinema circuit in Indonesia owned by Lippo Group, is poised to become one of Indonesias largest and most preferred motion picture exhibitors with more than 1,000 screens and 150 locations planned across 77 cities.

I am excited about the continued growth in our addressable market, and I am pleased with GDCs increasing competitive advantage in Southeast Asia. Our investments in the region are aligned with evolving needs in these markets, said Dr. Man-Nang Chong, founder, chairman and CEO of GDC Technology.  Our commitment in this region has been reinforced with the establishment of a new office in Jakarta, Indonesia last year to better and more efficiently address customer needs, whereas GDCs Network Operation Center in Singapore continues to provide the most responsive round-the-clock services to our customers in the region.  Together with our experience and professional local services team, we expect GDC Technology will continue to be one of the most trusted names in digital cinema solutions.

About GDC Technology Limited (www.gdc-tech.com

GDC Technology Limited (GDC Technology) is a digital cinema solutions provider. GDC Technology develops, manufactures and sells digital cinema servers, content storage systems, theater management systems and network operations center software for digital cinema. GDC Technology also provides a suite of digital cinema products and services, including integrated projection systems, 3D products, projector lamps and silver screens. GDC Technologys subsidiary, GDC Digital Cinema Network Limited, manages VPF for approximately 5,000 theater screens and 250 motion picture distributors worldwide.

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PRESS RELEASE

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CINEMACON, Las Vegas (April 23, 2015)  GDC Technology Limited ("GDC Technology"), a world leading digital cinema solutions provider, is pleased to announce it performed another deployment for Major Cineplex, the largest circuit in Thailand, in the first quarter of 2015. Solutions provided to the exhibitor included digital cinema servers, projectors, 3D solutions and Theatre Management Systems (TMS).

Major Cineplex, the winner of the 2014 CineAsia Exhibitor of the Year Award, is Thailands leading lifestyle entertainment company, with its core operations in cinema, bowling, karaoke, ice skating rinks, rental and services, advertising media and movie content. As a pioneer in the Thai cinema business, it introduced the Cineplex concept to the country in 1995 and has been expanding its network over the last two decades. Currently, Major Cineplex commands over 70% of the market share of the Thai cinema industry's admissions revenue and is arguably the most profitable circuit in Asia.  In 2014, the circuit further expanded by opening its first Cineplex outside Thailand  in Phnom Penh, Cambodia.  

Following its rollout of close to 330 units of GDCs integrated projection systems in the last 2 years, Major Cineplex carried out further digital deployments at the beginning of 2015. Seventeen units of integrated projection systems were ordered in the past quarter, resulting in over 63 per cent of Major Cineplex screens being equipped with GDCs integrated projection systems. In addition, Major Cineplex is a long term licensee of GDCs TMS with over 250 screens now managed by GDCs TMS, and it is expected to further increase to over 500 screens by the end of this year.

Jim Patterson, Director of Business Development with Major Cineplex, said: On an increasing basis, GDC Technologys products and services are of the highest quality and fit our changing needs. We are extremely happy with GDCs first class services, and also with the teams professionalism.  These are the reasons why we can rely upon them and why we confirmed the third order in such a short span of time.

Dr. Man-Nang Chong, founder, chairman and CEO of GDC Technology, added: This third order is really encouraging. GDC Technology is so proud to be a long-term partner with one of the most successful exhibitors in the world. Major Cineplexs recognition is priceless to us, and we hope their subscription to our products and services informs the market that GDC Technology is the smart choice for first class cinema circuits worldwide.

About GDC Technology Limited (www.gdc-tech.com

GDC Technology Limited (GDC Technology) is a digital cinema solutions provider. GDC Technology develops, manufactures and sells digital cinema servers, content storage systems, theater management systems and network operations center software for digital cinema. GDC Technology also provides a suite of digital cinema products and services, including integrated projection systems, 3D products, projector lamps and silver screens. GDC Technologys subsidiary, GDC Digital Cinema Network Limited, manages VPF for approximately 5,000 theater screens and 250 motion picture distributors worldwide.

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PRESS RELEASE

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Rancho Cordova, Calif. — 23 April 2015 — Digital cinema market share leader Barco announces today Barry Films will release its upcoming horror film, “The Hell Within,” in Barco’s multi-screen, panoramic movie format Barco Escape. 

The film follows a woman from New York on a quest into the heart of the Brazilian jungle to save a missing girl, only to discover that the child was just the beginning. “The Hell Within” will be directed by Dennison Ramalho (ABC’s “Of Death 2”), written by Jeff Buhler (“The Midnight Meat Train”), and produced by iconic rock guitarist Slash of Guns N’ Roses, in partnership with Benito Mueller and Wolfgang Mueller of Barry Films.

“If you love going to a theater to see a movie like I do, the Barco Escape panoramic technology is a game changer,” says Slash. “It’s totally immersive and brings the movie going experience to a whole new level. I’m really excited to be developing my next horror movie ‘The Hell Within’ in partnership with Barco Escape.” 

“The horror genre thrives on placing viewers inside the action, which pairs extremely well with Barco Escape,” says Ted Schilowitz, Barco’s CinemaVangelist. “We’re excited to partner with such a legendary artist as Slash and the team at Barry Films on a project that will bring a heightened level of realism to horror through this immersive movie watching experience.” Barco Escape debuted in theaters in September with director Wes Ball and 20th Century Fox’s hit film “The Maze Runner,” which featured select scenes in the three-screen format. Its next release is a special performance event with Tony Bennett and Lady Gaga, which was the first film to be shot natively for Barco Escape. 

Barco recently announced Jerry Bruckheimer Films signed on to bring multiple projects to the format, with Bruckheimer joining the Barco Escape board. 

To learn more, visit Ready2Escape.com.


About Barry Films
BARRY FILMS is an internationally active production company based in Berlin, Los Angeles and Zurich, producing high concept films and TV formats for the worldwide market. Barry Films is led by Benito Mueller, Wolfgang Mueller, and Monika Weibel, a team with a wide experience in film development, financing and marketing / distribution.

About Barco
Barco, a global technology company, designs and develops networked visualization products for the Entertainment, Enterprise and Healthcare markets. Barco has its own facilities for Sales & Marketing, Customer Support, R&D and Manufacturing in Europe, North America and APAC. Barco (NYSE Euronext Brussels: BAR) is active in more than 90 countries with 3,250 employees worldwide. Barco posted sales of 1.051 billion euro in 2014.

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By Daniel Loria 

Peter Gelb's experience in shepherding the world-renowned Metropolitan Opera House into movie theaters around the world counts among the highest-profile success stories in the nascent history of alternative content. Since its launch in December of 2006, The Met: Live in HD has broadened the reach and accessibility of opera through live transmissions of its performances. The Met has become a global leader in alternative content thanks to a project that could only have been realized through the spread of digital cinema. A program that began with under 80 theaters in North America is now an international enterprise that reaches 70 countries. BoxOffice spoke with Peter Gelb, general manager of the Metropolitan Opera, to discover how one of the world's premier arts institutions built a new revenue stream for cinemas through its niche audience.

How did the idea for cinema broadcasts of Met Opera performances come about?

It came about when I was appointed to my position as general manager in 2005. In that year, transitioning into the role, I spent a lot of time thinking of how to bring the Met to a broader public. The great challenge for the Metropolitan Opera and the art form of opera in general is figuring out a way of making it more accessible, how to reach more people, and how to find new audiences. From our start, we've utilized technology to broaden our audience base by integrating broadcasts; we've been a regular feature on national radio for more than 80 years. The Met was a pioneer in using media in the late '70s with public television broadcasts. In fact, in the late '80s I was producing those television shows. When I was appointed, I was eager to make use of my background in producing television and performing arts. Looking at the Met's historical success with the media, I really thought it was time to think of new ways of taking advantage of what was possible in this digital era. It seemed logical to bring the opera to movie theaters. I felt we had a built-in audience of millions of people across North America from our radio and public TV broadcasts. If even a small percentage of them would be willing to go to their local movie theater for a Saturday matinee performance, they could experience the event visually. That was the calculation behind our business plan: that we would have enough of an audience that would help cover the incremental cost of producing these programs for the movie theaters. It was an immediate success. We grew from our first transmission, where we had around 78 theaters for a production of The Magic Flute in December of 2006, to the point where now we're in 70 countries, more than 2,000 theaters. We are seen live on the West Coast of the United States; as far east as Jerusalem and Moscow; as far north as inside the arctic circle in Norway; and as far south as the southern tip of Argentina. Those are just live transmissions; on a delayed basis these programs are in time zones where we can't be live, like Japan, China, and Australia.

The idea behind it was to take advantage of modern technology. Whereas going to movie theaters isn't a new idea, the idea of transmitting live opera performances digitally via satellite is a new idea. Because of the improved quality of the cinema experience in recent years, the quality of the projectors and audio, those influences made this possible. It was also necessary to gain the support and agreement of all the various unions and artists at the Met. Our performers' lives have changed dramatically now that not only are they performing at the Met, but their faces can be seen on close-up in movie theaters all over the world.

The movie business is so heavily tied to the marketing business, with studios pouring millions of dollars into promoting their films. How did the Met approach the challenge of marketing alternative content?

It has grown in different places at different speeds. Sixty-seven percent of our movie theater audience is outside of the United States. Our biggest market outside the U.S. is Germany and Austria, where we're seen live on Saturday night. You can imagine how hard it is to get that time slot from theaters. In America it's relatively simple because [theaters] allocate a Saturday matinee. In Europe it's on Saturday night: prime movie theater real estate.

Our main commercial partner in the U.S. is Fathom Events. We also have direct distribution to about 90 independent performing arts centers who we distribute to directly. Then we have about 100 other partners outside of the U.S.; in Canada we have Cineplex; in the U.K. we have about 15 or 16 different competing movie theater chains; in France we have Pathé-Gaumont; we have a wide range of partners. We create marketing materials and, unlike movie releases, we don't spend a huge amount of money on average because we're basically appealing to people who like opera. We have a huge e-mail database and we notify them directly. We have hundreds of thousands of social media followers, a huge radio audience, and we also have a 24-hour digital channel on SiriusXM. With the help of Fathom, we get trailers into movie theaters. The amount of actual paid advertising is relatively little. It's a very small portion of our marketing effort.

You're very involved with how you package and produce these programs for movie theaters. To say it's just a camera taping a live performance is far from the product that your global audience enjoys.

I have a background in production, and my job running an opera house like the Met is very much a hands-on operation. Like managing a baseball team, you have to be involved in every aspect of it. I function as the executive producer of the Met content that reaches movie theaters. The reason why our programs are so well received is because they are produced by the Met itself; we don't bring in an outside production company. The stage crew that's working for the opera productions is also working for the HD productions. The artists who are performing are being engaged to perform for the audience in the opera house but also for audiences around the world. Opera is a bigger-than-life art form; it has more moving parts than any other performing art in the sense that a bigger orchestra on Broadway is maybe 10 or 12 players-we have 80 to 100 players in our pit. We have a chorus of 80-plus singers, we have dancers, huge casts, huge scenery. It's a mammoth kind of operation; it's a nonprofit art form that relies upon donors' generosity. The HD programs, however, actually make money for us. The idea behind them was to reproduce the experience on the big screen, and because opera is larger than life, it fits comfortably on that giant screen.

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by Daniel Loria

Avengers: Age of Ultron is up and running overseas. The super-hero sequel grossed $9.5 million from its first 11 markets, placing #1 in each of them as it begins a global roll out throughout the weekend.

France leads the pack after a $2.7 million opening day, the biggest of the year. It is 13% above Marvel's Avengers debut and 5% ahead of Iron Man 3. The Philippines posted the biggest industry opening of all time with $1.6 million, as did Indonesia with a $900k haul. Other leading markets from Wednesday's debut include Taiwan ($1.5M) and Italy ($1.1M).

Age of Ultron expands to South Korea, UK, Brazil, Australia, Russia, Germany, and Argentina on Thursday.

 

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