The annual gathering of the European cinema community – CineEurope – took place once again at the CCIB in Barcelona between the 17-20 June. 

On the opening morning of the conference (Monday 17th) a session focussing on ‘New Cinema Concepts’ kickstarted a discussion around cinemas developing new offerings in order to adapt to customer expectations and bring in new revenue streams. The session was moderated by Sharon Reid (Cinema First) and examined a selection of exhibition companies who have branched out with their businesses. This gave the perfect lead into the International Cinema Technology Association (ICTA) sessions, which were held on Tuesday 18th on the trade show floor. 

Some interesting trends came out of the opening day session that set up the later ICTA sessions well. Nicolas Chican (Co-founder, Ōma Cinema) noted that their first venue in Mougins, in the south of France, has been met with an enthusiastic response, with the ‘pod experience’ being at the top of the list for their customers – together with the champagne and macaroons! The term ‘theatrical representation’ takes on a new meaning with this concept.

Brock Bagby (President, Chief Content, Programming & Development Officer, B&B Theatres) provided a remote video presentation of the company’s impressive new entertainment centres, which offer a wide range of activities additionally to screenings films, to suit a variety of tastes, including bowling alleys, gaming arcades, cabanas, pickleball, and a lot more.

Thomas Van de Weerd (CEO and Founder, TheAnyThing) presented his concept of private cinemas. These range from ‘cubes’ for two people up to home cinema rooms for 6-12 people. The cinemas are self-operated and the hire includes catering and other special requests.

A Tech Perspective: the ICTA Sessions

The topic of new cinema concepts was a great lead in for the first ICTA session taking place alongside CineEurope’s trade show. Titled ‘Designing the Next Generation of Cinemas to Create Additional Revenue Streams and Footfall’, the session was chaired by Till Cussmann (VP Client Success, Vista Group) and featured a panel of professionals from all aspects of cinema operations.

The first question to the panel concerned their views on hospitality and quality. John Sullivan (Founder, Backlot Cinema) said that every project starts with the number of screens. This then allows the services and available space to be optimised within the building.

Doron Kurz (Director of Commerce, Pathé) noted, “anything to keep the audience in the venue.” This could include premium screens, gaming and other attractions, such as the aforementioned ‘cube cinemas.’ An important point, often overlooked, is the fact that an exchange with the cinema staff should be an ‘interaction’ rather than a ‘transaction’, something simple that often enhances a customer’s experience.

Serena Gill (Director of Film, Everyman Cinemas) explained that a ‘cosy’ atmosphere, together with a diversity of services, was very important. 

John Schreiner (Senior VP, Theatre Development, IMAX) stated that a cinema – or venue – can be a ‘core-space’ for a range of offerings that include the screen and services, (which brings up the question as to what exactly a ‘premium experience’ is). Bobbie Andrews (Managing Director EMEA, CJ 4DPLEX) emphasised the importance of content, along with the importance of creating “magical moments.”

The roundtable conversation that followed included all of the panellists contributing their own thoughts and opinions on everything from the structural challenges of new builds and cinema renovations to the price value of movie tickets for an increasingly more cost-conscious consumer. They questioned the cause of cinema closures and what, if anything, can actually be done to stem what appeared to be a growing trend.

Ultimately there was no agreement among the panellists over a coherent, surefire strategy that increases moviegoing, though each agreed on the importance of making the cinema experience attractive to as many potential patrons as possible. Next to selling the experiential aspects of cinemagoing, the need to “mobilise the tribes” was underscored. For those unfamiliar with the concept, it is a reference to the tribal aspect of social networks – if one person goes to a movie then others will follow.

‘What’s Next in Cinema Technology?’

The second ICTA panel was chaired by Guillaume Branders (Business Development Manager, DX) and featured Dr. Man-Nang Chong (Founder & CEO, GDC Technology), Gerwin Damberg (EVP Cinema, Barco NV), Matt Eyre (COO, Vue), Brian Claypool (EVP Cinema, Christie), Charlotte Jones (Senior Principal Analyst, Cinema and Movies, OMDIA), Kadri Kaldma (Business Development Manager, Apollo Cinema Baltics). 

The first question to the panel was, unsurprisingly, “what’s next?”

Charlotte Jones opined that technology drives PLF screens and offers different experiences. In terms of digital cinema, this started out with what could be termed Series 1 digital projectors and has now evolved to laser projection.

Kadri Kaldma stated that equipment replacement may not really be necessary as long as it works and it’s more useful to concentrate on the tangible services available to customers (read: hospitality).

Matt Eyre felt that current equipment is performing adequately but other factors, such as seating, need closer attention – is the audience comfortable? He also mentioned during the panel discussion that – unsurprisingly – finance is still an issue where technology is concerned. 

Gerwin Damberg said that “we need to look inside and outside the technology.” The industry needs to innovate and the results, such as High Dynamic Range (HDR), should become mainstream rather than be for just the privileged few. 

Damberg went on to note the importance of sustainability – something Barco has always maintained as a core focus of the business – and the impact of this on running costs.

Brian Claypool noted that the cinema experience needs to be constantly improved. In the beginning, Xenon technology for projectors was stable. However, laser technology is evolving rapidly, defining standards – vital for the cinema world – and this takes time and is core to the industry. As with film, playout of the content has to be standardised. Claypool also emphasised the importance of making a solid plan for upgrade pathways.

Dr. Man-Nang Chong (GDC) said that technology broadens the artistic canvas but asked the question – can audiences tell the difference between ‘normal’ and HDR? In today’s economics, cinema has to be cost effective.

Further general comments mentioned that marketing is vital and has to be a team commitment when moving to PLF screens; manufacturer support remains a concern for keeping old equipment running and customer service remains all-important.

One thing that is becoming more and more obvious is the fact that cinemas – and presentation formats – have become much wider than used to be the case (both physically and in their usage) and that, in terms of technology, one size does not fit all. 

A cliché of recent times is the need to ‘think outside the box’ and with the different offerings exhibitors are exploring, this is definitely proving to be the case. This is particularly true for audio and sound where tried-and-tested audio systems will just not be up to the job. Top-level concert venues, acoustics and sound systems will need to go hand in hand for new generation cinemas and incorporate the latest developments from concert and theatre sound.