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By Daniel Garris

Kung Fu Panda 3 took in $1.55 million on Monday to lead the daily box office for an eleventh consecutive day. The 3D computer animated sequel from Fox and DreamWorks Animation was down 68 percent from Super Bowl Sunday and down a very slim 11 percent from last Monday. Kung Fu Panda 3 passed the $70 million mark yesterday and has grossed $70.85 million in eleven days. The film is currently running 23 percent behind the $92.13 million eleven-day take of last year's Hotel Transylvania 2. With no new family films entering the marketplace this coming weekend, Kung Fu Panda 3 is likely to hold up very well over the Presidents Day holiday frame.

Universal's Hail, Caesar! claimed second place with $0.886 million. The Coen Brothers directed film featuring Josh Brolin and George Clooney was down 49 percent from Sunday. Yesterday's hold was a bit concerning going forward, as Hail, Caesar! didn't rebound as well from the Super Bowl as a number of other films aimed adults did on Monday. Hail, Caesar! has grossed $12.24 million in four days. That is in line with expectations and places the film 9 percent behind the $13.42 million four-day start of 2008's Leatherheads.

Fox's The Revenant placed in third with $0.692 million. The Alejandro González Iñárritu directed western starring Leonardo DiCaprio was down just 35 percent from Sunday's deflated performance and down 28 percent from last Monday. The Revenant passed the $150 million mark yesterday and has grossed an impressive $150.24 million after 32 days of wide release (and an additional two weeks of platform release).

Disney's Star Wars: The Force Awakens followed closely behind in fourth place with $0.679 million. The Revenant and The Force Awakens were separated by only $13,861 for the day. The seventh chapter of the Star Wars franchise declined 53 percent from Sunday and just 13 percent from last Monday. The 53-day total for The Force Awakens stands at a record-breaking $906.72 million.

Fellow Disney release The Finest Hours rounded out Monday's top five with $0.469 million. The 3D action drama starring Chris Pine was down 39 percent from Sunday and down 38 percent from last Monday. The Finest Hours has grossed a lackluster $18.96 million in eleven days of release.

Lionsgate's The Choice and Sony's Pride and Prejudice and Zombies continued their soft starts on Monday with respective sixth and seventh place takes of $0.430 million and $0.429 million. The two films were essentially tied yesterday, as they were separated by just $602 for the day. Respective four-day grosses stand at a disappointing $6.48 million for The Choice and at an even more disappointing $5.75 million for Pride and Prejudice and Zombies.

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PRESS RELEASE

Brussels: 9 February 2016 - The International Union of Cinemas (UNIC) today released a provisional update on cinema admissions and box office revenues across Europe for 2015.

While some data remains to be collated and figures for certain territories are based only on initial estimates, the overview provided by UNIC represents the first wide-ranging assessment of the performance of the European cinema sector last year. More detailed final data on the performance of each territory will be released in Spring 2016.

Cinema-going in 2015

2015 was a record year for cinema operators in many European territories. Total admissions for EU countries (where data was available) increased by 6,9 per cent compared to 2014, while total admissions for all UNIC territories[1] increased by 5,5 per cent, totalling more than 1,2 billion visits to the cinema. While local films performed remarkably well in some countries this overall trend was mostly the result of strong international titles throughout the year, including, but not limited to, Fifty Shades of Grey, Furious 7, Minions, SPECTRE, Jurassic World and Star Wars: The Force Awakens.

Once final box office figures for all territories are available, it will be possible to ascertain the impact of these positive overall trends in admissions on total box office revenues.

Increases in UK, Germany and Scandinavia; positive performance in France and Turkey

UK box office increased by 17,3 per cent compared to 2014, whilst admissions increased by 9,2 per cent. Germany enjoyed similar results (BO +16 per cent / admissions +9,4 per cent - preliminary estimates) bolstered by the success ofFack Ju Göhte 2.

As has often been the case in recent years, Scandinavian countries experienced positive results bolstered by strong local titles, such as Klovn Forever in Denmark (BO +21,8 per cent / admissions +15,2 per cent), Luokkakokous in Finland (BO +25,5 per cent / admissions +18,9 per cent) and Bølgen in Norway (BO +13,8 per cent / admissions +8,6 per cent).

While France again registered more than 200 million cinema visits, admissions slightly decreased by 1,4 per cent in 2015. This was primarily due to the unprecedented success of French films in the previous year. A similar trend could be observed in Turkey (BO +4,4 per cent / admissions -1,3 per cent).

Strong developments in Southern Europe

The Italian industry is showing signs of recovery following an impressive increase of 10,9 per cent in admissions and 8,6 per cent in box office. Spain also enjoyed positive results (BO +9,2 per cent / admissions +7,5 per cent), with 8 Apelidos Catalenes leading the box office top five in 2015. In Portugal, where Opátio das Cantigas ranked third in the list, admissions increased by an astonishing 20,2 per cent and box office by 19,4 per cent.

Continuing growth in Central and Eastern Europe

Poland has now become one of the leading European cinema markets, with more than 40 million admissions in 2015, an increase of 10,6 per cent on the previous year. Box office increased by 13,2 per cent, led by local production Listy Do M. 2. Several other Central and Eastern European countries experienced equally positive developments in 2015, notably Bulgaria (BO +11,1 per cent / admissions +8,7 per cent), the Czech Republic (BO +14,1 per cent / admissions +11,7 per cent), Hungary (BO +20,1 per cent / admissions +18,4 per cent) and Romania (BO +16,6 per cent / admissions +18 per cent).

Admissions per capita, European film share, outlook for 2016

Admissions per capita for all UNIC territories (where data was available) came in at 1,5 visits per year, equalling the result of 2014. France (3,1) and Ireland (3,3) experienced the highest cinema-going rate.

Due to incomplete figures for a number of countries, it is too early to assess the total market share for European films in 2015, which is expected to be slightly lower than 2014 due to strong competition from US productions.

The industry looks forward to a busy and exciting release schedule in 2016, one that is full in particular of promising European as well as studio titles.

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PRESS RELEASE

Industry veteran Mark Mayfield is promoted to Director, Global Cinema Marketing

QSC Headquarters, Costa Mesa, CA (February 9, 2016) - QSC, LLC is pleased to announce the promotion of Mark Mayfield to Director, Global Cinema Marketing.

Mark Mayfield joined QSC Cinema in 2013 as Cinema Marketing Manager, with responsibility for sales and marketing collateral, trade shows, PR, web, and advertising.

As Director, Global Cinema Marketing, Mark will have overall responsibility for developing and executing marketing strategy for QSC Cinema. In addition, he will continue to function as Product Manager for cinema products, providing the sales and marketing voice in the product development process.
"In his three years at QSC, Mark has successfully retooled QSC's marketing presence in the cinema industry, and greatly improved our customer communications," says Barry Ferrell, Senior Vice President and Chief Strategy Officer for QSC. "In his new role as Director, Global Cinema Marketing, Mark will apply his many years of experience in cinema marketing to expanding the global visibility of the QSC brand and leading the creation of industry-leading products and support programs."

Mark Mayfield's background in cinema includes marketing positions with JBL Professional and Eastern Acoustic Works (EAW). In 1997, he co-authored a SMPTE paper with consultant John M. Eargle and David Gray of Dolby Labs, which described loudspeaker improvements to the Samuel Goldwyn Theater at the Academy of Motion Picture Arts and Sciences (AMPAS). These improvements were the basis for the first series of practical 3-way loudspeaker systems for cinemas. At EAW, he was responsible for leading the sales, marketing, and product development programs for all cinema products. Mark also has significant experience in publishing, having served as chief editor for several leading AV systems integration magazines.

Prior to joining QSC in 2013, Mark was an independent marketing consultant for several major audio products manufacturers and trade organizations, and has authored dozens of articles on various topics related to cinema sound and pro AV.

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PRESS RELEASE

QSC Headquarters, Costa Mesa, CA (February 9, 2016) - QSC is pleased to announce that production has been completed on a :40 second cinema trailer which will be provided free-of-charge to theatres equipped with complete QSC Cinema sound systems.

"Many theatre owners are quite proud of the fact that they have invested in a QSC Cinema sound system, and they want to share this fact with their patrons," says Barry Ferrell, Senior Vice President and Chief Strategy Officer for QSC. "In fact, our customers have been asking for a QSC trailer for a number of years. We are extremely happy to be able to finally deliver it to them."

The new QSC trailer, entitled "Underwater Symphony", will be available as a DCP (Digital Cinema Package) in 4k resolution, both Scope and Flat. Initially, 5.1 and 7.1 audio formats will be available; versions with immersive formats will also offered in the near future.

"Underwater Symphony" features full animation and an original soundtrack. For image production, QSC selected Imaginary Forces, a creative studio and full service production company specializing in branding content for commercial advertising, digital and interactive platforms, feature films and film marketing, television, architectural spaces and global brands.

Audio quality was obviously a top priority during the production process. For the soundtrack creation, QSC chose MarcoCo, a music production company run by Marco and Terri d'Ambrosio based in northern California. The soundtrack was fully orchestrated and recorded at Skywalker Sound. Mixing was done at The Dub Stage, an LA-area post-production house.

The trailer's imagery shows a variety of partly-realistic, partly-fantasy sea creatures. Sparkling and swirling sound effects and a slowly building musical soundscape accompany the creatures, showcasing the high frequency clarity and musicality of QSC signal processing, power amplifiers, and loudspeakers. As the musical score ascends, a mammoth whale-like creature appears from the depths accompanied by a low-frequency rumble from the QSC subwoofers, and with a swipe of its immense tail, reveals the QSC logo in a cascade of water bubbles. The simple yet bold tagline "Now You Hear Us" appears, announcing to the audience that they are listening to a QSC system.

"Underwater Symphony" will be distributed to QSC-equipped theatres around the world beginning in February 2016. Digital Cinema Package (DCP) versions will be available for download from the company's website at www.qsc.com/cinema/resources.

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PRESS RELEASE

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10% of the Country's "Star Wars: The Force Awakens" Box Office Comes from 4DX

4DX "Star Wars" Revenue Per Seat 1.7x Higher Than Next Leading Premium Format

Seoul - February 8, 2016 - 4DX, an immersive theater technology from CJ 4DPLEX, featuring motion seats and environmental effects, has had a strong impact on the growing Japanese box office. For example, the 4DX version of Star Wars: The Force Awakens, released in December, has thus far brought in more than 1 billion yen ($85 million USD), accounting for more than 10% of the title's total Japanese box office to date. Overall in 2015, 4DX versions of top Hollywood titles such as Jurassic World, Furious 7 and Mad Max: Fury Road recorded 7% of the country's total box office for each title, even though 4DX auditoriums claim only 3.5% of the total number of theaters in Japan.

In comparison to other premium cinema formats including PLFs (Premium Large Format), 4DX was the highest in terms of revenue per seat taking in 0.7 million yen ($6,213 USD), with attendance per seat hitting 294 movie-goers. Attendance in 4DX theaters was 1.5x higher, and revenue per seat was 1.7x higher in 2015 than one of the largest PLFs.

Additionally, during a recent box office results presentation by Motion Picture Producers Association of Japan (Eiren), chairman Mr. Yusuke Okada credited 4DX as one of the big contributors to making 2015 a high revenue year, which recorded over 210 billion yen (~$1.78 billion USD), showing growth of 4.9% from 2014. This is the second highest recorded Japanese box office result behind only the 220 billion yen ($1.89 Billion USE) recorded in 2010.

"We are proud to be part of the great year Japanese theatres had at the box office, as 4DX continues to expand both in Japan, as well as around the world," said Byung-Hwan Choi, CEO of CJ 4DPLEX. "In addition to our geographic expansion in several countries, 4DX is also committed to providing different genres of content to its exhibition partners. This includes not only Hollywood blockbusters and local hits but also short films and alternative contents such as music concerts. We are investing much to develop diverse new 4D effects, and by extension, the next 4DX formats, to give more immersive experience to our audience as we pursue becoming the Global No.1 premium cinema brand."

Success in Japan has consequently led to 4DX expanding to 33 theaters in the country through partnerships with 7 of the country's major exhibitors. 4DX added 25 more screens in 2015 alone, continuing its hold on the title of fastest growing 4DX market. 4DX aims to reach more than 50 theaters in Japan this year.

As of February 2016, 4DX tallies 228 auditoriums with over 28,000 seats in 37 countries. Worldwide, CJ 4DPLEX aims to open 200 new 4DX theaters this year alone and expand to 800 4DX theaters by the end of 2017.

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