Author: LH

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ISE MEETS TNW – AT TRANSFORM COUCH CONFERENCE

In 2021, a new chapter will begin for ISE. The Next Web (TNW) and ISE are excited to collaborate at ISE 2021 and to bring the global tech community to ISE in Barcelona and engaging them in four exciting tracks designed to supercharge innovation.

As TNW is our strategic partner, ISE would like to invite you to TNW’s and the Financial Times’ Transform Couch Conference on 2 July 2020, a new format with hands-on workshops, live interviews, and audience Q&As.

Top thinkers include:
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For ISE’s network, TNW is offering 50% off Standard Couch tickets. Just follow these instructions:

1. Go to the TNW website and click on Standard Couch – REQUEST ACCESS

2. Fill in the form and answer the question “How did you hear about the event?” with ‘other’ and enter the following code: ISE50

Join ISE and TNW at Transform Couch Conference and discover how today’s companies can innovate to ensure long term success and positive social impact.

We are looking forward to virtually meeting you on 2 July!
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The Growth Quarters stage at ISE 2021 will host an unmissable programme, with a four-day schedule of keynote speakers and experts sharing their knowledge on how to rapidly grow and scale a business.
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We are gathering 150 mayors, deputy-mayors, and policy makers from key tech cities, such as Barcelona, Amsterdam, and New York to discuss what it takes to build a flourishing tech ecosystem.
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In our Innovation Track, we will help define your key innovation challenges and find the most progressive and disruptive startups in the industry to partner on solving these challenges with their startup solution.
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The Assembly (in collaboration with FT) is a one-day event that brings together 150 of the world’s most influential CEO’s and policy makers to discuss the biggest global challenges that tech can solve or disrupt in the coming five to ten years.
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WHAT DRIVES CINEMA GOING ACROSS EUROPE – A COMPARATIVE ANALYSIS

Figures and statistics without some kind of context or explanation can be meaningless. Kim Ludolf Koch, General Manager of German chain Cineplex, opened his presentation to the 2020 Digital Cinema Summit ISE, What Drives Cinema Going Across Europe – A Comparative Analysis, with a series of graphs that he light-heartedly demonstrated could equally show the decline of tobacco consumption or road traffic deaths in Germany or the outline of a mountain in the Alps.

A similar graphic showed the gradual fall in cinema attendance in Germany, starting at 300 million in 1946 through its peak of over 800 million in the mid-1950s to a steep drop before settling at 100 million in 2018. German attendance figures were still higher than those of Spain and Italy. However, when examined in terms of attendances per capita, Germany comes out bottom, at 1.3, with Italy on 1.4, Spain 2.1, UK 2.7, France 3.3 and the US highest at 4.0.

In looking at the cinema markets of Austria, Belgium, Denmark, France Germany, Italy, Netherlands, Poland, Spain, Sweden, Switzerland, the UK and US, Koch said the key metrics to consider were population, attendance, per capita attendance, reach, screens per capita, average ticket price, relative ticket price and VAT on tickets.

Of all these different parameters, Koch said the most important in terms of influencing national audiences was reach. “Price is also essential in the domestic market because it has a strange influence on visitors,” he added. Taking Germany as the middle price point at €8.60, among the countries that have lower average ticket prices are Belgium (€8.20), France (€6.60) and the US (€7.80). More expensive tickets are to be found in Austria (€9), Denmark (€11.60) and Sweden (€12.10).

Despite a competitive ticket price, German cinema is having problems. In 2019, when Japan had its highest cinema attendance since 1971 and France, the Netherlands and Poland their highest for decades, Germany recorded its second lowest attendance in 30 years. Some comfort could be taken from the US having its second lowest attendance of this century (after 2017).

German cinemas are actively working to bring in audiences, particularly younger people. Tickets for under-15s are only €5 but Koch said this did not immediately solve the problem because there were people in their thirties who had never been to the cinema and probably never would. “If we don’t change [our approach] we will lose them,” he commented in a session on the future for European cinema.
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Digital Cinema Summit took place on 12 February 2020 at the Hotel Okura Amsterdam. Please find the image gallery here. See you next year at Integrated Systems Europe 2021!

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MARKET OVERVIEW: CINEMA IN THE EXPERIENTIAL ECONOMY

There have been many occasions in cinema history when the medium was supposedly on its way out. The growth of television viewing in the 1950s and the home video boom of the 1980s did pose a threat to film’s dominance, but the industry has always reinvented itself and survived. Today it is dealing with another perceived threat in the form of streaming, a hot topic that dominated the ISE 2020 Digital Cinema Summit (DCS).

Opening the conference with the keynote A Market Overview: Cinema in the Experiential Economy, David Hancock, Director of Research for Cinema and Home Entertainment at Informa Tech and President of the European Digital Cinema Forum, commented that, periodically, the film exhibition market has had to justify its existence. “This is one of those periods,” he said. “There is a need to reposition again and reconnect with the audience.”

According to figures from IHS Markit (now part of Informa Tech), online video has triggered an overall increase in the video subscription market. But, at the same time, cinema has seen increased attendance, although that does vary from territory to territory. The number of cinema sites in the UK has gone up to just under 800 in 2018, a vast improvement on the dip to around 745 in 2014. Hancock explained that this was not just the ‘Big Three’ (Vue, Odeon, Cineworld) but also Everyman, Picturehouse and The Light, plus smaller operators. “The number of multiplexes in the UK has gone down but there are more screens,” he said. “This includes boutique and art house cinemas.”

In the US the studios have managed to reverse the decline in their market share. Part of this, Hancock observed, was due to the popularity of movie franchises, although this trend has dropped slightly since its 2017 peak. Technology and improved cinema design have also played a part in the overall health of the market. This includes Premium Large Format (PLF) presentation, better seats and service and experiential experiences such as 4D and IMS (immersive motion seating).

Hancock also downplayed “the cinema is threatened/dying headlines” by sharing figures that show subscribers to Netflix and Amazon Prime are also keen cinemagoers. “The real enemies of cinema are those that don’t watch either Netflix or Amazon,” he said. “The people who do have streaming services like watching content and probably do go to the cinema. And the global cinema industry is resilient and strong. It is here to stay.”
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Digital Cinema Summit took place on 12 February 2020 at the Hotel Okura Amsterdam. Please find the image gallery here. See you next year at Integrated Systems Europe 2021!
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WHAT YOU MISSED AT DIGITAL CINEMA SUMMIT 2020

The future of cinema has made headlines recently years as streaming services Netflix, Amazon Prime and now Disney+ and Apple TV have changed the way people not only watch television but films as well. This perceived threat and how the movie business can adapt dominated discussion at the second annual Digital Cinema Summit during ISE 2020.

In his keynote Market Overview, David Hancock, Director of Research and Analysis for Cinema and Home Entertainment at IHS Markit, observed that the movie business needed to reposition and reconnect with its audience. “Technology is one of the core components of cinema [for engaging with moviegoers] and there are now more than 7000 immersive screens worldwide,” he said. Hancock added that better seating and boutique services were other ways to get people into cinemas.

Experiential technologies such as virtual and augmented realities (VR/AR), e-sports – multi-player video gaming in venues – and 4D presentations of film (with physical effects adding the fourth dimension) are regarded as the principal options to fill movie theatres. “VR and e-sports are ways to use dead space in cinemas,” commented Tim Potter, VP of Sales (EMEA/International) for integrator CinemaNext.

In Asia and Latin America, 4D has proved effective in luring audiences away from their home or mobile screens. Emily Ng, Senior VP of Business Development at MediaMation, a VR, e-sports and 4D specialist, said these were not gimmicks but new ways for people to experience films and cinema. “People want a thrill, something they can’t have at home,” she explained. “It’s a way to promote movie culture, [which is why] 4D is here to stay.”

Event cinema, relaying plays, musicals and other performance to theatres, has provided alternative revenue streams since the early 2000s. Speaking during ISE’s first all-female panel, Cinema Advertising and Event Cinema, Kathryn Jacob, CEO of Pearl & Dean, saw this as contributing to the segmentation of cinema, as well as providing things, such as arts coverage, that were now less common on TV.

Marlene Wickel, MD of Dutch cinema advertising group Jean Mineur Mediavision, picked e-sports as “the next big thing” but cautioned that the market would have to be patient. Pei-Zhi Liou, CEO of e-sports management and services company Cooldown Ventures, commented that there were many ways e-sports could be done within cinemas, adding that the US had adopted the genre quickly, with colleges even offering scholarships in it. Consultant Melissa Cogavin pointed out that because cinema was only a “minuscule fraction” of the gaming market and event cinema was also small, it could possibly take a generation for the two sectors to make an impact on cinemas.

Dramatic headlines have spelled the end for cinema – mainly due to streaming – but movie-going surveys tell almost a different story. Kim Ludolf Koch, General Manager of the Cineplex chain, presented analysis showing that in Japan, the Netherlands, France and Poland, cinemas experienced their highest audiences for decades. The UK, which has a higher proportion of boutique cinemas, reported its second-best year in 50 years (since 2018). Germany, on the other hand, had its second lowest attendance in 30 years.

The Netflix/Amazon effect was discussed in the final panel of DCS, Streaming and its Impact on Movie Theatres. Graham Spurling, Joint MD of Ireland’s Spurling Cinema Group, commented that windows for showing films were shrinking anyway, regardless of streaming services. He added that operators had to deal with the likes of Netflix in their own way: “I played The Irishman and Netflix wanted me to take a package of five films. I said no and just screened the one with the hype.”

Melissa Cogavin observed that the situation was not as serious as mainstream media had made out. “A lot of people are streaming films and series but there are still people who go to the cinema a lot,” she said. “It’s different forms of content. We’ve been here before with the ‘cinema is dying’ story and I don’t think we need to worry as much.”
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Digital Cinema Summit took place on 12 February 2020 at the Hotel Okura Amsterdam. Please find the image gallery here. See you next year at Integrated Systems Europe 2021!
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NEW RIVAL TO CINEMAS IN THE FORM OF STREAMING SERVICES

The cinema business has endured many ups and downs in its history. While digital technology has reinvigorated not only how films are made but also the means of delivery, projection and sound reproduction, it has also brought a new rival to cinemas in the form of streaming services. How the market can respond is to be discussed during the Digital Cinema Summit (DCS) at ISE 2020 in Amsterdam.

The theme for this year’s DCS is The Changing Cineplex. This encapsulates how operators are looking to change not only theatres but also what they offer the moviegoer. Leading experts in the field will look at whether films are still the main focus of cineplexes, what impact streaming is having on cinemas and the latest developments in advertising and presentation of live events.

The afternoon will be moderated by Nick Dager, editor and Publisher of Digital Cinema Report. After opening remarks, Jan Runge, Head of the European branch of the International Cinema Technology Association (ICTA), and David Hancock, Director of Research and Analysis for Cinema Home Entertainment at information provider IHS Markit, will present a market overview.

This is followed by the panel discussion Cinema Advertising and Event Cinema. Contributors are Kathryn Jacob, CEO of Pearl & Dean; Marlene Wickel, Managing Director at Jean Mineur Mediavision; Melissa Cogavin, MD of event cinema consultancy Melissa Cogavin Limited; and Pei-Zhi Liou, CEO and co-founder of Esports management and services firm Cooldown Ventures.

Attempting to answer the question Are Movies Still the Focus of the Cineplex? will be Emily Ng, Senior Vice President of Business Development at 4D technology developer MediaMation; Sujin Lee, Director of Business Development with CJ 4DPLEX, developer of the 4DX film format; and Tim Potter, Vice President of Sales, EMEA and International at systems provider CinemaNext. On the panel Streaming and its Impact on Movie Theatres will be: Melissa Cogavin; Graham Spurling, Director of Irish chain Spurling Cinema Group; and Goran Stojmenovik, Senior Product Manager for laser projection at Barco. All three panels will be moderated by Nick Dager.

Kim Ludolf Koch, General Manager of Canadian operating group Cineplex, is to front a ‘Kick-off Presentation’ and then join a cinema operator roundtable discussion on What’s Next for European Cinemas. Also taking part are Jaime Tarrazón, Senior Vice President of the Federación de Cines de España (Federation of Spanish Cinemas, FECE), and Jan Runge from ICTA.

The Digital Cinema Summit takes place on 12 February from Hotel Okura, Amsterdam from 14.00 to 18.00.
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Digital Cinema Summit (DCS) is a half-day conference produced by Integrated Systems Events in association with Digital Cinema Report. DCS explores how advances in digital cinema technology are transforming not just how movie theatres around the world operate but the kinds of content they can offer to their customers. It is being held on 12 February 2020 at the Hotel Okura during Integrated Systems Europe (ISE), the world’s largest exhibition for professional AV and systems integration (11-14 February 2020, RAI Amsterdam).

• Digital Cinema Summit (DCS) ISE 2020
• Wednesday 12 February 2020, 14:00-18:00
• Hotel Okura, Amsterdam
• Tickets are available here

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CJ 4DPLEX UNVEILS WORLD’S FIRST FOUR-SIDED 4DX SCREEN

Nick Dager

CJ 4DPlex unveiled what it called the world’s first four-sided 4DX Screen movie theatre at this year’s Consumer Electronics Show currently underway in Las Vegas. The company also introduced an indoor AR platform that seamlessly combines reality with virtual objects and announced an ultra-wide zoom lens in development, which can reduce projection distance by 70 percent compared to standard projection lens.

The 4DX Screen blends two of the most advanced cinema technologies on the market today resulting in a breakthrough cinematic platform that will define the future of cinema. As part of the evolution of the 4DX and ScreenX formats, not only is the cinema screen surrounded by three sides, but the ceiling is also transformed as a screen completely encompassing the cinema space. 4DX Screen is the most advanced cinema in the world, patented with more than 220 unique technologies.

The sidewalls of the auditorium are curved to a trapezoidal shape, diminishing image distortion to provide a more comfortable, and seamless panoramic viewing experience. On top of the unique trapezoidal screen structure is the ceiling screen that covers the remaining unused space of the auditorium. Facing the enveloped screen space are 4DX motion chairs, which are the most advanced form of 4DX chair available on the market. With up to 10 times wider range of motion than the previous model, the latest 4DX model has large sway and wide pitch mechanisms, offering a smoother riding experience.

According to CJ 4DPlex, the AR platform offers a never-before-seen real-time interactive experience in the commercial mobile game industry.

The ultra-wide zoom lens under development can reduce projection distance by 70 percent compared to standard projection lens with a throw ratio of 1.8. The custom lens for digital cinema projection has a throw ratio of 0.55 to 0.7, which means the projector can be placed closer upfront or screen size can be up to three times larger in size in a fixed auditorium size, which can provide flexibility in terms of auditorium design and increase the efficiency of preexisting spaces.

CJ4DPlex CEO JongRyul Kim said, “Our company is dedicated to pioneering the cinematic industry to adapt to the rapidly evolving technology. We are confident that the latest 4DX Screen cinema, will deliver an enhanced cinema experience for existing movie-goers and attract young generations to the cinemas.”

With more than 1030 auditoriums combined, ScreenX and 4DX are globally recognized premium movie formats with large fandoms. ScreenX utilizes the entire auditorium space to provide panoramic and immersive viewing experience without the aid of VR glasses, which can have a disturbing effect to some viewers. 4DX is the first and leading 4D cinema technology for feature films, providing moviegoers with an exciting cinematic experience that utilizes all five senses, allowing the audience to connect with movies through motion, water, wind, snow, lightning, scents, and other special effects that enhance the visuals on-screen. It also incorporates motion-based seating synchronized with more than 22 different effects, maximizing the feeling of immersion within the movie.

Sujin Lee, Director of Business Development at CJ 4DPLEX will join the panel ‘Are Movies Still the Focus of the Cineplex?‘ at the Digital Cinema Summit 2020.
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Digital Cinema Summit (DCS) is a half-day conference produced by Integrated Systems Events in association with Digital Cinema Report. DCS explores how advances in digital cinema technology are transforming not just how movie theatres around the world operate but the kinds of content they can offer to their customers. It is being held on 12 February 2020 at the Hotel Okura during Integrated Systems Europe (ISE), the world’s largest exhibition for professional AV and systems integration (11-14 February 2020, RAI Amsterdam).

• Digital Cinema Summit (DCS) ISE 2020
• Wednesday 12 February 2020, 14:00-18:00
• Hotel Okura, Amsterdam
• Tickets are available here

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DIGITAL CINEMA MARKET LEADS OTHER AV SECTORS IN TERMS OF EXPANSION

Of the many areas that have been transformed by new technologies, Digital Cinema is the one that has experienced the most significant change and market growth. With the move away from film for distributing features, cinemas – both big chain screens and independents – have been installing server-based systems to receive files of the latest titles.

The Digital Cinema market has been going through this technological evolution for over ten years but, according to figures issued by IOTA (Industry Outlook and Trends Analysis), it leads other audio-visual (AV) sectors in terms of expansion. IOTA is the industry intelligence and analytical service provided by international AV trade body AVIXA (Audiovisual and Integrated Experience Association).

AVIXA represents more than 11,400 members, both companies and individual industry professionals, and provides a forum for information, standards and training, as well as market analysis. The its 2019 report on Digital Cinema, IOTA found that the sector was recording a Compound Annual Growth Rate (CAGR) of 5.2 percent, with a revenue of $4 billion.

The review of this sector also takes in digital signage for box office displays, concession menus, auditoria entrances and movie posters. Hardware prices were found to be falling, which can be seen as an important factor in the increasing take-up of Digital Cinema technology and technology.
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Digital Cinema Summit (DCS) is a half-day conference produced by Integrated Systems Events in association with Digital Cinema Report. DCS explores how advances in digital cinema technology are transforming not just how movie theatres around the world operate but the kinds of content they can offer to their customers. It is being held on 12 February 2020 at the Hotel Okura during Integrated Systems Europe (ISE), the world’s largest exhibition for professional AV and systems integration (11-14 February 2020, RAI Amsterdam).

• Digital Cinema Summit (DCS) ISE 2020
• Wednesday 12 February 2020, 14:00-18:00
• Hotel Okura, Amsterdam
• Tickets are available here

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CINEWORLD CREATES WALES’ MOST IMMERSIVE THEATRE

Nick Dager

Cineworld has renovated its Newport Spytty Park theatre with three premium formats to create the most immersive cinema in Wales. Mo Williams, general manager of Cineworld Newport Spytty Park said, “We are absolutely delighted to be the first in the area to open 4DX, ScreenX and Superscreen [auditoriums] in the one cinema. I can’t wait to welcome movie fans from Newport and beyond to visit the most immersive cinema in Wales.”

“We are very happy to be able to bring 4DX and ScreenX to Newport Spytty Park through Cineworld,” said CJ 4DPlex CEO JongRyul Kim. “Cinema is all about the experience and that’s why 4DX’s sensory technology and ScreenX’s 270-degree viewing experience allows customers to experience to the movie like never before. We are pleased to be working with a great partner like Cineworld, as they truly believe in advancing cinema.”

4DX is an extreme sensory cinema experience, which stimulates all five senses – with stimulating effects like water, wind and scent, and high-tech motion seats enhancing every moment on screen.

ScreenX is the world’s first multi-projection cinema technology that extends the cinema screen to the side auditorium walls, creating a 270-degree movie viewing experience that surrounds the audience in their seat.

Superscreen incorporates Dolby Atmos sound with laser projection. Cineworld Newport Spytty Park has the second laser projector in Wales.

In the coming weeks Cineworld Newport Spytty Park will present Le Mans 66 in all premium formats, The Aeronauts in 4DX and Superscreen, and Frozen 2 in 4DX and Superscreen.
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Digital Cinema Summit (DCS) is a half-day conference produced by Integrated Systems Events in association with Digital Cinema Report. DCS explores how advances in digital cinema technology are transforming not just how movie theatres around the world operate but the kinds of content they can offer to their customers. It is being held on 12 February 2020 at the Hotel Okura during Integrated Systems Europe (ISE), the world’s largest exhibition for professional AV and systems integration (11-14 February 2020, RAI Amsterdam).

• Digital Cinema Summit (DCS) ISE 2020
• Wednesday 12 February 2020, 14:00-18:00
• Hotel Okura, Amsterdam
• Tickets are available here

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