Barco has launched a program designed to ensure peace of mind and low total cost of ownership for exhibitors and constant superior image quality for moviegoers. The SmartCare program provides a guaranteed light source output over a 10-year period for Barco’s Smart Laser cinema projectors.
Satellite distribution company Digital Cinema Distribution Coalition now reaches more than 30,000 theater screens in the United States in the more than 2,650 theatre sites belonging to the 179 exhibitors it has under contract.
VIP Cinema Seating has expanded its manufacturing facility expansion giving the company the capability to produce 2,000 luxury cinema seats per day. Like the four major facilities expansions that came before it, this fifth expansion within eight years, comes in response to dramatically burgeoning demand as exhibitors across the world are recognizing the value of luxury seating in the cinema-going experience. Since VIP introduced the concept of luxury reclining seating to the theatre industry in 2008, the company has completed over 500 custom cinema projects worldwide, finishing 2016 with a 44.2 percentage increase in overall shipments.
Among a range of new products to be unveiled at CinemaCon next week in Las Vegas, Christie will be previewing a new Christie Freedom Series direct-coupled RGB laser projector; a pure laser innovation boasting higher efficiency and significantly longer life than hybrid cinema laser phosphor projectors.
United Cinemas International is installing CJ 4DPlex 4DX technology in Brazil's top-grossing theatre. Featuring moving seats and environmental effects such as wind, rain, lightning, snow and a variety of scents, 4DX will make its debut in Rio de Janeiro this March at UCI's New York City Center. Although the first site in Rio, this will be the seventh theatre in Brazil to feature 4DX, and the first in the country to feature the new rainstorm effect. Today's news continues the worldwide expansion of this immersive cinema experience, which is currently available in 370 auditoriums spanning 47 countries.
Dolby Laboratories today introduced the Dolby Integrated Media Server IMS3000, which combines Dolby audio and image processing in one unit. According to the company, when coupled with the Dolby Multichannel Amplifier and SLS Express Series, it offers a complete, integrated solution from 5.1 to Dolby Atmos. In advance of CinemaCon 2017, I spoke with Michael Archer, Dolby’s vice president of worldwide cinema sales, to get a closer look.
For more than a decade, theatre management software has been the backbone of every cinema that made the transition to digital projection technology, which is to say, virtually every movie theatre in the world. Many different manufacturers provide their own approach to the challenges that TMS was designed to address. I recently spoke with five TMS manufacturers and asked if they thought exhibitors were getting the most from their TMS, where their TMS fits in a movie theatre enterprise and, most of all, what new ideas in TMS can we expect to see when the industry gathers in Las Vegas next week for CinemaCon 2017. We’re presenting the companies alphabetically and will be offering their answers over the next five days. Today’s company: Unique Digital.
Dolby Laboratories today announced a full spectrum of integrated solutions that will save exhibitors of all sizes both time and money while delivering audiences an experience they can trust from Dolby. The new Dolby Integrated Media Server IMS3000 combines Dolby audio and image processing in one unit. When coupled with the Dolby Multichannel Amplifier and SLS Express Series, they offer a complete, integrated solution from 5.1 to Dolby Atmos.
CinemaNext has announced that it has equipped 25 screens in 13 cinemas across Germany with EclairColor technology. In conjunction with these installations, Ymagis Group’s content services arm, Eclair, has overseen the EclairColor mastering of the film The Lost City of Z, which opens in cinemas in Germany March 30. The film from critically acclaimed director James Gray is distributed by StudioCanal in both Germany and France.
For more than a decade, theatre management software has been the backbone of every cinema that made the transition to digital projection technology, which is to say, virtually every movie theatre in the world. Many different manufacturers provide their own approach to the challenges that TMS was designed to address. I recently spoke with five TMS manufacturers and asked if they thought exhibitors were getting the most from their TMS, where their TMS fits in a movie theatre enterprise and, most of all, what new ideas in TMS can we expect to see when the industry gathers in Las Vegas next week for CinemaCon 2017. We’re presenting the companies alphabetically and will be offering their answers over the next five days. Today’s company: GDC.
