The EDCF annual IBC gathering is a smorgasbord of information about the latest developments in the digital cinema industry. More speakers than time, so without further ado, Dave Monk kicks it off handing over to the first speaker.
David Hancock (IHS) – “9 1/2 years I’ve been doing this slide,” Hancock said, “and in 12-18 months there won’t be the grey bar any more because analogue will be gone.” There are still a handful of territores where there is analogue (Turkey, Baltic States, Latin America). “Technlogy is now the currency driving cinema,” and that’s what he is focusing on today. Hard drives dominate still, even though some territories like Fance it only accounts for 1/3. But that’s all set to change. Most of the focus for DCP delivery today is on broadband, but that and satellite co-exist.
Ymagis takeovers of dcinex and Smartjog has created one major entity. That’s the biggest change in the last year. “The market is concentrating down to a few players,” such as Deluxe, Unique and Ymagis. “But as an exhibitor, how many suppliers do you want i your site?” Some countries have just one supplier for all sites.
Laser projection – some consumers cite lack of brightness as reason for not going to see 3D. It has not been proven to work, “but what we have now is the first generaton and not what it will be shipped to cinemas.” IHS predicts 100-200 this year and 400-500 in 2015, but mainly smaller projectors. “Laser is inectricably linked to the replacemnt [cycle] of the first generation of digital cinea projector.” Business model is needed for replacement machinery – there is no VPF for laser replacement, Hancock highlights.
Audio – “Recently the sector has re-discovered competition after a decade of lack of competition.” 1,500 screens equipped with Atmos or Auro by the end of 2014. But there is now focus on the home evironment, as well as markets such as automotive (cars). Where does it all lead, ancock asks. Premium cinema, particularly large format, is the answere Hancock notes. “Technology pushes the premium experience,” he observes. 1.,401 PLF screens 1h 2014 with IMAX capturing 45%. Conclusion: may you live in interesting times.
There is a tension between technology and cinema. “The cycle of technology does not match the technology of cinema.” Last observation particularly interesting: “physical decline [DVD etc.] ups cinema in Europe: the value chain increasingly underpinned by cinema.”
John Hurst (Cinecert) – First slide asks ‘Is Ten Years Too Long’ but his topic is the state of [digital cinema] equipment in the field. It looks like cinemas here in Europe are better maintained than cinemas in US in temrs of receiving SMPTE DCPs. You have to keep your software up to daye in your digital cinema server to take advantage of all new features – not just bells-and-whistles ad-ons.
He then calls Rich Philips from Arts Alliance (AAM) up to stage. AAM have spun off most of their digital cinema business, but they still have the digital cinema software technology. The message from Richard is that verisoning is not too bad in Eurpe, but that education is an issue, with most exhibitors clueless that there is another hurdle that needs to be jumped through. “That’s all I have to sya really.”
Chris Witham (Disney) is then called to stage by Hurst. He jams through it in two minutes. “For people to keep coming back to cinemas, we have to offer the best experience possible.” He then discusses Disney’s transition plan to SMPE DCPs with 2015 the target date.