CINEMACON, Las Vegas (April 21, 2015) - GDC Technology Limited ("GDC Technology"), a world leading digital cinema solutions provider, is proud to announce that it has sealed a new server deployment deal with Jinyi Zhujiang Movie Circuit Co. ("Jinyi"), one of China's top 5 cinema circuits. Under the agreement, 200 units of GDC's flagship SX-3000 Standalone Integrated Media BlockTM ("SX-3000 IMBTM"), along with its Enterprise Storage solution, will be deployed across Jinyi's new multiplexes in 2015.

Established in 2004, Jinyi soon expanded to become one of the leading cinema chains in China, and now manages and operates close to 1,000 screens at over 200 locations across the country. Specializing in five-star luxury multiplex theatres, the company has an aggressive expansion plan that involves opening more than 200 new screens annually in the next 5 years. Jinyi has now enjoyed a 10-year partnership with GDC, having installed its first GDC server in 2005. In 2011, more than 200 units of GDC's SX-2000A Digital Cinema Server with Integrated Media Block (IMB) were deployed by Jinyi, making GDC the chain's number one digital cinema server provider. In addition to digital cinema equipment, GDC's TMS has also been deployed on a large scale for Jinyi since 2011, with this solution helping it to manage screens at multiple locations, including in remote areas such as Inner Mongolia.

"We are very impressed by the quality of GDC's products and services, and the success of GDC server deployments throughout the circuit in the past has certainly cemented the company's position as a partner in our expansion now and in the future," said Shou-wei Xu, General Manager, Project Command Center of Jinyi.

Dr. Man-Nang Chong, founder, chairman and CEO of GDC Technology, said: "We are grateful to have gained the trust of Jinyi again. We treat Jinyi like partner and we continuously strive to provide quality services and most cost-effective and innovative products to our customers."

About GDC Technology Limited (
GDC Technology Limited ("GDC Technology") is a digital cinema solutions provider. GDC Technology develops, manufactures and sells digital cinema servers, content storage systems, theatre 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 Technology's subsidiary, GDC Digital Cinema Network Limited, manages VPF for approximately 5,000 theater screens and 250 motion picture distributors worldwide.

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April 21, 2015

Las Vegas, USA - Philips continues to expand its portfolio of Digital Cinema Xenon lamps and is pleased to show a new lamp model at Cinemacon. The new XDC 6501B is specifically designed for the Barco DP2K-32B and DP4K-32B digital cinema projectors and has been tested and approved by Barco.

Philips has released this new high performance 6500W Cinema Xenon lamp with the longest 100% warranty in the industry (600 hours). Thanks to the extremely wide operating power range, it is easy for cinemas to switch between 3D and 2D without changing the lamp house or defocusing the lamp. The XDC 6501B has exceptional arc stability and a highly robust cathode design providing low flicker levels throughout life.

Philips Digital Cinema Xenon lamps are especially designed for the demanding requirements of today's digital cinema projectors. Their high light output ensures optimum on-screen brightness, while a proprietary electrode design ensures high arc stability with sharp digital pictures. Long lifetimes and a highly robust design ensure lowest Total Cost of Ownership for digital cinema. Each lamp is customized per projector model to ensure the best performance.


About Royal Philips:
Royal Philips (NYSE: PHG, AEX: PHIA) is a diversified health and well-being company, focused on improving people's lives through meaningful innovation in the areas of Healthcare, Consumer Lifestyle and Lighting. Headquartered in the Netherlands, Philips posted 2013 sales of EUR 23.3 billion and employs approximately 115,000 employees with sales and services in more than 100 countries. The company is a leader in cardiac care, acute care and home healthcare, energy efficient lighting solutions and new lighting applications, as well as male shaving and grooming and oral healthcare. News from Philips is located at

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By Daniel Loria

A member of the National Association of Concessionaires (NAC) since 2005, Adam Gottlieb has been actively involved in a variety of activities for the industry association. Gottlieb first began collaborating with NAC through sponsoring the Al Lapidus Golf Tournament in 2004. He has continued to sponsor NAC events since, including the association's annual convention and regional seminar series. BoxOffice spoke with the concessionaire veteran to learn more about his career in the candy business (and beyond).

What's the role cinema has played in the concession business, and what has your experience been working with that part of the industry?

It's a fun industry, a very tight-knit group. For people who are supposed to be competitors, they do a nice job of working together, sharing best practices, and helping each other along. It's rare to see that kind of interaction in business and it's something I like to be a part of. I can sit with four or five customers at a time and tell them what we're doing and the successes we've had with food and things like that and not have a fear that they're really going to have a problem talking together.

What are some of today's consumer trends?

I'll never forget when I first started working in the theater business. I walked into Crowne Theaters, a buyer that's no longer in the business. I thought I was going to show them everything out there that would make sense for theaters. I'll never forget he told me, "You know, Adam, thanks for coming, but I care about selling soda and popcorn and I don't really care about anything else." It crushed me because I thought I was going to show this guy all these new things he could do, and he didn't have any interest. Fast forward 15 or 16 years, almost everybody's looking for alternatives to the candy, popcorn, nachos, and soda that have always been the backbone of the industry. The changes have really come with expanded food menus, more hot foods.

Apart from the aforementioned popcorn and soda, what are some of the other staples?

The candy mix hasn't really changed. When vendors come to me and they think they've got the greatest new item to go into the theaters, I tell them how hard it is to get a new item to take off in theaters. My feeling is you go to the movies and you eat what your parents ate when they went to the movies. And they're probably eating the same stuff your grandparents ate at the movies. There's a lot of stuff that does very well candy-wise at theaters that doesn't really sell in the rest of the industry. Buncha Crunch is a very strong item, and you don't see it in retail. The last item to really hit it big candy-wise at theaters and have any staying power was Sour Patch Kids, and they were introduced when I was a kid going to the movies. They're still popular now because you've got kids who love eating the sour stuff at the movies, and you've got their parents who were the first generation to be introduced to sour candies. That's the last time the candy picture really changed.

Are vendors diversifying their offerings to meet the demand for expanded concession options, or are they sticking with what they do best in the ever-lucrative candy market?

It's a combination of both. I think that there are people going with the full-on in-theater dining concept. And there are people going with the chicken fingers, french fries, and corn dogs that can be prepared and served right from the concession stand as opposed to having a wait staff and runners bring it to someone's seat. I think there will be certain locations that can have and sustain the eat-in dining. I'm not sure it's going to be everyone that's into it now; I think you may see some people get out of it. I think it's going to be a mix of that and more of the casual, meal-replacement type thing that can be served at the concession stand. As far as candy goes, I haven't seen a lot of changes in the 17 years I've been doing it and not a lot of long-lasting changes. You'll see a lot of items that can pop up and do well for a short period of time, but I think you're ultimately going to be looking at a very similar mix to what you have now.

Different countries have different concessions, and the demographics in this country are changing rapidly. Do you think we'll see that shift reflected in the concession business in the next 10 to 15 years?

I think over time you will see a change. I can speak from what I've seen on the retail side of our business more than the theaters. Take Hispanics for example: if 30 percent of your clientele or more is Hispanic, you can do really well by catering to that demographic and putting a Hispanic candy set into a store for retail. I think you're going to see similar numbers or maybe even higher numbers on the theater end to really see that change for a couple of reasons. If 30 percent is what it takes to make it work in retail, it may need to be a little higher at a theater because I don't think you're seeing the same number of people buying concessions in a theater as in a retail store. I think to do a demographic-based food menu it has to be more than just candy. If you don't have a real high percentage of a population that's buying ethnic prepared food, I think your waste will be too high to really get into anything other than packaged ethnic foods. I think we will see a change as the demographics continue to change, I'm just not sure how quickly or how widespread it's going to be. We have had some customers who've brought in ethnic items, for example samosas for the Indian population or spicier items for the Hispanic population. What we've found, and I'm sure this is not across the board, but most of those experiments end up failing because there's just not enough buy-in and not enough usage.

Is there a secret to having a successful and profitable concession stand at the movies?

Part of it is having it staffed well, which is always tricky for any retailer. Especially going to a theater, people only have a certain amount of time they can spend before they get their seats. The challenge is that exhibitors are trying to keep payroll low, so it's not always possible to staff correctly during those peak times. The better your staff at the concession stand, I think the more successful you'll be as far as sales. The question is can you adequately balance that against your labor cost. And then there's having it properly signed, and making sure whatever you're running, static menu boards or digital menu boards, really calls out what you're trying to do at the stand. The customers that highlight their combos and offer a big variation of combo choices for their customers seem to sell more product, and they're showing a value to the customers, whatever that savings is with the combo-or the perceived savings, because sometimes you'll have a combo up there and there really isn't a tremendous savings to the customer, but just seeing it on the board triggers a buying impulse, and they're thinking instinctively that they're going to get a deal because that combo exists. The other thing is always making sure your stands look full and clean. It goes back to the same thing you'll see in retail: no one wants to shop an area that looks like it's been picked clean and going out of business. It's a combination of the presentation, the way the stand looks, the products that you're offering, and how you're promoting them.


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By Alex Edghill

Monday Morning Update: Star Wars: The Force Awakens was in charge on Facebook this past week as it rose a hefty 242k new likes. The jump was thanks to its newly released trailer which dropped late last week. Such a big increase for a page that already had over 13 million likes is hugely impressive and just yet another indicator as to how big this could be later this year. After its first trailer debuted in the end of November last year it rose only 80k Facebook likes, so it is picking up steam here as time goes on which is unusual but very positive.

Terminator Genisys tried to make the most of its new trailer this past week as it rose 66,151 likes. Not an overwhelming number by any means, especially as its total like number is still under 1 million. The trailer also released a major plot spoiler (I won't repeat it but its a doozy) so it was much more notable than your typical follow-up trailers. Despite a decent marketing spend, including a Super Bowl trailer and a franchise name that is one of the most storied in box office history it has failed to really catch on in social media. The lack of numbers indicates that the franchise is showing its age and failing to connect with younger audiences which it needs to expand and spawn further sequels. Based on the early numbers it might have a hard time passing the $44 million it needs on opening weekend to become the biggest opening Terminator of all time.

Jurassic World released a new trailer today which is heating up on Twitter and Facebook so I think it should post a nice hefty gain for my next week column. It managed to top 50k new likes this past week solely based on anticipation for the new trailer.

Facebook Top 5 Movies by Like Increase for the last week Ending Sunday April 19th

Rank Release Movie Likes Previous Change % Change
1 12/18/15 Star Wars: The Force Awakens 13,392,287 13,150,590 241,697 1.84%
2 07/01/15 Terminator Genisys 880,433 814,282 66,151 8.12%
3 05/01/15 Avengers: Age of Ultron 13,552,740 13,488,044 64,696 0.48%
4 06/12/15 Jurassic World 5,734,228 5,679,771 54,457 0.96%
5 04/24/15 The Age of Adaline 266,066 228,327 37,739 16.53%

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Please check the methodology page for information about our Twitter project or here for historic data.

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by Daniel Loria

You don't get too many exhibition veterans who started their careers in the chemical industry. Valmir Fernandes made that very transition when he helped launch Cinemark Brazil, growing the business into a market leader as general manager for 10 years. Fernandes was promoted to head Cinemark International in 2006, where he has spearheaded projects such as introducing the private-label premium large-format concept, Cinemark XD, to screens across Latin America. BoxOffice talked to Fernandes and got a closer look at Cinemark's overseas business.

What were some of the highlights for Cinemark International in 2014?

We definitely started the year worried about the impact of the World Cup. Not only because it was taking place in Brazil, but also because of the strong participation of other Latin American countries in the tournament and the fact that it would be held in the region for the first time in a while, meaning time zones wouldn't be an issue. The good news is that we finished the year ahead of the previous one. We performed better than the domestic industry; by itself, that was an achievement, because to outperform in a year with such a distraction in the region, and specifically with our strong position in Brazil and Argentina-with Argentina getting to the semifinals-was not an easy time for us. But we managed to offset all that distraction and perform really well. We also initiated operations in Bolivia in early 2014 and continued growing in almost every country in Latin America. I would say even with the difficulties the region is facing, business has been very good for us, and we expect to continue to perform well in Latin America.

What do you think the future holds for a country like Brazil, where exhibition seems prime for expansion but the country's economy is showing signs of slowing down?

The movie business continues to be very strong. I'm not seeing problems as long as we continue to have a great crowd, and that's exactly what we are getting. I don't feel we have the same problems that other sectors are facing, particularly because the unemployment rate continues to be very reasonable. I'm not making any forecasts, but up to now things have been good other than the fact that the whole world has been affected by the devaluation of other currencies against the dollar, but I think currency devaluation is a problem for any global company regardless of the region. Even in Brazil, with the political problems, the corruption, I don't think there will be an impact on our business in 2015. The only thing that may, and I'll be very clear, may have an impact is if people start to get worried about future investments. But that would impact three or four years from now, not 2015 or 2016. In fact, I believe we are looking at very good years, and I also expect some solid local product in Brazil to help us.

As an exhibitor that has had an international presence for a long time now, is there any way you can prepare for something like currency devaluation?

As long as you have developed sound projects, they will go through the times of uncertainty or oscillation in the currency. The good thing is that our business, other than imported equipment, is totally conducted based on local currency. We know some things get more expensive, and we know some things get less expensive when you look at things in dollars, but our way to look at this is to manage the business as if we are a local company. We manage the business looking at all the drivers and all the elements in local currency, and then after managing the business in local currency, we translate whatever the results are to dollars. But we try to be very tight to operate everything as a local company that's not even looking at the dollar, other than the fact that my imports are getting a little bit more expensive. But then I also have some local costs that are going to be cheaper-construction costs and things like that. We know the currencies are going to go up and down, and we're going to wait for better times because we have gone through it before.

We've seen Cinemark expand throughout Latin America over the past couple of years, reaffirming its faith in the region. You mentioned Bolivia as a new market. What goes into finding a new territory?

When we look at new opportunities in the area, we normally link it to either a growth potential or a very, very reasonable and attractive deal that would put us in a different country. We entered Bolivia because we felt it was a very under-screened and underdeveloped market similar to the ones we first found when we entered Latin America. We found a very high-quality project to participate in, and you get into a new country and suddenly began selling an additional 800,000 to million tickets. We continue to look for similar opportunities. We are opening in a few months in Curaçao, and we're opening in Paraguay at the end of the year or early next year. There are also opportunities in our existing territories, going to cities and areas that remain under-screened or with no theater offerings. I think what we are going to continue to see happening in Latin America is that the market is going to grow, not only because it has the potential to grow in the cities where we are already present but because there are markets that can be untapped, and then suddenly you have another project that is selling a half million tickets in a year. You'll see this trend popping up in different regions where the movie business is not present.


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