Category Archives: Daily News Roundup

Daily Cinema Digest – Wednesday 26 November 2014

Underground Film club

While Secret Cinema has been getting lots of publicity, it is only now that there is recognition for Experience Cinema, which hosted 280 sold-out Rooftop Film Club events in London this summer, as well as 70 drive-in screenings and now also the Underground Film Club under the railway arches of Waterloo Station in London.

Their company, Experience Cinema, has catered to more than 60,000 film-lovers in the capital this year, and now they are looking wider, to the rest of the UK and America.

“Cinema experiences have become a popular night out,” says Cottle, who used to be a circus juggler and clown, before moving into public relations a decade ago and launching his own business.

“We’ve brought community back to cinema. We have themed nights, cocktails and the right atmosphere for the film we’re showing. People come in big groups. It’s like going to a West End show, but a fifth of the price.”  LINK

And here is how the venture inspired one person, who took the concept back to Calgary in Canada.

Vista Murray Holdway

Fresh off its IPO, ticketing software major Vista is rightly proud of having completed its roll-out with Regal Cinemas in the USA.

The company said Regal Entertainment’s 574 theatres across 42 US states represent 20 percent of the North American market.

Vista and Regal reached agreement on installing Vista’s software in February 2012.

Vista chief executive Murray Holdaway said the contract with Regal was worth multiple millions of dollars in revenue each year and there was potential to expand beyond Vista’s core software.  LINK

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Daily Cinema Digest – Monday 24 November 2014

Imax

Imax plans to double its presence in the Gulf region over the next three years, the company’s CEO has revealed.

Imax Corporation, the entertainment technology company known for its network of giant cinema screens, is planning to invest between $10 to $25 million (AED36.7 to AED91.2 million) in the Middle East region in the next three years, according to a report from Gulf News.

The company’s CEO, Richard Gelfond, told the paper that his company planned to increase the number of IMAX theatres in the region from fifteen to thirty.

“By 2017, we would double our presence in the region and have about thirty theatres. It is a huge market,” Gelfond said.  LINK

YouTube Preview Image

Last week Dreamwork’s Animation SKG showcased its 360 degree 3D VR (virtual reality) film plans. The demo included a brief clip of a ‘Super Cinema’ scene with assets from Dreamwork Animation’s “How to Train Your Dragon” franchise.

At a recent Samsung conference, Dreamworks unveiled “Super Cinema”, a technology that aims to deliver the robust CGI movies that its customers are familiar with in a virtual reality format. That means that Dreamworks would be moving from pre-rendered movies to real-time ones, because just like our video games, the movie has to respond appropriately to where the user is looking.

That might sound simple enough, but consider the fact that Dreamworks demands such a high quality in its films, that rendering a single frame can take more than a day on a given PC. There’s simply no way the company could deliver that level of detail in real-time, so it seems likely that what we’ll wind up with is a really high-quality real-time movie that uses a traditional game engine that makes good use of anti-aliasing. The challenges go beyond that, though.  LINK

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Daily Cinema Digest – Saturday 22 November 2014

Google trailer study

A study by Google called “Behind the Box Office: What Influences the Films We See” has found that trailers are by far the biggest determinant of what movies moviegoers chose. While the study come out in favour of YouTube, the infographics still has plenty of interesting facts and conclusions.

Google conducted a study, analyzing nearly two years of search data, to determine what makes frequent moviegoers choose which movies they’ll see. As you may have guessed, the carefully composed missives of yours truly (and my critical brethren) don’t really figure into the equation. But frankly, neither do filmmakers, actors, or even word-of-mouth. No, the biggest influencer is the movie trailer(which might help explain why there’s six or seven of them before every feature nowadays).

The study, which Google conducted with Millward Brown Digital, was focused on “how moviegoers research and choose the films they watch.” Unsurprisingly, they’re trumpeting the prominence of Google-owned YouTube, noting that four out of five moviegoers “use video sites to look for more information about a film” (well, duh). Thirty-nine percent report the official movie trailer influences their decision most — a factor more than three times as important as the runner-up, “information on the cast” (11 percent). “A friend’s opinion” is third (with eight percent).  LINK

Cnc France youth cinema study

France – Yet the Google study above is contradicted by another study by the French audio-visual authority CNC, that finds that word-of-mouth is the most important factor, at least amongst youth, but only by a small margin. Young people also tend to decide on the day of the movie visit what film to watch, which sets them apart from the rest of the cinema-going population. Very detailed study that points to clear generation differences and importance of social media.

When asked about the information channels to choose a movie, young people aged 15 to 24 cite, in order of importance, word-of-mouth, oral or via social networks (58.6%), the extracts trailers or seen on television (56.8%), trailers views cinema (56.4%).

Conversely, they are 17.8% cited advertising or articles in the press and 29.4% the criticism in the media, according to studies of the National Film Centre, based on surveys of Médiamétrie or Harris conducted with several thousands of people throughout the year.

The entire population, she favors ads on TV (51.6%) and word-of-mouth (47.5%). 32.5% rely on critical to their choice.

Unsurprisingly, social networks and video sharing sites, like YouTube or Dailymotion, playing a growing role for youth to learn about film releases.  LINK

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China Cinema Digest – Friday 21 November 2014

Interstellar poster China

“Interstellar” had a good week at the Chinese box office, boosted by Imax showings and holding off competition from both domestic comedies and Madagascar penguins.

Interstellar took $42.33 million in its first five days in China, dominating a week in which Christopher Nolan’s sci-fi epic went head-to-head with Johnnie To’s romantic comedy Don’t Go Breaking My Heart 2 and DreamWorks Animations’ Penguins of Madagascar in the world’s second largest movie market.

Starring Matthew McConaughey and Anne Hathaway as astronauts trying to save the human race, with an ensemble cast that also includes Jessica Chastain and Michael Caine, Interstellar racked up 7.14 million admissions from 149,316 screenings, according to the research outfit Entgroup.

That was fewer screenings than the second-place movie in the week to Nov. 16, Don’t Go Breaking My Heart 2, but the space film also showed on 170 Imax screens in China, which gave box office a major lift.  LINK

You might also be interested in this article about advance online ticketing sale for “Interstellar”, which set a new record.

China Imax

The success of Imax and Premium Large Format films in China prompts Broadcast HC 360 to look at the technology behind Digital PLF, both Imax and its domestic Chinese competitors.

Relative to the IMAX “silent like gold,” the theater construction market is more lively. Cinema operators to invest and build its own brand for use in its own theater, the movie started issuing investment Poly Films, is the development of a domestic IMAX DMR system POLYMAX Poly; Wanda independent development of the giant screen projection system “X-Land “; and in digital cinema technology research-based science and technology enterprises Chen Xing Digital technology introduced in 2013 Cinelab laser IMAX screenings of high-quality solutions. These domestic IMAX brand is undoubtedly herald the birth of the modern multiplex cinema building, will move towards high-quality IMAX hall main trends.

And particularly worth mentioning is Cinelab IMAX innovative laser from the light source to the electro-acoustic to build sound, IMAX is a qualitative leap in technological development milestones. IMAX movies the same environment and needs two Barco 2K projectors can only support up to 2K mode with a resolution of 2048 x 1080 pixels, a contrast ratio of 2000: 1, Cinelab laser IMAX system simply uses a laser IMAX Simply using a Christie 4K projector with a resolution up to 4096 * 2160 pixels, with a 2100: 1 contrast ratio, while the same effect, it is easy to see, Cinelab laser relative to the giant screen IMAX giant screen, the screen resolution increases four times, four times the clarity also increased. Given the high brightness laser light source in the screening process 2D center maximum brightness of up 40FL, and IMAX is 15FL, IMAX 2D laser brightness increased 2.67 times, and further optimize the viewers 2D viewing experience.  LINK

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Daily Cinema Digest – Wednesday 19 November 2014

What we did on our holiday

The UK CEO of Lionsgate has suggested cinema ticket prices should be lower for (small) British films than for (big) Hollywood blockbusters. This has been suggested before, but always met with resistance. Rather than Brit films becoming cheaper, expect big blockbuster prices to go up. But don’t expect Lionsgate UK CEO one out and advocate that.

Lionsgate UK CEO Zygi Kamasa has called for greater flexibility of cinema ticket-pricing, as a way to stimulate admissions and increase demand for British films.

“Exhibitors have to do something drastic in 2015 and beyond to counter the decline in admissions,” he told ScreenDaily.

“One way to do this could be to implement more price flexibility. Why is Marvel’s Avengers, for example, the same price as a film such as What We Did On Our Holiday?”  LINK

Kiss India Bollywood PVR

India – We contacted PVR to verify the claim made in this article but nobody has responded to our query.

When all is said and done about the moral policing along with the Kiss Of Love campaign here is something new. To steer clear of any indecency in the cozy and dark movie theatres PVR Cinemas have come up with a new technique. As per the reports, PVR Cinemas will be installing night vision cameras in all of their chains so as to bring down the incidents of public display of affection (PDA).

Although the news has not yet been confirmed, but this might turn out to be one of the grave changes till now. So if you are used to making out and feeling each other up in the dark surrounding of movie theatres, not anymore will you be able to do so. This will be a fresh change in the decency check for all the movie goers. But then again, maybe not! What do you think about this?  LINK

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Daily Cinema Digest – Monday 17 November 2014

Cinemaxx

Germany – Cinema majors Cinemaxx and CineStar have formed a joint venture to promote cinema for business use. Not sure how far beyond regular cinema advertising this goes, but there is talk of “360 degree cinema communication.”

The company CinemaxX and CineStar planning a joint company for the holistic cinema marketing. This was confirmed by a CinemaxX spokeswoman to Hamburg Media Magazine ‘New Business’ (www-new-business.de). The two German cinema providers want so combine their reach, “to business customers providing an easier entry into the world of 360 degree cinema communication”.

The company would be open for the market to other cinema enterprises in Germany, says CinemaxX. Offices in Berlin, Dusseldorf and Frankfurt are planned to headquarters in Hamburg. Currently, a fusion legal review of the project by the Federal Cartel is taking place.  LINK

reald-3d-glasses

USA (CA) – A long interview between Forbes’ Mark Hughes and former head of 2D-to-3D conversion company Legend3D Dr Barry Sandrews. The fact that both are bullish about the prospects of 3D is no surprise, given the title ‘Why 3D Will Dominate Cinema In The Future,’ but the article makes several good points.

It’s particularly notable that The Amazing Spider-Man 2 was able to pull down $709 million worldwide due to a large amount of help from 3D that was best of any superhero film that’s been made, allowing it to rank as one of the year’s top-grossing films despite mixed reviews and the press focusing on a lot of negativity in reporting on the film (my own reaction to the film was decidedly more positive, as my review makes clear).

The next several years will see an expansion of 3D’s power at the global box office, with a series of brand new Star Wars films, Avatar sequels, and a huge growing slate of franchises and sequels in the popular superhero genre now that DC and Marvel characters will parade across the big screen at a rate double that of previous years (a total of more than 25 different superhero franchises will actively exist by 2020, as incredible as that seems). More than 70 3D films hit theaters in 2015 and 2016. And despite a modest leveling off of domestic audience attendance at 3D cinema since its modern reintroduction, it has held steady at home while foreign audiences continue having enormous appetites for the format. China in particular seems to love 3D.  LINK

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Daily Cinema Digest – Friday 14 November 2014

Cinema Park

Cinema Park, Russia’s biggest cinema chain, has just been bought by a 19-year old college student for USD $385 million. Proof that Russia is a land of bold young Internet entrepreneurs buying into traditional media or a crony capitalist nepotistic kleptocracy? You be the judge.

 

Said Kerimov, a student at top Moscow State Institute of International Relations, is the son of Russian billionaire Suleiman Kerimov, a member of Russia’s upper house of parliament, the Federation Council.

Kerimov, is a student MGIMO, at the university is known in its Russian acronym, an institution with a reputation for training future businessmen and diplomats.

Kerimov junior’s offer of $385 million (19 billion roubles) for Cinema Park, has been accepted by Interros, the industrial group controlled by Vladimir Potantin that owns the chain along with other media interests.  LINK

RealD

The patent war between RealD and MAsterImage rumbles on.

On November 7, 2014, RealD Inc. of Beverly Hills, California (“RealD”) filed a complaint requesting that the ITC commence an investigation pursuant to Section 337.

The complaint alleges that MasterImage 3D, Inc. of Sherman Oaks, California and MasterImage 3D Asia, LLC of South Korea (collectively, “MasterImage”) unlawfully import into the U.S., sell for importation, and/or sell within the U.S. after importation certain three-dimensional cinema systems and components thereof that infringe one or more claims of U.S. Patent Nos. 7,905,602 (the ’602 patent), 8,220,934 (the ’934 patent), 7,857,455 (the ’455 patent), and 7,959,296 (the ’296 patent) (collectively, the “asserted patents”)….

In the complaint, RealD states that MasterImage imports and sells products that infringe the asserted patents. The complaint specifically refers to the MasterImage-Horizon3D digital cinema system and MasterImage-Horizon3D dual digital cinema system as infringing products.  LINK

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China Cinema Digest – Thursday 13 november 2014

China Film Group La Paking

Hollywood is looking to make more money out of China than the import-restricted and revenue split-skewed arrangements currently allow. So why not expand merchandising? Just check the Fast & Furious Experience in last week’s China Cinema Digest to appreciate the opportunities.

The head of China’s powerful state-run movie enterprise that supervises film imports wants to strengthen ties with Hollywood by selling merchandise in that country’s theaters.

La Peikang, chairman of China Film Group, has launched a new initiative aimed at spurring consumer product sales at theaters in China’s fast-growing exhibition sector.

To test the project, the group has already selected 1,500 top-ranked theaters in China that will have their own shops selling movie-themed merchandise, such as toys, clothing, games and DVDs, La said in an interview with The [LA] Times.  LINK

China youth

An editorial in The Workers Daily asks whether blockbusters pandering to “small town youth” is detrimental to Chinese cinema. In doing so it also highlights that “domestic movie box office increase is largely thanks to the gift of theater expansion, rather than to improvement in their quality.” The piece asks some very pertinent questions about demographic and geographical realities will undermine continuous cinema expansion as it goes beyond Tier 1 and Tier 2 cities in more rural markets. Worth reading in full.

In fact, it seems gratifying box office figures have confirmed the doubts. Foreign films in China last year, 41% of the box office take football, though not more than half, but to enter the mainland theaters are only 60 foreign films of last year, and the year of production of 638 feature films into theaters have 245. There are 60 foreign films at the box office over 27 million, and 245 domestic movie box office over billion were only 33.

Faced with such a market, a lot of film industry practitioners to second and third tier cities moviegoers that “small town youth” as the future of the film industry’s main viewing groups, because in the second and third tier cities cinema showing growth spurt. When in 2012, the national new screen 3832, 60% of the distribution in the second and third tier cities and county-level cities, four cinemas in 2013 reached a new three-digit number of theater tier cities, many in a two-tier cities years, it has gone through several screens from the single digits to double-digit upheaval.

Small city into the “theater of the times”, making the share of the domestic film industry has changed, northward four first-tier cities of Guangzhou-Shenzhen country’s total box office share has dropped from 32.8 percent in 2008 to 25.8 percent in 2012. Economic development so that “idle rich” and “small town youth” willing to purchase movies, videos and many second and third tier cities will also be used as pre-marketing focus.  LINK

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Daily Cinema Digest – Wednesday 12 November 2014

RealD Light doubler

RealD has won an important patent recognition in Europe for its “light doubler” technology.

Global visual technology company RealD Inc. (NYSE: RLD) announced today the issuance to it by the European Patent Office of a patent that covers the fundamental optical architecture of the company’s XL Cinema System, which is the world’s brightest and most widely used cinema 3D projection technology.

“The issuance of this European patent builds on the significant patent position we have globally around our XL Cinema System and validates our inventive approach,” said Robert Mayson, Managing Director of RealD Europe. “We place great value on our intellectual property and its ability to ensure the industry’s brightest, premium visual experience for our partners and moviegoers around the world.”  LINK

Big Cinemas

It seems that a deal for Indian multiplex major BIG Cinema could be imminent.

BIG Cinemas, a 100-per cent subsidiary of Anil Ambani-led Reliance Capital, has lined up three suitors for a Rs 800-crore [USD $130 million] deal on the lines of the merger agreement that Reliance MediaWorks (RMW) had inked with global media and entertainment giant Prime Focus Limited in July.

According to sources, Carnival Films Private Limited, a South India-centric company, has emerged as the front runner for the deal while PVR Limited and Inox Leisure Limited are also in the race.  LINK

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Daily Cinema Digest – Monday 10 November 2014

Hoyts logo

Variety reports that Australian exhibitor Hoyts’ IPO has been called off.

The flotation had been expected to value the company at up to A$900 million ($773 million) in a pre-Christmas sale handled by investment bank UBS.

The sale process was triggered by majority shareholder Pacific Equity Partners, a private equity firm that bought in to the company in 2007. However after recent roadshow presentations to potential investors PEP is understood to have become concerned about the valuation and the ability to maintain income growth at a time that the sector is facing growing competition from Internet sources.  LINK

Wadjda

Saudi Arabia – It seems that cinemas will finally come to the Kingdom of Saudi Arabia – the last country on earth without formal cinemas – following an agreement between four government agencies.

A source said relevant authorities assigned to take this decision include the Ministry of Interior, the Supreme Commission for Tourism and Antiquities (SCTA), the General Commission for Audiovisual Media, and the Commission for the Promotion of Virtue and the Prevention of Vice (Haia).
He said the SCTA and the audiovisual commission have a direct interest in the matter, while the other two are concerned with consultations and coordination.

The first people who introduced cinema to Saudi Arabia were foreigners working in Aramco (now Saudi Aramco), during the 1930s; in the 1990s they became available to Saudis at their sports clubs.  LINK

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