In addition to being a leading cinema systems integrator, Moving Image Technologies designs and manufactures a wide range of proprietary products in-house, including subscription-based solutions and developing potentially disruptive software as a service. Despite the well-known headwinds facing the cinema industry – the pandemic and the Hollywood strikes – MIT had a relatively strong year in 2024. Last year the company repurchased 758,000 shares of its own stock. It also introduced several new products and last summer began a sizable project upgrading Alamo Drafthouse Cinemas across the country. In August MIT was awarded projects from Horizon Cinemas, Schulman Theatres, and Flix Brewhouse. And, last fall, Francois Godfrey was promoted to the role of president and COO as part of MIT’s succession planning. He was also appointed to the company's board of directors. I recently spoke with Godfrey via email to get his thoughts on his new role at MIT as well as what he sees for the future of exhibition and post-production. Here is that conversation.
Digital Cinema Report: Prior to joining Moving Image Technologies, you held executive level jobs at several industry companies including QSC Audio, Ballantyne Strong, Barco and Christie. How do you think that experience has prepared you for your new role at MIT?
Francois Godfrey: Before joining the manufacturing side of the industry, I was a customer of three of these companies making technical and purchasing decisions for a cinema chain. This role gave me firsthand experience in evaluating quality and value, as I relied on equipment to deliver consistent performance for our audiences. Transitioning to world-class audio and projector manufacturers allowed me to continue being involved with my technical presentation passion while learning about organizational and manufacturing processes, global logistics, and sales and marketing, emphasizing brand loyalty, technical excellence, and customer-focused execution. This dual perspective drives my approach at MIT, ensuring we deliver solutions that meet the real-world needs of our customers.
DCR: MIT has upgraded many different exhibitors this year including Alamo, Flix, Horizon Cinemas, Golden Ticket and Schulman Theatres. Most of those projects seem to involve upgrading at least some venues to premium large format auditoriums. Is that the case and what role do see you PLF auditoriums playing in exhibition’s future?
FG: Currently, PLF is central to reinforcing the idea that going to the movies offers something uniquely immersive and exciting. PLF is the TLA (three letter acronym) that delivers results, whether the L stands for Large or Luxury. It’s all about creating a compelling, elevated experience that gives audiences a reason to choose the cinema over staying home. At MIT, we specialize in delivering complete furniture. Fixtures and equipment solutions to help exhibitors seamlessly integrate PLF into their venues—whether it’s an expansive, premium auditorium or a more intimate, luxury-focused space incorporating laser projection, immersive audio or newer technologies like DVLED and high dynamic range. Our ability to value-engineer these solutions ensures that exhibitors can enhance the moviegoing experience while staying within their budget.
DCR: MIT is also involved in eSports. What have you done to date in eSports and how big a role do you think eSports will play in exhibition’s future?
FG: Our MovEsports solution is designed to transform cinemas into amateur eSports venues without permanently dedicating space. This turnkey modular system includes six gaming stations and a production station, allowing for three-on-three tournaments (expandable to five-on-five) that can be set up and stowed away in minutes. Players can compete locally or against other locations, while spectators enjoy the cinema’s luxury amenities, food, and beverages, all within the immersive environment of a big screen and surround sound. MovEsports brings communities together, offering cinemas a way to expand their audience base by tapping into the booming eSports market while maximizing auditorium utilization during off-peak hours.
DCR: MIT also works with the post-production community. What are some of the projects that you’ve done there?
FG: Yes, we’ve seen growing interest from studios, post-production houses, and private screening rooms looking to elevate their technical capabilities. MIT’s expertise ensures these clients receive solutions tailored to their unique demands. While we continue to provide technology refreshes with laser and high-contrast projection systems, the growing appetite for affordable post-production-specific laser and HDR solutions has led to a backlog of projects. Working with post-production, studios, and high-net-worth properties is both exciting and rewarding due to the attention to detail required. Though the majority of these projects are confidential. I can share that this past year, we sold, installed, and project-managed two five-meter DVLED systems using MIT’s proprietary DVLED screen frames. I believe you’ll see a case study with the manufacturer in the near future.
DCR: MIT also develops its own proprietary products. What can you tell us about your current product line?
FG: MIT specializes in purpose-built solutions for cinemas. Our product line includes 3D XL movers, industry-standard pedestals, DVLED frames, automation systems, power management, dimmers, and our architectural lighting fixtures, which mimic incandescent dimming for cinema showmanship performance. Additionally, the ALF downlights can double as janitorial lighting. We’re also proud to manufacture the most affordable ADA-compliant MIT Accessibility Solutions, leveraging the proven USL/QSC platform to promote inclusion in cinemas worldwide at an affordable price. Whether you rely on MIT’s integration services or choose to handle integration yourself, all MIT products are designed to easily integrate into the unique cinema envelope, providing value at every step of the process.
DCR: Can you share any news about products under development?
FG: We’ve made significant investments in both cinema and sports venue solutions. While I’m excited about these developments, it’s essential to time announcements strategically. I look forward to sharing more in the near future.
DCR: Every new president brings new ideas to the position. What changes do you plan to make at MIT?
FG: I’m prioritizing the expansion of our product portfolio, including both proprietary and distributed products, with a strong focus on innovation, exploring new markets, and forming strategic partnerships. This includes evaluating potential mergers and acquisitions that align with and complement our core capabilities.
MIT has a solid foundation, built by industry experts who grew the company from inception to a publicly traded entity in under 20 years. My immediate focus is on optimizing internal efficiencies to enhance the customer experience as we expand our customer base and prepare for the next phase of growth.
The cinema industry is undergoing a pivotal technology refresh cycle, and MIT is evolving alongside it. Any changes I implement will be purposeful, aligning with the direction of our customers and designed to deliver greater shareholder value. Having successfully navigated challenges such as COVID and the recent strike, MIT is well-positioned to help exhibitors of all sizes manage this critical tech refresh cycle in a cost-effective way while meeting our profitability goals.