Category Archives: Countries

China Cinema Digest – Thursday 26 February 2015

China Daddy Trip

The box office over Chinese New Year (CNY), traditionally always strong and devoted to domestic blockbusters, was up significantly this year to 350 million yuan (USD $56 million). The reason is attributed to the growth in the number of screens, which is set to cross 25,000 by early March.

Single-day box office close to 350 million yuan of the strongest in the history of blowout

According to the country’s major mainstream cinema to rough statistics, as of 24 o’clock last night, National City theater box office on February 19 of about 330 million yuan; not enough time plus part of the statistics reported missing at the box office and is expected to eventually accessible 350 million Yuan. The current average fare of less than 40 yuan Chinese cinema, which means the country on February 19, about 10 million people into the theater viewing. Day become the country’s largest cultural consumption events. At present, the Chinese New Year holiday is only just beginning; the law in recent years from a historical point of view, last week will be the peak viewing audience and box office visits will be started almost the same output, the seventh day before the expected total audience Visitors reach sixty-seven million.

After the seventh day, as some people go to work, there are some cities in the return of the road, the market heat will be reduced, but the Chinese New Year holiday to go to the fifteenth day after will be completely finished. So even after the seventh day trips Pujiang half the audience, to the fifteenth day before there would have been two or three million, add up to a hundred million.  LINK

Chinese New Year cinema

CNY is like a combination of Thanksgiving and Christmas, so it is an opportunity for families to spend time together – in silence in the cinema. Micro-channels providers were quick to offer impossibly cheap cinema ticket deals.

Tencent also launched “Please watch the movie universe” campaign, users can spend 188 yuan to buy a movie ticket prices, which contains 12 movie coupon, then like red envelopes will generally share this package to my circle of friends, or micro-channel group inside. Baidu also launched the “stand by 20 yuan,” online discount. After the user through the phone Baidu search for “movie tickets”, you will go directly to the page and the next one after purchase, minus $ 10, if paid in Baidu wallet, you can minus 10 yuan.

“Micro-channel supplier of low-fare passenger seemingly led the theater, but also to a certain extent, to mislead the consumer.” Hangzhou Golden Elephant cinema Weng Liping, general manager, told reporters that the general movie tickets cost 25 yuan to 35 between the yuan, too low prices make consumers think that the normal fare but became unreasonable.

Weng Liping believes that the Internet cheap tickets compress the cinema’s own space operations in the face of these ridiculously low fares, cinema launch membership immediately lost its appeal, is not conducive to get sticky customers.  LINK

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Women Behaving Badly at “Fifty Shades” Screenings

FSOG Girl's night out

Yesterday we reported how cinema patrons’ bags were searched and a man was attacked with a broken bottle (by women!) in relations to screenings of “Fifty Shades of Grey” in Glasgow. It seems that this was only the start of various antics tied to the S&M romance film across Britain – plus cold showers in Canada and one very red faced woman in Mexico.

It appears that some people (mainly women) attending screenings of “Fifty Shades of Grey” are enjoying it in the style of “The Rocky Horror Picture Show” midnight screenings, according to cinema staff.

Moviegoers turned up wearing full-body latex suits, and one even asked if SEX TOYS were supplied.

Staff have found all sorts of x-rated objects on cinema floors since the movie’s release last week – including used condoms, masks and handcuff packaging.

A group of women were caught in the dark after other audience members made complaints during the movie, which is filled with explicit sex scenes.  LINK

In Northern Ireland alcohol was apparently frequently consumed prior to patrons going to see the film, according to the owner of Movie House Cinemas, Michael McAdam:

“Particularly in the city centre, where people were certainly high-spirited, I think there were people who came along with groups of girls, maybe one or two didn’t really want to be there – there’s nothing more annoying that when you go to the cinema, people are just sitting talking.

“While other people were saying ‘look, hang on a minute, I want to see this I bought my tickets two months ago’, these people just didn’t care and were incredibly rude. Incredibly rude to each other, rude to staff and it just isn’t acceptable.”

The managing director said he was shocked that some cinemagoers refused to leave when asked.

“We were taken a little bit by surprise at the [im]maturity, I mean we’re talking about women in their 40s and 50s who were totally out of order,” he commented.  LINK

Living up to the stereotype as the hard drinkers of Britain, an Odeon cinema in Scotland’s Dundee had to evict an allegedly drunk woman from the premises.

An incident during the first batch of screenings of the blockbuster hit in the City of Discovery saw two would-be movie goers become embroiled in a foyer stand-off at the Odeon.

Odeon confirmed the “disagreement” between the two guests at their multiplex in Douglasfield as temperatures rose ahead of the raunchy film.

It is understood cinema workers had to intervene to calm the feuding pair before the movie started.LINK

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Breaking News: Quanta DGT Recovers Part of Their Stolen Digital Cinema Equipment

A truck seized in Belo Horizonte, Brazil was filled with digital cinema equipment stolen from Quanta DGT

A truck seized in Belo Horizonte, Brazil was filled with digital cinema equipment stolen from Quanta DGT

The thieves who made off with more than 120 screens worth of digital cinema equipment from Quanta DGT could run, but they couldn’t hide. Actually scratch that. Apparently they could run, but they couldn’t hide all of the digital cinema devices they stole from the Latin American integrator earlier this month.

When police in Belo Horizonte, Brazil stopped a semi-truck on Wednesday for further examination they discovered at least 40 digital cinema projectors and servers inside. Police pulled the truck over to inspect the lock on its 11 meter (40 foot) trailer, but when they stepped away to check the driver’s documentation, he managed to run away, leaving his cargo behind. Naturally the police wanted to investigate the contents of the trailer and upon opening it they discovered it was packed with Barco, Dolby and Doremi cinema equipment, all of it stolen from Quanta DGT.

The original theft took place from Quanta DGT’s warehouse in Rio de Janeiro, Brazil where the digital cinema kits were prepped, packaged and loaded onto trucks for delivery to exhibitors beginning on February 2nd. On or about February 1st the equipment was offloaded by thieves who used their own transport to haul the stolen goods away. Since then the crime has been under investigation by Brazilian law enforcement, including the Delegacia de Roubos e Furtos de Carga (Department of Robbery and Theft of Cargo).

Authorities are now tracing ownership of the seized truck whose original owner in Rio de Janeiro sold it to someone in Belo Horizonte, the sixth largest city in Brazil some five hours away by car. Law enforcement will continue to investigate the heist in hopes of recovering the remaining stolen equipment. Quanta DGT is offering a generous reward for any reports, anonymous or otherwise, leading to the location of the stolen devices. (And by generous, we mean enough to actually outfit a cinema auditorium of your own).

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China Cinema Digest – Thursday 12 February 2015

China digital cinema satellite

China’s State Administration of Press, Publication, Radio, Film and Television’s (SAPPRFT) Digital Program Management Centre has inaugurated a test NOC for the satellite distribution of DCP copies of films. It is not clear which cinema are participating in this, but it’s one to monitor.

The platform now has 90Mbs ~ 120Mbs sent per second speed, which can be transmitted nearly 10,000 theater 400 films annually. Start platform replaces the traditional hard mail, movie digital copy within eight hours after the service platform can be transferred to the theater, greatly improving the film transmission speed, ensure the film’s nationwide simultaneous release. Satellite transmission uses a multipoint broadcast mode, with the increase in the number receiving theater, film distribution costs will be further reduced and ultimately may be able to provide more opportunities for outstanding movie theater screen board, so the theater with the audience more viewing choices, promote development and prosperity of the movie industry.  LINK

China cinema Wanda

Lots of juicy cinema statistics from Win Business Network, ranking cinema operators and cities in China, with Wanda ahead but finding it difficult to keep up the momentum.

Core Tip: from the theater suggests that, in order to develop the industry benchmark Wanda 7 above the main multiplex cinema, theater and other core cinema hall in 4-6 dominant. Taking into account the number of people viewing a single screening decreased year by year, other core cinema hall may need to consider increasing the number of (screen number) in order to increase the theater box office.

2015, Tencent Finance jointly launched nine square big data “Chinese hot industry rankings” series, this series will become the benchmark single-ranking Chinese industry and investment field in 2015.  LINK

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EAO Releases European 2014 Cinema Statistics – Up, But Not Much

EAO Cinema Figures Europe 2014

A week after cinema trade body UNIC released its provisional European Cinema going figures for 2014, the European Audiovisual Observatory (EAO) has released its preliminary cinema figures at the Berlin Film Festival.

The figures show an overall slight upward trend for the EU as a whole, breaking a long pattern of decline, but only slightly and primarily thanks to strong box office in three major territories. Most west European territories reported a decline.

The Observatory estimates that total admissions in the European Union increased marginally by 0.6% to 911 million tickets sold, around 5.4 million more than in 2013 (906 million). The small increase was primarily ensured by a strong year-on-year performance in France and Spain which kept EU admissions from continuing their downward trend of recent years.

As in 2013, two thirds of EU markets experienced a decline in cinema attendance, while admission levels increased in only nine out of the 27 EU territories for which provisional data were available. The year-on-year increase was most pronounced in France (+14.8 million, +7.7%) and Spain (+10.5 million, +13.6%) with cinema attendance in both markets recovering from exceptionally weak results in 2013.

Although both UNIC and EAO figures are provisional, they come to similar conclusions, positing a 0.7% and 0.6% increase respectively for EU countries. UNIC sources its data from UNIC members while EAO data has been “collected with the collaboration of the EFARN (European Film Agency Research Network)” mostly from national film institutes and public audiovisual bodies.

UNIC represents exhibitors and trade bodies in 36 territories, but only published provisional data for 24. It did not yet have data for Belgium, Bulgaria, Cyprus, Greece, Hungary, Iceland, Malta (EAO also not), Montenegro, Macedonia, Romania or Slovenia, for which EAO has provisional data. Neither UNIC nor EAO covers Serbia, Bosnia, Belarus, Ukraine or Moldova. The omission of several Central and Eastern European territories from the UNIC figures misses out on some of the larger growth markets, as noted by EAO:

Apart from France and Spain, year-on-year growth in cinema attendance was only achieved in six Central and Eastern European member states, led by Poland (+11.2%), the Slovak Republic (+10.8%), Romania (+10.5%), Hungary (+8.4%) and the Czech Republic (+4.5%) as well as Belgium (+0.8%).

There were also some minor discrepancies between UNIC and EAO data for some contries reported by both, notably Germany, though this had to do with FFA only releasing its data on 9 February. For Sweden, for example, UNIC has +0.8% growth in BO but -1.7% decline in admissions, whereas EAO has +0.5% BO and -1.9% admissions. There is also a larger discrepancy when it comes to Russia’s BO and admissions, which UNIC sees as stronger than EOA does.

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UK Cinema Spending Habits and Intentions Revealed

YouGoc UK cinema spending 1

British polling company YouGov has published a report that details the spending patterns and intentions of UK cinema goers. The findings reveal regional variations and an overall positive outlook, though cost is a factor in some people choosing not to frequent the cinema.

YouGov’s Film and Cinema Evaluation report profiles individual cinema spending above and beyond the cost of the cinema tickets themselves. As well as covering obvious extras such as concessions and drinks, but also related required spending on ‘sundries’ such as parking (and babysitting?).

Perhaps not surprisingly the highest spending is in the capital, given that London has the most expensive cinemas as well as related real estate, parking, etc. Total spend is GBP £8.78 per head per visit in London, while the traditionally poor region of Wales has the lowest spend at GBP £6.86.

The study further broke down spending into categories based on frequency of cinema going.

The study assesses who is going to the cinema and with whom, when and where people go, what they watch and why and how much they spend. It also analyses how people find out about new films why they choose to watch what they do, what genres and actors different groups are interested in and how cinemagoers’ profiles vary film by film. YouGov spoke to over 5,000 people in the UK aged 16+ for the research.

YouGov found that not only do men (£8.29) spend more than women (£7.39), but that people who visit the cinema more frequently, typically spend more on items other than tickets (e.g. popcorn, drinks, etc.). “Heavy” cinema users have the largest outlay on sundries, spending an average of £9.15, compared to £8.02 for “medium” users and £7.04 for “light” users.

Perhaps not surprisingly “Heavy” users are more likely to be found in London, again either because London offers greater choice of cinema and films or because people who want a wide cinematic choice gravitate towards the capital.

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UNIC 2014 European Cinema Statistics – It’s a Funny Thing

UNIC European BO 2014

The legendary Speaker of the US House of Representative Tip O’Neil famously said that “all politics is local.” The same can be said for European cinema statistics.

With US in the doldrums and China booming in 2014, the just released UNIC Update on Cinema Exhibition in 2014 highlights a fragmented continent and mixed fortunes at the box office. Not all the data is in yet and the full figures will only be confirmed by UNIC in the spring, but there is enough to make for interesting reading.

As has been the case in recent years, cinema-going across UNIC territories varied significantly in 2014, primarily due to the moderate performance of international films and some very strong local titles in certain countries. Total admissions for EU countries (where data was available) increased by 0,7 per cent compared to 2013, while total admissions for all UNIC territories (incl. EEA, Russia, Turkey) increased by 1,6 per cent.

Where local box office performed strongly in Western Europe it was typically on the back of local comedies, such as France’s “Qu’est-ce qu’on a fait au bon dieu?” and Spain’s “8 Apellidos Vascos”.

However, in Russia, Eastern Europe and Turkey the good box office was the result of a combination of strong domestic titles (all top five titles in Turkey were local films) and the growth in the total number of screens and expansion of the exhibition business as a whole.

French cinema exhibitors – riding on a wave of successful local films – reached beyond the 200 million visitors’ mark and increased admissions by 7,7 per cent. Poland (BO +9,3 per cent/ admissions +11,9 per cent) and Turkey (BO +29,5 per cent / admissions +21,8 per cent) enjoyed equally positive results based on successful local films and have in recent years developed into resilient growth markets. Spain, after enduring consolidation for several years, increased its admissions by 13,6 per cent and box office by 3,0 per cent.

But it many Western European territories even a strong local title like Denmark’s “Fasandræberne” were not enough to lift the markets into positive year-on-year growth territory.

The UK (BO -2,4 per cent / admissions -4,9 per cent) and Germany (BO -4,6 per cent / admissions -6,4 per cent – preliminary figures) experienced decreases in box office and admissions. Several Scandinavian countries also experienced moderate market performance despite some strong local titles (DK: BO -6,3 per cent / admissions -10,6 per cent; FIN: BO -3,3 per cent / admissions -5,1 per cent; NO: BO -1,2 per cent / admissions -6,1 per cent). Italy, due to a comparatively positive year in 2013, experienced a decline in box office (-7,1 per cent) and admissions (-6,1 per cent).

Ireland and UK were telling examples where the success of “Mrs. Brown’s Boy D’Movie” in the former and “The Inbetweeners 2″ during the summer and “Paddington” during the Christmas holiday for the latter were not enough to save the box office from a telling decline.

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Quanta DGT Suffers Major Digital Cinema Equipment Heist

Quanta DGT

More than 120 screens worth of digital cinema equipment was stolen from at least one, possibly two, warehouses in Rio de Janeiro, Brazil over the weekend, delivering a setback to the country’s ongoing digital conversion. The incident highlights the precautions taken by the motion picture industry took when adopting digital projection technology to safeguard against devices falling into the wrong hands.

Quanta DGT, a leading Latin American integrator in the midst of deploying the equipment, estimates its value at BRL R$24.54 million (USD $9 million). [Full Disclosure: I have had a past, though not current, professional relationship with Telem, a partner in Quanta DGT.] News of the heist began to circulate on Monday afternoon, with initial reports being published (naturally) in Portuguese. Details have been sketchy and thus some of what we have to pass along is purely speculative.

The stolen equipment had been prepped for installation and loaded onto trucks for transport to cinemas beginning this week. This only managed to make it easier for thieves to make off with the kit, since each auditoriums devices had been packaged together on palettes. The stolen equipment includes, though is not limited to, Barco projectors with their pedestals and lenses, Doremi servers, Dolby CP750 audio processors, automation systems, universal power supplies, Multivac hoods and even theatre management systems.

It is unclear how many facilities were involved in the burglary. One report has thieves striking a single warehouse and another has them hitting two warehouses on opposite sides of the city. The perpetrators manage to disable and/or stole the on-site security equipment. Adding insult to injury, they probably used the facility’s own forklifts to move equipment into their own getaway vehicles.

Obviously, walking off with such a large amount of heavy digital cinema equipment could not be done easily, quickly or without a modicum of planning. Because the investigation is ongoing, Rio de Janeiro police aren’t naming potential suspects or divulging any leads. One thought is that whoever pulled off the heist had to know about the existence of the equipment and what was required to haul it away, not to mention have access to such resources. The customs expediters and logistics transport service provider comes to mind. Again, this is speculation.

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China Cinema Digest – Thursday 22 January 2015

Wanda Cinema Line Logo

Sina Finance highlights three pertinent questions about Wanda Cinemas raised during the ‘road show’ ahead of the company’s IPO.

Concerned about the point two: how to face the the new media shocks?

In the conference, another concern is that the new media development, Wanda Cinema traditional marketing model of how to face the competition…

In this regard, Zeng-Mao also said that at present the company a single month counter ticketing and network ticketing of the proportion of month 6: 4, 2013 box office income share 76.74%, network sales at present in a single month accounting for about 40%, network sales accounting for showed a gradual upward trend, company there are Wanda movie network, Wanda movie APP such as its own electronic channels, at the same time also, and domestic professional network of ticketing website cooperation.

At present, Wanda Cinema uses a “cinema system” model of development, Ye Ning said Wanda Cinema business uses a pure asset coupling mode, is currently well-known theaters in only one using the model of the company.  LINK

China cinema box office split

On the occasion of Wanda Cinema’s IPO a good in-depth overview of how the cinema market works in China and Wanda’s role, down to specifics of revenue split and tax, is provided by Win Business Network . Several pages long, but worth reading in full.

Cinemas implement licensing system, the relevant policies and regulations, 15 or more in assets and the distribution for the film in theaters as a link to the different provincial regions, provinces can set up a cinema company. As of the end of 2013 there were 45 theaters license.

Unity in accordance with their respective cinema theater company plans to row reflect the showing of the film.

American film industry chain is the core part of the copyright, movie box office revenues accounted for 30% of the film side (producers and issuers) income is less than, in addition to creating revenue through digital television, Internet video, brand licensing, and other aspects of overseas exports . Because domestic copyright, among other factors, led to 85% of the producers are the cinema box office revenue contribution.  LINK

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Cinema in China Is Still Headed for Crash – Five Trends Show Why

Taking of Tiger Mountain

With Wanda Cinema’s IPO imminent we thought it would be a good to revisit the article ‘China’s Multiplexes Are Headed For a Crash – Statistics Show Why‘ that we published last April. With another year of strong box office growth in China and no large scale cinemas going bust in the Mainland, were we wrong?

At the time we wrote that “It is too early to say whether Chinese cinema exhibitors are in for a hard crash or a soft landing, but a correction is now becoming overdue.” It increasingly seems like 2015 will be the year that the correction is due, with several troubling indicators making themselves felt.

We will not re-hash the arguments from the original article, which remain valid, so we urge anyone not familiar with it to read it first. We will instead look at some new factors that we did not highlight back then.

It is also worth noting that at the time overall growth in China was slipping below 8% and now it has fallen even more. For the third year running China has missed its export target and as the FT reports,

The missed target comes as China prepares to release annual gross domestic product figures next week that will show growth in the world’s largest economy (in purchasing power terms) came in below the government’s annual target for the first time since 1998.

This is the macroeconomic picture to keep in the back of the mind when discussing the cinema market in China.

In broad strokes, the five trends can be summarised as follows:

  1. Mistaken belief in a demographic cinema dividend;
  2. Unsustainable price-war in micro-blog ticket services;
  3. Inability of Hollywood films to fill a post-quota gap;
  4. Failure of Chinese film production due to censorship;
  5. A ‘hidden’ decline in the growth rate of the box office.

1 – The demographic cinema dividend fallacy

Wanda Cinema is very confidant about the future growth of the China cinema market, as stated in its IPO document, which begins with the bold claim “The company’s main business is the cinema industry, [and] the [cinema] industry has always come out on top”:

Our cinema industry in the future continue to benefit from the rapid growth of the film industry

In recent years, China’s film market continues to maintain a rapid development momentum, the movie industry revenue is expected to usher in the 2015-2016 phase of explosive growth. We believe that our large population, the urban population has a number of screens compared with Europe and other developed countries, a big gap under the background of the geographical distribution of the theater, the per capita number of screens there is a large room for improvement, the cinema industry will continue to maintain a high level of development.

This is a refrain often heard in discussions about Chinese cinema: that the country is under-screened compared to markets in Europe or that cinema attendance is low compared to that in the US. As the market matures it will continue to grow, is the belief.

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