Category Archives: Cinema Advertising

Travis Reid Departs DCIP To Head Up Screenvision

Travis Reid - Screenvision.jpg

Travis Reid

Last Thursday Digital Cinema Implementation Partners (DCIP) announced that Travis Reid, their CEO, had resigned. That same day on-screen advertising giant Screenvision announced that Shamrock Capital Advisors, a private equity fund founded by the late Roy Disney, had finalized the $160 million purchase of the company and had appointed Reid as its new CEO.

At ShowEast, which was just wrapping up at the time, many industry folks I spoke with were surprised to hear the news, though looking at it objectively, the move is somewhat inevitable.

Reid has had a long career in motion picture exhibition that includes his stint as the President and CEO of Loews Cineplex for which he worked from 1991 until 2005 when the chain was acquired by AMC Entertainment. In 2007 he joined DCIP, the deployment entity formed and owned by North America’s largest exhibitors; AMC, Regal Entertainment and Cinemark. Reid has also sat on the boards of Cineplex Galaxy, Yelmo and Fandango among others. As Shamrock’s Managing Director Steve Royer said in Screenvision’s press release:

“Travis has an over thirty-year history in the exhibition space having operated chains and most recently, pioneering the digital revolution for the cinema exhibition industry. He was our ideal candidate.”

Reid led DCIP through a challenging period in its formation and development. Not only did he successfully oversee the companies protracted negotiations with major studios for virtual print fees (VPFs), but just as it seemed digital cinema was taking off, the financial meltdown caused funding for rollouts to dry up for more than a year. Reid and DCIP persevered and in March of this year he secured $660 million in funding from a consortium of banks.

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Popularity: unranked [?]

Screenvision and National CineMedia In Merger Talks

Screenvision LogoLess than a week after denying bankruptcy rumors that caused the stock price of French conglomerate Thomson SA to plummet 15%, the company has moved aggressively to sell off its cinema advertising unit Screenvision.  Industry chatter that the Thomson subsidiary has entered talks to merge with its chief competitor, National CineMedia (NCM), may turn out to be more than just rumor and speculation.  That is if you believe USA Today, which published a story about the potential merger on Monday.

A merger between Screenvision and NCM seems unimaginable, if not impossible, given the two firms majority share of the North American cinema advertising business.  Surely there will be some regulatory group that will object to having only one company control most of the profitable advertising placement in the country’s leading movie theatres.  This issue didn’t escape USA Today either who quoted Lazard Capital Markets Analyst Barton Crockett as saying:

“I’m not sure that (a combination) is possible from an antitrust perspective.  It would affect some advertisers, studios and independent theater chains that like to play those two (companies) against each other.”

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Popularity: 20% [?]

Cinemas – Ignore Baby Boomers At your Own Peril

senior-vue

This very good article from the New York Times does not dicsuss cinema or cinema advertising explicitly. But the implications are writ large for the two about the growing importance of the aging US (and European) population in terms of impact it will have on spending habits.

For decades, older consumers were largely shunned by marketers because they were deemed less wealthy, less likely to try new products and less willing to change brands. Campaigns directed at them were described dismissively as made for the “Geritol generation.” As much as older consumers were to be shunned, young consumers — ages 18 to 34, or 18 to 49 — were desired for what were deemed their free-spending ways, eagerness to sample new products and brand-switching proclivities. The idea that they were starting in life with a proverbial blank slate of marketing wants and needs was catnip to product peddlers.

Those attitudes have been changing, for a couple of reasons. One is the recession, which makes older consumers who may have paid off mortgages seem a safer bet than younger ones who may get laid off in last-hired, first-fired downsizings.

The hard numbers bear out this thinking.

Although “18 to 49 is going to remain the predominant buying demographic,” Mr. Donchin said, “this country is aging, and the boomers are an attractive demographic.”

That appeal is because of the size of the boomer market and because, as Mr. Donchin put it, “50 isn’t what it used to be.”

Older consumers today “are not as resistant to change” as older consumers previously may have been, Mr. Donchin said, summarizing their attitude as “Show me something better, and I’ll try it.”

And the boomers are even “comfortable with digital media,” he added.

Hollywood studios are slowly waking up to this as well, with films like “The Queen” having significantly higher investment return ratios than even big hits like “The Dark Knight”.

But cinemas are only slowly embracing this fact. UK exhibitor Vue spoke on a panel at ShoWest about how it has introduced screenings aimed at an older clientele where they don’t have to sit next to youngsters chatting on mobile phones. Vue may soon want to consider targeting 45-65s with wine and cheese in the evening, rather than just the 65+ tea-and-biscuit crowd.

Popularity: 25% [?]

Aussies Want UK Cinema Advertiser

CSAUK/Irish cinema screen advertiser Carlton Screen Advertising (CSA) is officially in the chopping block with the most likely buyer being Pacific Equity Partners, which bought the exhibitor Australian cinema chain Hoyts last year. Having once been the biggest and most profitable screen advertiser in the world, CSA’s decline has been as steep and fast as it has been sad. Despite the OK-ish box office year 2007, CSA (2,900 screens in 500 sites) was not able to capitalize on the small growth as it was saddled with large up-front payments to some of the UK’s largest circuits. With one of these, Cineworld, being publicly quoted, CSA’s move to switch from 6-month up-front payment to month-by-month forced it to flag this to the stock market. This in turn forced CSA’s parent ITV to announce that the screen advertiser was indeed for sale – at a rock bottom price. As Sunday Times notes:

Once worth £80m, analysts now value CSA at nothing, despite healthy cinema attendances. ITV may even have to pay someone to take it off its hands.

The business is estimated to be liable for another £200m in upfront payments to customers, chiefly Odeon and Cineworld, to satisfy onerous advertising contracts that stretch to 2012.

Those agreements mean CSA has struggled to make money despite total cinema advertising income growing 10% to £170m last year, according to Nielsen figures.

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Popularity: 35% [?]

Warner Bros. Goes With Kodak Pre-show In Italy

Kodak Digital CinemaKodak Digital Cinema is notching a win in its belt after Warner Bros. International Cinemas selected them to run digital pre-show in their theatres throughout Italy. Kodak will install pre-show systems on 172 in 17 venues throughout the country starting in late January.

Over the past several years, Kodak Digital Cinema has faced stiff competition in the North American pre-show market from the likes of National Cinemedia and Screenvision. So much so that few may remember that Kodak is still in the pre-show business. Even Kodak seems to understand they might need to show exhibitors the worthiness of their advertising solution, as Enrico Ferrari, Kodak Digital Cinema manager for Italy was quoted as saying:

Warner’s staff set high standards for system performance and did extensive research into the pre-show solutions available. It will be our goal – in everything we do – to prove they made the right decision.”

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Popularity: 20% [?]