Tag Archives: Dolby Atmos

Daily Cinema Digest – Tuesday 22 July 2014

Imax China

Imax – According to Wall Street Journal China, Imax is planning to open a further 19 screens in partnership with local companies ahead of listing its local operation. Interestingly Richard Gelfond’s Chinese name is Gail Fang.

IMAX theater will open new cooperation with Chinese state-owned Shanghai Film Group (Shanghai Film Corp.), these new theater will open in the second half of 2015. IMAX chief executive Gail Fang (Richard Gelfond) in an interview that the new screen is in agreement IMAX April this year after the signing of a new partnership agreement, IMAX at the time that 20 percent of China operations will the shares sold to the Chinese Cultural Industry Investment Fund (China Media Capital) and private equity firm party sources of capital (FountainVest Partners), Chinese Cultural Industry Investment Fund and each party sources of capital will be paid before the beginning of 2015 to $ 40 million to purchase these services 10 % stake. Gail Fang said that this is one of the local partners to introduce IMAX many reasons. He explained that the next few weeks IMAX will sign an agreement with the Shanghai Film Group, a related company in China to open six new screens. He would not disclose more details. Gail Fang said they feel American investors do not fully understand the potential of the Chinese film market. IMAX China is a key growth market, also destined to become the company’s largest market.  LINK

Chinese ticket machine cinema third party

China – Internet purchases of cinema tickets via PCs and smartphones now accounts for as much as 40% of some screenings in China, many through third-party operators. But there are problems getting refunds when a screening or booking is cancelled.

So why buy from a third-party platform movie tickets will not refund it to industry sources, it involves a lot of problems:? First permissions issues, some theater tickets willing to open permissions to the site at any time to cancel or reservation, some if not, for unwilling audience request returned tickets, you need a web site to communicate with the theater; Second, the number of back problems, the user tickets through the website, the website will charge a service fee, which is not linked to the occurrence and the theater, And every ticket website service charges are not the same, how much money to retire to cinema audiences has become a major problem; most critical is that each theater has its own ticketing provision that “once sold, will not refund” also it as a “norm”, because in the theater seems, movie tickets have a time limit, the audience returned tickets may affect sales, so in the case of theater tickets out of their own can not retire, the net purchase tickets.  LINK

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Daily Cinema Digest – Tuesday 3 June 2014

EBOT entertainment group

The fact that China’s box office is booming is taken as a given, but depending on how you look at the figures, some more troubling aspects shine through.

Grace, vice president of Arts and Consulting Research told the “First Financial Daily” correspondent that although the theater building heat remains the same, since last year the per capita attendance continues to decline, in addition, a monthly box office analysis that the market performance is still potential for the market to fall, should be vigilant.

And despite some big hits like “Monkey King” that does not mean that all months represent unchecked growth. Quite possibly the opposite.

Throughout the first five months of 2014, although they did create the highest grossing single month, but the movie box office market on a monthly count fell. In February this year the market continued to perform eye-catching, with the box office results for the first time pushed the monthly rise to 30 billion yuan; March continued to market the off-season, April decline, down 1% year-on-year, in May performance is not satisfactory, an increase of only 7% . Continued growth in the number of screens, viewing habits in a gradually mature market, the market still appears as a broader market decline, it is worth alert.

Finally, if you look at this from a five year perspective, growth is not close to what it ought to be right now.

For ongoing theater building heat, Hou Tao told reporters, according to Arts Grace Consulting study of the past five years, including tracking attendance of this year, a downward trend in attendance last year, attendance is about 17% below the 2012 level this year half expected 15% to 16% growth in attendance, which is not optimistic.   LINK

Advertising

Shazam

Australia – Shazam is looking to extend its cinema partnership model from the US to Australia, doing with Val morgan what it’s done with NCM in the US.

Although Sos concedes the issue of movie etiquette and not using phones or playing audio in theatres is valid, he believes cinema is a lucrative and growing market for brands to engage with audiences through mobile

“We’re so wedded to the device that the idea of turning it off and putting it down for few hours actually scares us so [most people] are trying to do things on the phone before the movie starts,” he said.

“There’s an opportunity to connect through the soundtrack of a movie, introduce direct click-to-buy, as well as connect with advertisers before films start. In that way it’s a natural environment to Shazam. And because it’s unobtrusive its a nice way to engage with content.”  LINK

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Daily Cinema Digest – Friday 16 May 2014

NCM logo

USA (NY) - National CineMedia has announced the details of its partnership with Shazam, to create audio-embedded links in its adverts for enhanced content. There are further partnerships with Disney’s Maker Studios and Idea United.

National CineMedia revealed intriguing partnerships with Shazam and Maker Studios today at its upfront event near Lincoln Square in New York. The moves underscore how the cinema ads network increasingly sees itself as a digital company.

As part of NCM’s update to its longstanding FirstLook platform, the Shazam integration is designed to extend advertisers’ reach among smartphone-toting moviegoers. When they observe a sponsor’s FirstLook promo via the mobile app, they can consume and share that content while also making a purchase when it comes to e-commerce pitches.  LINK

Cineplex

Canada - Ticket prices fell in the first quarter of 2014, which is perhaps why Canada’s Cineplex is experimenting with higher charges for some seats and shows.

Later this year, at the Varsity location in Toronto’s Manulife Centre, the company will launch a pilot project in which patrons pay an extra $2-$3 for the prime seats in the middle rows of the theatre.
“We’ve had great success with our UltraAVX cinemas ($3-$5 surcharge) as well as our VIP cinemas ($7-$12 surcharge) which both offer reserved seating; and so people really like that opportunity,” said spokeswoman Pat Marshall.

“It’s really about providing our guests with choices when they go to the movies . . . I sort of position it akin to an aircraft where you have your regular coach seating, then you might want a bit more amenities, so you go into business class, and then you have a first-class.”  LINK

USA - Fandango has added three more exhibitors to its network.

Harkins Theatres, Digiplex Destinations and Premiere Cinemas have joined Fandango’s network of cinema chains, the movie ticketer said Thursday.

The company said that the new agreements will add 1,000 screens to its rolls in a dozen states including California, Colorado, Florida, Maryland, New Mexico and Texas. The deals will go into effect this summer.

The online and mobile ticketer now represents more than 24,000 screens domestically.  LINK

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Daily Cinema Digest – Friday 2 May 2014 (Bumper Issue!)

Graham Cinema NC

It is not often that we start with a ‘Digital Death Watch’-type of story, but the Graham is not just an amazingly resilient single-screen cinema in North Carolina. This is also example of terrific college journalism that incorporates video (below), photos, info-graphics, mapping and social media into an incredibly well researched and written article that gives tremendous insights into that kind of cinemas vanishing all over America.

Looks like the Graham Cinema won’t though, as it now has digital projection but still keeps the low prices of tickets and concession, plus the friendly front of house that made it so popular in the first place.

I strongly urge you all to read it and hats off to senior reporter Kyra Gemberling, who will no doubt one day be nominated for a Pulitzer, if not for this article already.

YouTube Preview Image

Opened in 1928, it was once the epitome of Saturday night hangouts in Small Town, U.S.A. The balcony of the cinema’s one and only auditorium overflowed with children bouncing up and down in their seats. The line for the concession stand filled the tiny lobby, often going out the front door and flowing into the bustling street. The grand marquee, advertising show times for such classic films as “The Little Colonel” starring Shirley Temple, served as a beacon of light to guide families coming from all over Alamance County and beyond to its doors.

But with the passing of nearly six decades, countless owners and a fire that once gutted the entire building, Matthews knew Graham Cinema was no longer the sparkling movie house it once was.

He would go on to spend the next 30 years working relentlessly to restore the old theater to its former glory. He reupholstered all 240 seats himself. He hired a cleaning crew to scrub the building from top to bottom. He gave out free tickets all over town just to get people in the door.  LINK

US screens by type

 

India: Dolby has installed the first Atmos cinema in the nation’s capital Delhi at the Delite Cinema in Daryaganj.

And while Delite is the first Atmos hall in Delhi, in India, there are already several halls (mostly in South India) with Atmos installed. The first hall to use this technology was the Sathyam multiplex in Chennai, but there are more now, including PVR Juhu in Mumbai.

Shashank Raizada, owner of Delite Cinemas said, “I believe Dolby Atmos will be a major differentiator for the movie watching audiences,” adding that he sees it as “providing our audiences with new and innovative concepts for an enhanced experience.”  LINK  LINK2 (has more info)

Delite Cinema

The Delhi Delite announcement comes as Dolby reveals that it plans to have 75 Atmos screens across India by the end of 2014.

Dolby, which provides sound technology to entertainment companies, currently has about 15 screens operational on the Atmos technology.

“We are in discussion with multiplex and single screen theatre owners. We are confident that cinema goers will enjoy the sound experience that Atmos offers and more screens across the country will adopt this technology,” Ashim Mathur, Marketing Head of Dolby Technology India, told PTI today.

He added that while most of the present screens are in southern and western part of India, Dolby will expand to other states as well.

“Currently, 15 screens are operational and about 25 are in construction. We should have 75 Atmos screens by calendar year-end,” he said.  LINK 

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Daily Cinema Digest – Wednesday 9 April 2014

ArcLight Santa monica

Normally we bury cinema openings further down in the Daily, but this merits top billing.

Back in January we wrote about how premium cinema operator ArcLight had set its sights on Los Angeles’ Santa Monica market and whether this would create a screen glut.

Now news reaches us that ArcLight is already planning a second multiplex in downtown Santa Monica, which would include an Imax screen.

ArcLight Cinemas is in negotiations with City Hall to put a theater on the land where Parking Structure 3 currently stands — on Fourth Street at Arizona Avenue, said Andy Agle, director of Housing and Economic Development.

A preliminary agreement that would allow ArcLight to start drawing up official plans could go before City Council later this month.

At that same meeting, council will consider final approval of another ArcLight theater proposed for the third level of the Santa Monica Place mall. Those plans have been in the works since last year. The Santa Monica Place theater could include up to 13 screens and 1,500 seats.  LINK

Meanwhile other cinemas in the area, such as Laemmle, are reducing seating capacity and expanding concessions and cafe areas instead. AMC is also expected to reduce the number of seats.

Business

Russian cinema

Russia: Rather than introducing a quota on foreign films, as had been previously mooted, it looks like Russia will instead introduce a levy this summer.

The government plans to popularize Russian films on the home market by introducing extra charges for Western movies and granting tax breaks to domestic ones may do no more than mildly handicap foreign competitors while failing to meet the industry’s underlying needs.

The suggestions, published Monday on the government website, are directed at increasing the presence of Russian films in theaters, Prime Minister Dmitry Medvedev said at a meeting of the council on the development of national cinema in late March during which the measures were discussed.  LINK

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CinemaCon 2014: Press Release Roundup

CinemaCon Logo

PLEASE NOTE: If we missed any individual press release it was not done purposefully. If you would like us to include a CinemaCon related press announcement in a future roundup, please forward it to tips@celluloidjunkie.com.

Historically companies and organizations doing business at trade shows and conferences have relied heavily upon press releases to get their message out to an industry. This has been especially true at CinemaCon and ShoWest before it. This year was no different.

The first day of the show always sees a flurry of announcements “hit the wire”. As the week (and convention) progresses the number of releases tends to dwindle. We thought it might be useful to sum up all of the announcements made at this year’s show, and when appropriate, provide a bit of insight or analysis. Here are the releases published during CinemaCon 2014 listed in alphabetical order by company name:


Arts Alliance Media
The London based digital cinema integrator and software developer is is always good for a few releases during industry trade shows. CinemaCon saw them release no fewer than four. The first announced the launch of a new software solution called AdFuser. The software was designed for all aspects of on-screen cinema advertising. The software is capable of planning campaigns and managing inventory, targeting ads to appropriate genres or audience demographics, automated ad playlist creation, ad content delivery, reporting and much more. AdFuser can be used in either an extremely granular or completely automated fashion.

Our Take: AAM’s cinema advertising software has been in development for years so it is interesting to see them finally launch the product. We have yet to have a close demonstration of the solution, but look forward to seeing it in action. The company is entering a niche market with a stiff competitor (Unique Digital) that has more than a decade head start in the space.

AAM announced a software deal with Vox Cinemas, a cinema chain based in the Middle East. The circuit will be employing AAM’s suite of software to manage their digital cinema technology and operations. This includes solutions such as Screenwriter Plus (Theatre Management System), Producer (Enterprise Circuit Management System) and Locksmith (Enterprise KDM Management) and Lifeguard (NOC Tools). Vox operates 9 complexes which account for 92 screens in Lebanon and the UAE.

Finnkino was already using AAM’s theatre management system (TMS) and will now upgrade to Screenwriter Plus, which has additional features for automation and monitoring. The circuit will rollout the new version of Screenwriter Plus throughout their 14 sites and at a later date has the option to include their 11 Forum Cinemas located in the Baltic.

AAM began as a digital cinema integrator with their own virtual print fees (VPFs) in Europe. They have now entered the complicated Latin American market with a series of partners, most recently Quanta-DGT. The trio announced three deals for VPF rollouts with three exhibitors in Uruguay; Grupo Cine, Life Cinemas and Movie.

Our Take: This agreement is a perfect example of just how complex Latin America can be for the motion picture business. While the combined 61 screens covered in the contract already have digital cinema equipment installed, these screens will now fall under AAM/Quanta-DGT’s VPF agreements.


Barco
CinemaBarcoThe Belgian based projector manufacturer was incredibly active during this year’s CinemaCon, showing up at the conference with half a dozen press releases. Many of the notices centered around their new CinemaBarco initiative, specifically the 60,000-lumen laser projector the company is bringing to market. The projector is DCI-compliant and capable of showing 4K content all the way up to 60 frames per second. The Barco 6P laser projector is capable of showing 3D content in 4K at 14 ftL and is fully integrated within the DCI-compliant projector. It will be commercially available immediately in the United States and China before being distributed in the rest of the world by the end of 2014. The company demonstrated the projector at CinemaCon without a “shaking” screen.

To prove just how market ready their laser projector is, Barco announced that Cinemark would be the first exhibitor to install the new technology. The release didn’t specify precisely which sites Barco would be installing its high-tech projector in, though don’t be surprised if Cinemark Century 16 South Point and XD winds up being the first. That’s the Las Vegas cinema in which Barco was conducting off-site demonstrations of its laser projector during CinemaCon.

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Daily Cinema Digest – Monday 3 March 2014

The UK’s first and oldest multiplex is set to be demolished, some 30 years after it first opened.

The Point, which resembles a giant red pyramid, was built in 1985 but the site is now set for retail development.

Campaigners have been lobbying to retain the structure, but planners have recommended the scheme be approved at a meeting on Thursday.

Site owners have said their proposals would “kick-start” local investment.

While there have been renewed calls for the building to stay intact as an important cultural site, plans to demolish it have been in the pipeline since 2012. LINK

While ambitious for its time – much like Milton Keynes’ itself, UK’s first purpose-built city after the Second World War – Odeon’s first attempt at a multiplex does not inspire much love these days. It was where budget airline easyJet’s founder tried the concept of budget cinema (easyCinema) a decade ago:

EasyCinema, part of Greek entrepreneur Stelios Haji-Ioannou’s no-frills empire easyGroup, will sell tickets for as low as 20p if booked a month in advance, applying the company’s yield management pricing structure used in businesses ranging from car rentals to plane tickets. Prices will rise nearer showtime.

The Point, which will start showing films at the end of May this year, will have no box office: tickets will be sold online at www.easycinema.com, and there will be a computer to purchase tickets in the lobby. Savings will be made by reduced staff numbers. LINK

But without digital such staff/cost reduction proved elusive, although these days rivals such as Vue have pushed hard into self-service ticketing. EasyCinema also shot itself in the financial foot by refusing to sell concession (presumably to save on cleaning staff), leading to others selling popcorn and sweets outside the cinema.

CineDining

USA: More and more cinemas are looking to expand their offerings with alcohol and fine dining.

Muskegon-area moviegoers who frequent the area’s largest theater complex will likely have access to a new menu and in-service in the next year.

Celebration Banquets LLC has applied for a Quota Class C Liquor License in the City of Norton Shores for the Cinema Carousel theater complex it operates at 4289 Grand Haven Rd.

The Loeks Theatres, Inc.-affiliated, Grand Rapids-based company is planning a three part, $2.2 million project that will include renovating the auditoriums and adding new food and several beer, wine and cocktail selections to its current offerings. LINK

City Administrator Mark Meyer is quoted as saying, “I think the intention here is to not just have another bar or restaurant, so to speak. We really want to have something unique in the community.”

Technology

Laser: Christie Digital has announced that it will showcase its latest laser projection technology, using six primary colour lasers.

Christie® today announced upcoming demonstrations of the world’s most advanced laser projection architecture and Dolby® 3D, to be held in the Christie Innovation Theaters throughout CinemaCon 2014 (Caesars Palace, March 24-27) and the National Association of Broadcasters NAB Show® (Las Vegas Convention Center, April 5-10).

Christie DLP Cinema® laser projectors using 6-Primary (6P) color laser modules, earmarked for mass production in early 2015, will show how 3D light levels, image uniformity, viewing comfort, and a sense of immersion can be vastly improved, especially when combined with advanced separation technology like Dolby 3D, versus conventional 3D systems found in cinemas around the world today.

Christie is right to point out that audiences are put off by dim 3D projection and that a premium charge should go hand-in-hand with a premium experience. LINK

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10 Reasons Why Dolby’s Atmos Will Bypass Your Living Room for Your Headphones

Right from its launch, Dolby has made no secret of the fact that it sees a business for its Atmos immersive audio (IA) technology beyond the cinema. Part of the grand plan was just revealed at the Mobile World Congress currently underway in Barcelona – and it is a very different path from that of rival Auro. Put it this way, DON’T hold your breath for Pioneer to come out with a Dolby Atmos home cinema amplifier but DO expect Samsung’s Galaxy 6/7 to feature AtmosM.

Everyone knows by now that Dolby and Barco are locked into a struggle about who will dominate the next generation of digital audio in cinemas, with the object-based Atmos fighting against the 11.1 Auro. So far the fight has largely gone Dolby’s way, with Atmos screens outnumbering Auro by a factor of 4 to 1, though with some countries such as India being more inclined to embrace Auro.

With Dolby in full control of the Atmos technology and patents, they can afford to bide their time a bit more and build up a larger footprint (earprint?) in cinemas. Particularly following the deal to acquire Doremi, which will help them expand and disadvantage Barco/Auro. Barco, meanwhile, only controls the Auro technology as it relates to cinemas and the patent owners are starting to look at consumer markets such as home cinema and automobiles.

When we asked the question a month ago ‘Has Auro Abandoned Cinema for the Home?‘ we quickly got a response from Auro Technologies saying “we’re happy to confirm that Auro has no plans to step away from the cinema market: quite the contrary in fact. We’re confident that expanding into the consumer market will only strengthen our growing presence in cinema.” The idea is that with more films mixed in Auro 11.1 and seen and heard that way in the home, people will want to experience it the same way in cinemas.

The logic makes some sense, if you consider that consumers who chose Dolby 5.1 in the home did have a positive influence on demanding the same or better in the cinema. However, it also points to the two-front battle that both Dolby and Barco/Auro are waging in the Immersive Audio War. One is to get take up in cinemas and beyond, the second is to get content owners to make their films, television shows and games mixed and encoded in their flavour of IA. Here both are sparing no effort in snaring the best content and creatives, with both Barco and Auro engaged in not just Hollywood but getting films, mixing facilities, preview theatres, directors and audio engineers in countries such as France, India and China familiarised and equipped with their technology. Content is very much King in this battle.

But when it comes to the consumer, the battle lines are drawn quite different, as we will see.

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Daily Cinema Digest – Thursday 27 February 2014

AUST5453-chart

Research from Australia confirms what we have always suspected; cinema goers are a happier bunch than people who stay at home. Some 47% of Australians (more than 9 million people) go to the cinema at least once every three months, which means that only gardening is a more popular leisure activity.

Interestingly, the majority of the 9 million people who went to the movies in any given three months were repeat attendees. While 42% went just once, 40% went two or three times; 14% went between four and seven times; and 4% went eight or more times (and probably have oblong-shaped eyes as a result!).

But there’s more to people who go to the cinema twice or more in a three-month period than mere movie mania. These individuals are more likely to be optimistic about the economy and feel financially stable than the average Australian (or the one-off movie-goer), and less likely to deprive themselves of ‘luxuries’ when shopping.

As consumers, they tend to be the big spenders of society. With healthy discretionary expenditure, they’re more likely than the average Aussie or one-off movie-goer to indulge in treats such as going to the beauty salon or buying fresh flowers. They also rate above the national average in terms of shopping at music stores, fashion boutiques and department stores. Online shopping is popular too: people who visit the cinema twice or more in any given three months are generally more likely to purchase fashion and entertainment/leisure products via the internet in the same period.

Great news for cinema advertisers, but also for entrepreneurial exhibitors looking to build a more meaningful commercial engagement with their customers. Link.

Event Cinema

UK: Vue has reported a 50% rise in event cinema attendance in the last year, with a doubling expected this year as more people stream to showings of theatre, opera, ballet, music concerts and sporting events.

Vue CEO Tim Richards said demand for event cinema screenings had “increased significantly” in recent years and that it had “invested heavily” in its 83 cinemas around the UK to provide access to event cinema screenings.

The most successful event cinema screening to date was the one-off 50th Anniversary episode of Doctor Who, The Day of the Doctor in November 2013, which took $2.3m in a single night despite being simultaneously broadcast for free on BBC1. The episode took $10m worldwide from 650 cinemas (Nov 23-25) and claimed a Guinness world record as “the world’s largest ever simulcast of a TV drama”, reaching 94 countries.

Link.

Concessions

USA: Salon and Alternet throw a spotlight on the calorie count in the average cinema concession purchase and it makes for eye-opening reading.

But before you plunk down $7 for a medium-sized bag of popcorn at the movie theater, consider its cost to your health. A 2009 study conducted by the Center for Science in the Public Interest analyzed samples from the country’s three largest movie theater chains — Regal Entertainment, AMC Theatre Groups, and Cinemark. It turns out that there are 1,200 calories in just one medium-sized bag of Regal’s popcorn. Even a small popcorn from Regal contains the same number of calories as Personal Pan Pepperoni Pizza from Pizza Hut — and three times the saturated fat.

Jayne Hurley, a senior nutritionist at CSPI, is quoted in the report as saying, “Regal and AMC are our nominees for Best Supporting Actor in the Obesity Epidemic.”

And that’s before we get to the sodas, which we have written about before. This is an issue that needs a calm and measured debate. Link.

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Dolby Acquisition of Doremi Makes Perfect Sense – Here’s Why

Dolby Doremi Logo

The motion picture industry jump started their week with the surprising news that Dolby Laboratories, Inc. had reached an agreement to acquire Doremi Labs, a leading manufacturer of professional audio visual equipment, for USD $92.5 million in cash. The deal also includes a four-year earn out of USD $20 million which is contingent upon performance and other factors. As is customary, regulatory bodies both in the United States and internationally will need to approve the deal, though the acquisition should be complete by the end of 2014.

Dolby hardly needs an introduction. They’ve been providing audio and imaging technologies to the motion picture, broadcast and music industries for just shy of 50 years. The San Francisco based company is best known their proprietary noise-reduction systems, though they have also been at the forefront of multichannel audio, compression and broadcast transmission technologies. Dolby has annual revenue that has climbed from USD $327.9 million in 2005 to USD $909.6 million last year and net income that has grown from USD $52.2M to USD $189.2 million during the same time period. Its best year for both revenue and net income was 2011 when it rang up USD $961 million and USD $309.2 million respectively. The company’s current market cap is USD $4.2 billion.

Doremi Labs, founded in 1985, may not be as much of a household name as Dolby, though over the past 14 years it has steadily built a solid reputation within the industry as the manufacturer of digital cinema servers. Its servers and integrated media block (IMB) is installed in over 47,000 58,000 movie auditoriums around the world and has been purchased by exhibitors of all sizes. The company, which has offices in Burbank, CA and France, also markets broadcast and post-production equipment as well as closed caption devices. As a private company Doremi doesn’t report its revenue and earnings.

If one needed another sign that the global digital cinema conversion was coming to an end, beyond Hollywood studios ceasing the distribution of film prints, there is none better than this deal. Here is why we believe this acquisition is a smart move and makes perfect sense for both Dolby and Doremi:

Doremi

As mentioned, after more than a decade the rollout of digital cinema technology around the world has reached a saturation point. According to a February 8th presentation delivered by Media Salles in Berlin on February 8th, upwards of 87% of the world’s movie screens have converted to digital projection as of January 1st of this year. Doremi has grown quite steadily due to the brisk sales of its digital cinema technology over the past decade. While the company brought in revenue from the sale of pro-A/V equipment and technologies, the lion’s share of its earnings is likely derived from d-cinema related products.

Doremi would have seen sales volumes of existing digital cinema product lines plateau (if it hadn’t already) and potentially decrease during the next three to five years. Demand for d-cinema equipment (servers, IMBs and projectors) will decline and new sales will be dependent on the construction of new theatres (new builds) and technology refresh cycles. This in turn leads to the risk of a loss in market share should exhibitors select equipment from other manufacturers.

From all appearances Doremi was in good shape to weather a cyclical sales plateau or decline. The company, headed by Camille Rizko its founder and President, was right-sized with only 130 employees. In addition, Doremi’s strong engineering team is working on a slate of new products that include new hardware and software. An example of their handiwork is CaptiView, a closed caption system which was introduced a few years ago but the market for which is growing. Add to this the extensive and multinational dealership network Doremi has built up to sell such products.

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