Summer 2006

kino • notes
C H R I S T I E
C I N E M A
SUMMER 06
W O R L D W I D E
CHRISTIE HAS
RECORD YEAR
IN EUROPE
From Contracts to Installations
to Excited Audiences, Christie
Digital Cinema Solutions
Play a Significant Role in
the Widespread Adoption of
Digital Cinema in Europe
Christie successfully embarked on a series of “firsts”
in Digital Cinema around the world. Included among
the highlights within Europe was Christie’s projection
partnership in the first Pan-European Digital Cinema
rollout developed for the distribution and projection
of Digital Cinema movies, alternative content and
other related services. The rollout encompassed
hundreds of installations in Germany, The Netherlands,
Switzerland, Italy, Sweden, Denmark, Norway,
Portugal and Poland.
Christie was also a key projection partner in Europe’s
first and largest Digital Cinema rollout, the Arts
Alliance Digital Cinema’s (AADC) efforts to digitize up
to 250 screens throughout the UK on behalf of the
UK Film Council.
Story continues on page 2
XDC Plays Major
Role in D-Cinema
Rollout in Europe
UK Film Council
Gives Audiences
More Choice
Supercines
Pampers Movie
Goers in Ecuador
see page 2
see page 3
see page 9
CJ-CGV: 1st
Simultaneous
Digital Screening
in Korea
see page 10
MMC Brings the
Magic of Movies
to Mexico
see page 11
Christie Has Record Year
in Europe
“...Christie contributes
significantly to the
Digital Cinema
rollout in Europe.“
Fabrice Testa,
XDC Marketing & Operations
Coordination Manager
550-seat Gloria cinema,
Innenstadt Kinos, Stuttgart
2
Setting the Pace With
Technology Partnerships:
XDC and Christie
With almost 40 people based in Liege, their
Belgian headquarters, XDC— a member company
of EVS Group, with over 170 staff worldwide —
launched the first network of Digital Cinema
theatres in Europe.
Along with assuming and expanding the international sales of the CineStore™ family of Digital
Cinema servers and distribution-related mastering
and duplication activities, XDC is currently deploying the largest pan-European Digital Cinema
rollout initiative. The XDC business proposal
offers distribution and exhibition of a streamlined
and cost neutral upgrade route to take advantage
of all of the benefits of Digital Cinema.
“XDC and Christie have
built a preferred partnership mainly within the
German speaking
territories (Germany,
Switzerland and
Austria). Digital Cinema
will grow in a significant
way in these countries within the
next two years and we do want to
keep our position in the market. Out
of the 230+ XDC European screens,
more than 160 are equipped with 2K
projectors. Over 60 of them have been
supplied by Christie,” notes Fabrice
Testa, XDC Marketing & Operations
Coordination Manager. “The fact that
Christie has just received another order
from XDC for 10 Christie CP2000 DLP
Cinema® projectors clearly demonstrates that
Christie Digital Cinema projectors are well suited
to the needs of Digital Cinema today and that
Christie contributes significantly to the Digital
Cinema rollout in Europe,” added Testa.
XDC offers full logistics and services to
distributors (content preparation, delivery
management, key management/security) and
exhibitors (projection equipment & systems,
installation & training, support & maintenance).
“The new XDC business proposal has been
updated and is now more open and more
attractive. Digital content is a key parameter for
rollout in Europe and we are now very confident
that XDC, by offering various open solutions to
the content providers, will attract more and more
Story continues from page 1
international and local digital releases to the
XDC screens,” says Bernard Collard, XDC
General Manager.
“And the Award Goes to…”
The first "Digital Cinema Award" in Cannes in
2005 was awarded to Innenstadtkinos in
Stuttgart, Germany, where four out of ten screens
have already been upgraded to digital technology,
enabling parallel screenings of Digital Cinema
movies. Thomas Rietenbach, Technical Manager
of the EM-Filmtheaterbetriebe in Stuttgart,
accepted the award as a representative of the
organization at IDIFF (International Film Forum).
Further positive news came when Innenstadtkinos
was chosen to be the hosting venue for
"International Trickfilmfestival Stuttgart."
Story continues on page 6
UK Harnesses the Power
of Digital Cinema
UK Film Council Takes
Pioneering Role in Giving
Audiences More Choice
By the spring of 2007 some 240 screens will have
been installed with full Digital Cinema capability,
with high-level specifications set by the Digital
Cinema Initiative (DCI) and Society of Motion
Picture and Television Engineers (SMPTE). The
Digital Cinema Network will be fully DCI compliant once all the technological issues have been
resolved and implemented.
It’s been a well-trodden path for Peter
Buckingham, Head of Distribution and Exhibition,
UK Film Council, and his deputy Steve Perrin,
since they first sat down in January 2003 and put
together a digital blueprint, setting out their aims
and objectives.
The UK Film Council was introduced to digital
technology when it helped finance 78 installations of cinema equipment for people with
sensory disabilities. Companies like Christie,
Dolby, DTS and Sound Associates were at the
forefront of this technology and theatres purchased equipment either directly or via agents.
“It was a very successful project in that
although we helped to finance 78 installations we
were able to lever that up to 200,” recalls Perrin.
“We were very happy with the result because a
lot of people we made awards to then went out
and bought further equipment themselves. It had
measurable direct public value and it was backed
up by the commercial sector.”
At the same time the UK Film Council was busy
issuing documents, asking for expressions of
interest and invitations to tender for the new digital network. After a lengthy review process Arts
Alliance Digital Cinema (AADC) awarded the
£12.0m contract. Both Christie and QuVis
became AADC’s technology partners.
“We were spending public money and so the
process had to be well thought out,” Steve Perrin
continues. “Our concern regarded access and
opportunity for audiences to choose to see a
wider range of films. It was about audience development, and so our strategy was based on a
social and cultural, rather than an economic and
technical model. Technology was the tool,
whereas audience development was the aim.”
The big question was how they could expand
the choice to audiences and get a wider range of
films into a wider range of cinemas? “We wanted
increasing choice in all types of cinema and it was
fortuitous that Digital Cinema was evolving at the
same time and that we were able to realize a
technology that made sense to us. We knew the
technical issues would be resolved.”
Digital Cinema was also acceptable in terms of
its interoperability with 35mm formats. “We were
relieved that 35mm and digital could operate side
by side. In the more technical sense, interoperability is about having a set of equipment that meets
an accepted standard. There’s no gate-keeping,
it’s an open system and that works very well for
us,” says Perrin.
As a result, the UK Film Council secured funding to digitally equip 240 screens, which will be
able to show specialized films. “This is a longterm strategy — a four/five-year period. We have
set the target to increase the admissions for specialist films by 40% within the lifetime of the
Digital Cinema Network’s contractual period.”
One of the concerns was that there might have
been an insufficient number of films available in
high-grade cinema format. “But we have been
overwhelmed with the availability of 2K content,
with certain cinemas saying ‘There’s too much
demand on my digital screen’. It’s good for
cinemas and good for audiences.”
Steve Perrin emphasizes that throughout the
entire process the Council has consulted with
such organizations as the CEA, FDA, individual
manufacturers, EDCF and DCI. “All these relevant
bodies have either been consulted or have spoken
to us in some way or another. “And if there’s one
lesson to learn in order to refine your thinking, it’s
consult as widely as you can and keep abreast of
all developments!”
AADC Tasked to Lead the
UK’s Expansive Digital
Cinema Mission
When the Arts Alliance Digital Cinema (AADC)
was awarded the UK Film Council’s £11.5m
contract in February
last year, they
selected the Christie
CP2000 as their
preferred 2K Digital
Cinema projector.
A subsidiary of
Arts Alliance Media,
AADC’s associate
director, Fiona
Deans, says that the
division had already
Fiona Deans,
Associate Director, AADC
been rolling out a
Story continues on page 4
Steve Perrin, Deputy , UK Film Council
“We wanted
increasing choice
in all types of
cinema and it was
fortuitous that
Digital Cinema
was evolving at
the same time.”
Steve Perrin
Deputy
UK Film Council
3
UK Harnesses the Power
of Digital Cinema
“We recognized
the potential of
Digital Cinema
from the very start
and are pleased to
have been one of
the first eight
cinemas to install
the new Christie
CP2000.”
Derek Hook,
owner of Zeffirellis
trial in Europe, using Christie, and that a lot of
the groundwork had been carried out prior to the
successful bid.
With the Christie CP2000 and QuVis Cinema
Player server as their lead brands (where space
permitted), the AADC surveyed the sites of all cinemas applying for the grant to assess suitability.
“With the technology already in place we
started working on more practical elements —
such as the installation itself, and how Christie
projection could be integrated with the existing
infrastructure,” stated Ms. Deans. AADC also had
to implement the DCI’s new recommended
encryption/compression standard, JPEG 2000,
which the QuVis Cinema Player supports.
As time passed, the issue of security arrived on
the UK Film Council’s agenda, in terms of encryption, watermarking and the linkages between the
server and the projector. These issues were also
accounted for in the UK Film Council’s contract
with the Arts Alliance.
When required, the AADC will be responsible
for creating Digital Cinema masters from high
definition or uncompressed 2K versions of the
film, loading them onto disk and supplying the
decrypting security keys for the cinema to play
out the content. Says Fiona Deans, “Along with
the watermarking, it’s actually more secure when
films are in transit, since they are encrypted and
can only be decrypted via the key. The servers
have been upgraded to accept the interim
SMPTE format, JPEG 2000 and MXF-Interop.”
When we evaluated Christie, one of the things
we really liked about the Christie CP2000 Digital
Cinema projectors was the ease of accessing the
racking and control panel. This was important
since it would be going in right next to the
existing 35mm projectors.”
AADC will lease the equipment to exhibitors
and maintain it for four years, the cost working
out on average at around £2,000 per cinema.
Cinemas in many cases are using their new
capability to undertake educational screenings,
with playback in DVD and DigiBeta formats.
“The cinemas contribute to the cost of the
equipment which enables them to see the value
and it becomes a great way to learn,” Deans
summed up.
Independents Going Digital:
It’s the Way the Market is
Going
4
Derek Hook, owner of Zeffirellis, a progressive
independent cinema complex in the Lake District
Story continues from page 3
Derek Hook, owner of Zeffirellis
tourist resort of Ambleside, had been quick to
take up the UK Council’s initiative and apply for a
grant. “We recognized the potential of Digital
Cinema from the very start and are pleased to
have been one of the first eight cinemas to install
the new Christie CP2000, the ‘Rolls Royce of digital projectors,’” noted Hook. “It is fabulous
looking, easy to use and integrates with our
sound system perfectly.”
“I knew it was the right thing to do to combine
cutting-edge projection with independent film as
an art house cinema. We like to mix alternative
art house movies with mainstream films here —
we are very careful in our planning process.”
Zeffirellis was fortunate when it came to installing
the equipment, he says. “The UK Film Council
was very helpful as were Sound Associates, who
carried out the full installation, at the same time
upgrading our sound.”
Today Zeffirellis boasts four Dolby-equipped
screening rooms — two at the main facility and
two at the nearby ‘Zeffs in the Park’ — and eventually he would like to see a Christie CP2000 in
each projection room. The main complex also
incorporates a vibrant Jazz Café bar and large
Italian vegetarian restaurant.
Hook believes that the holy grail of any movie
house dedicated to the memory of the great
Italian film director, Franco Zeffirelli, is a digital
capability. “Digital is the way forward in today’s
technology-driven world,” he says. “In any case
I’m passionate about cinema so the clarity that
the Christie projector offers is fantastic.” Hook
already has plans to develop the potential of his
new technical capabilities — using the auditorium
for conferences, presentations and special
screenings.
Derek Hook delineates the cinema market into
three sectors — Art House, Independent and
Multiplex. Digital has benefits for each market
sector. “For obvious reasons, the multiplex will be
the first to capitalize on the Digital Cinema experience, whereas the art house will also benefit
from re-mastered copies; but the independent
sector is limited by lack of money — and that’s
why a lot of interoperability is taking place.”
Having greater access to first-run screenings is
one thing, but Derek Hook will also be able to
take advantage of the increasing availability of
specialist ‘art house’ films now that the cost of
making the 35mm print has been removed. The
same is true of the classics market. The re-mastering of old footage — such as Casablanca — has
enormous potential.
Hook reckons the cost of installing a single
screening room is in the region of £80,000; and
that includes the sound system and its integration. “Whilst it’s a massive outlay it is worth every
penny,” he concludes. Technically the digital
process could not be simpler. The Arts Alliance
provides a security key lock/code and contracts
the movie for the given time period. “It’s simply a
question of downloading the file.”
The entrepreneur aims to be able to offer
another digital screening facility soon, and envisions the day when he is fully digital-equipped,
from the ground up. “It makes sense as we could
offer greater choice.” In summing up, Hook says
“I would definitely recommend going digital to
other independents. It offers superb presentation;
it’s the way the market is going.
Digital Investment To Grow
Box Office Revenues for
Independents in the Future
Since the merger of multiplex operators UGC and
Cineworld 18 months ago, the strengths of each
organization have combined to form a powerful
synergy.
While both UGC & Cineworld were major players in mainstream movies, UGC specialized in
independent and foreign language products and
Cineworld in family-oriented content and
Bollywood movies. It’s a powerful exhibitor
combination, thanks to the timing of their entry
into the digital market via the UK Film Council’s
Digital Cinema Network initiative.
Steve Wiener, the founder and chief executive
of Cineworld, recently stated that digital
screenings would soon become an “integral” part
of the business, adding that digital projection
would play an important role in growing box
office revenues.
Cineworld’s Film Marketing Manager, Kate Cox,
agrees, noting that the company has been building its range over the past four years. As the
second largest multiplex operator in the UK, it has
been awarded 77 screens in 68 cinemas. To date
there are 16 screens installed across 14 cinemas
nationwide.
“Digital Cinema really suited our strategy,” she
says. “The Digital Screen Network has certainly
influenced the programming at Cineworld in
favor of the independent film, and due to the
flexibility of the digital print, we can now offer a
greater range of films.”
“This all fits perfectly with Cineworld’s strategy
and thanks to the digital print we can offer a
greater range of classics and back catalog material and therefore more choice. Classics provide
the opportunity to promote themed seasons or
film runs,” notes Cox, adding, “the availability
of more independent content is very valuable.”
Aside from stretching the content opportunities, Digital Cinema is already bringing additional
benefits to some of the chain’s outlying theatres,
since the company operates on a national matrix.
“It means they can now see movies with the full
clarity of a first run as a result of the digital print,
whereas traditionally with 35mm, by the time a
film reached a secondary city it may start to show
signs of degradation.”
Pivotal to Cineworld’s steady conversion has
been the Christie CP2000 Digital Cinema projector, which has redefined perceptions of movie
fidelity. “Without doubt the quality of this projector is fantastic — far better than I’d imagined,”
declares Kate Cox. “All our technical guys are
impressed with it too.”
Indeed Kate Cox remains unequivocal in her
enthusiasm for the onward march of Digital
Cinema. “It is proving hugely successful for us;
we are being offered more prints that enable us
to target wider audiences with a variety of special
film seasons and festivals.
Kate Cox, Marketing Manager,
Cineworld
“Without doubt,
the quality of the
Christie CP2000
projector is
fantastic…”
Kate Cox
Marketing Manager
Cineworld
5
Christie Has Record Year
in Europe
Egon Gräfen, Management, FTT
“With four screens, close to 1,500 viewers can
now enjoy digital quality in our cinemas. All four
cinemas are THX certified, with XDC servers and
Christie Digital Cinema projectors. The financing
model of XDC provided us with the opportunity
to offer digital quality now. As a consistent supply
of digital movies is guaranteed by the distributors,
two additional cinemas are planned to go digital,”
said Rietenbach.
“The combination of XDC servers and Christie
Digital Cinema projectors was ideal for us and
exactly what we wanted. Following the success of
“Star Wars” and confirmations for digital versions
of “Sin City” and “The Island,” the decision was
quickly made to upgrade additional cinemas with
digital technology. And the zeal of our audience
simply proves this.”
Rietenbach’s enthusiasm is obvious: “Star
Wars” has had the most visitors so far, with a
large number of fans making several return visits.
And the digital version of “Harry Potter” yielded
the same results. To start with, we showed both
versions in film and digital. However, now we
only show the digital version. So far, the digital
version has always been more successful.”
The passion of the audience extends beyond
simply watching a movie. Rietenbach reports,
“The interest in movies and modern technology is
already present with our audience and we have
even organised guided tours through our technical rooms. Other interesting projects include the
Filmakademie Ludwigsburg, where we regularly
show special screenings that consist of new
works and student projects. Due to the fact that
we are so well equipped with high-quality technology of the very highest standard, we are able
to provide the Academy with a whole range of
opportunities,” added Rietenbach.
Know-how is Key to Success
Working in partnership with Dusseldorf-based
cinema system integrator FTT, Christie has had a
successful year of Digital Cinema with installations in Austria, Germany and Switzerland.
Founded in 1960, FTT has been successful in
the field of projection, sound and stage equipment for movie theatres. During this period,
FTT has proven its know-how and efficiency by
completing a wide range of projects in multiplex
centers as well as traditional movie theatres —
not only in Germany but also throughout Europe.
For the past ten years FTT and Christie have been
working together to project the best picture on
the screen, and FTT has become an experienced
6
Story continues from page 2
and reliable partner for the international cinema
business.
“Especially within the last year we knew who
to rely on when it came to high quality Digital
Cinema installations. We’ve built a strong partnership with Christie,” says Egon Gräfen, part of the
general management of FTT. One hundred Digital
Cinema installations have been concluded within
the last year, more than half of these with
Christie Digital Cinema projectors.
FTT focuses on tailor-made and individualized
solutions on the spot, a philosophy that fits with
Christie’s own strategy to offer high performance
purpose-built solutions to their customers. “Our
range of services not only includes the supply of
high quality products but also project planning
with our in-house technical drafting department,
professional installation and, last but not least,
after sales maintenance and emergency service,”
underlines Thomas Rüttgers, general manager of
the family-owned company. “It goes without saying that development work and new technologies
are also most important components of FTT’s
activities.”
FTT’s German branch offices are located in
Hamburg, Frankfurt, Stuttgart and Berlin, and is
a co-operation partner in Bavaria with FTT-CineService GmbH, who is in close contact to the
Austrian customers. In the Netherlands they are
the number one distributor for cinema environments, including analog 35mm film equipment.
FTT is one of the three biggest suppliers within
the cinema industry and considered number one
for Digital Cinema systems.
Early Commitment to the
Latest Technology
Germany’s Ruhr
region, with the
largest residential
density in the
country, has
numerous cinema
chains, multiplexes
and movie theatres
that compete with
each other for the
audience's favor. To
stand out from the
crowd, an attractive
Mareike Politt, proprietor,
environment, modFilmwelt Herne
ern technology and a
captivating cinema program is required. Meeting
these criteria, Filmwelt Herne boasts an enthusias-
tic audience and corresponding numbers of cinemagoers. Within half a year after opening the
newly built complex, the first of six cinemas was
equipped with Digital Cinema technology.
According to Mareike Politt, who at only 26
is the proprietor and manager of the Filmwelt
Herne, “We were one of the first cinemas in
North Rhine-Westphalia to commit to Digital
Cinema technology. For the premiere of ‘Star
Wars III’ we upgraded our 280-seat theatre and it
became clear very quickly that we had played our
cards right, as five times as many visitors watched
the digital version of the movie as the traditional
film format. Following this success it was decided
that we would upgrade a second screen. Half a
year later, we installed an XDC server and a
Christie 2K Digital Cinema projector in our 100seat auditorium to allow us to show two digital
movies at the same time.”
“Following ‘Star Wars’, ‘Harry Potter’ was
undoubtedly our most successful digital movie.
We chose only to screen the digital version of this
movie. Most recently we screened both film and
digital versions of ‘Mission Impossible III’, with the
same results: The audience wants digital.”
Digital Cinema offers more than the possibility
to watch digital movies. “We don’t only screen
football matches, we make an event of them. For
example, the Super Bowl final was accompanied
by a great party. We have an extensive program
planned for the World Cup, and will bring the
football atmosphere onto an 80mm screen with
stadium sound.”
For Mareike Politt, it has been a successful first
year with Digital Cinema: “The quality is perfect
even after 100 screenings. And this is what
counts. This is the only way we can stand out
from home entertainment systems and entice
viewers to go to the cinema.”
“The audience
wants digital.”
Mareike Politt
Proprietor
Filmwelt Herne
The Potential of Digital
Cinema: Thrilled Audiences
In a 1000-year old small town surrounded by a
picturesque countryside, between Potsdam and
Dessau in Germany, a visitor would hardly expect
that one of the most modern cinemas could be
found just outside the old town of Belzig.
The hotel building, which dates back to the
1920s, houses the Hofgarten-Kino with three
screens for cinematic adventures: classics, art
Story continues on page 8
7
Christie Has Record Year
in Europe
“I believe that
Digital Cinema
is currently
changing from
an experimental
stage to regular
operation.”
Sven Andresen
Proprietor
Hofgarten-Kino Belzig
house movies, blockbusters, alternative content,
sports events, and computer game parties. This is
all made possible with the use of Digital Cinema
technology.
Hofgarten-Kino continues to use 35mm film
projectors, but its large 180-seat cinema and
medium-sized 100-seat cinema are equipped with
two Christie Digital Cinema projectors with 2K
resolution as well as D-Cinema servers from XDC.
“We undertook major refurbishment and
transformed the large auditorium as well as the
deep stage and the adjacent club room into three
cinema screens and the new Hofgarten Kinos
were opened in May 2005. The decision to go
digital was made relatively quickly. In September
2005, the first screen was extended, and we’re
delighted to report a positive balance in less than
five months,” says Sven Andresen, proprietor of
the Hofgarten-Kino Belzig.
“Coming up to our first anniversary, we have
just equipped our third cinema screen for digital.
Just like the large screen, it now has a 2K Christie
Digital Cinema projector and XDC server. We use
a 1K projector in the third and small screen to
show documentaries or classics,” noted Andresen.
“‘Harry Potter’ was marketed separately and
across regions as a digital movie and it has been
Story continues from page 7
the most successful screening to date. The fact is
that the audience is thrilled. They have even
specifically asked for digital versions. In the case
of ‘Harry Potter’, we have counted on the fact
that there is no other cinema nearby which is
digitally equipped.”
An important advantage is the possibility to
also use the projector and server for alternative
content programming, comments Andresen.
“Our computer game parties have been a huge
success. Next to the cinema is a small cafe, where
players sat at their machines. All the computer
stations were networked with each other, with
the machine in the projection room of the large
screen. This meant that one player at a time could
always play on the big screen, while many others
just sat in the audience, watched and then discussed it later. We will definitely continue this
because the response to this event, particularly
from adolescents, was very positive. We plan to
transfer matches in HD in connection with the
World Cup.”
With the opening of the second cinema screen,
Andresen clearly demonstrates the trend with his
Hofgarten-Kino, which can also be seen elsewhere
in Germany: Digital Cinema is winning business.
One of three auditoriums at the Hofgarten-Kino,
Belzig, Germany, using Digital Cinema technology.
Its high performance, easy-to-integrate digital solution
makes the Christie CP2000 Digital Cinema projector the
ideal choice of exhibitors worldwide.
8
Supercines Revolutionizes
the Cinema Going Experience
in Ecuador
Ecuador’s culture and history mirrors the diversity of its landscape. Like much of South
America, Ecuadorian culture blends the influences of Spanish colonialism with the resilient
traditions of pre-Columbian peoples. Located
in the center of Latin America, Ecuador, with a
population of over 13 million, is today a progressive and vigorous country, and is home to
Importadora El Rosado S.A., one of the region’s
most important industrialist groups. Employing
more than 7,000 people through various commercial activities including retail, wholesale
and entertainment (cinemas, shopping malls
and radio stations), El Rosado’s founder,
Alfredo Czarninski, made his dream
a reality by investing in Ecuador, and was
committed to the development of the country
and the well-being of its people.
SupercinesTM modern multiplexes show the latest
Hollywood releases, on Christie equipment.
Much More Than A Cinema
El Rosado’s Supercines, the largest cinema
chain in the country, currently has 72 screens
housed in nine complexes. Supercines cinemas
feature stadium seating, tri-amplified Dolby
Digital sound, and high resolution
wall-to-wall screens. According to Martin
Schwartz, Supercines Director and Manager,
“We have the biggest screen in the Americas,
the GT-MAX, which gives movie-goers a truly
unique and overwhelming viewing experience.”
He added “all our cinemas offer complete bar
services, special event rooms, and elegant VIP
rooms for customers wanting to be pampered.”
More than 50% of the screens utilize Christie
projection equipment, with two complexes
boasting full Christie cinema solutions.
Multiplexes under construction for another
32 screens will be installing full Christie systems.
“We get excellent technical support from Christie
personnel and from our supplier, Cinema
Equipment & Supplies, located in Miami. We
depend on their great service and support,
and have found Christie equipment to be
extremely reliable, and very easy to maintain
and service,” noted Johnny Czarninski, CEO
of Importadora El Rosado.
Designed to work longer, harder and quieter
than any other projector in the world, the
Christie 35mm gearless projector gives a picture
perfect performance.
According to Guillermo Younger, President
of Cinema Equipment & Supplies, Inc., “for the
past eight years we have enjoyed collaborating
with the team of professionals at Supercines,
who have made their mark on the movie-going
experience in Ecuador. They have demonstrated
their dedication to entertaining their customers
with the highest quality equipment and facilities.”
Supercines has recently selected Christie
film projectors, consoles, and AutowindTM
film handling platters to outfit their fabulous
state-of-the-art theatre, the 10-screen
Supercines 10, at RioCentro Sur in Guayaquil,
the capital of the province, nicknamed
“Perla del Pacifico.”
“…we have
found Christie
equipment to
be extremely
reliable, and very
easy to maintain
and service.”
Johnny Czarninski
CEO
Importadora El Rosado
9
“Typhoon” Makes Waves in Korea
Movie Makes Headlines at First Simultaneous Digital Screenings
Christie CP2000
Digital Cinema
projectors operated
smoothly with
high-brightness,
true and pristine
images throughout
the entire
presentation.”
Joon-Ho Lee
President
Eugenetek Corporation
“This is the first time in
The movie Typhoon broke
Korea that we have decidrecords in Korea by being the
ed to carry out this ambifilm that was released on the
tious project to allow a
highest number of screens, 540,
simultaneous screening of
at 115 theatres nationwide. This
the same movie in all
US $15-million action blockeleven theatres. The highly
buster, distributed by CJ
reliable Christie CP2000
Entertainment, also ranked as
Digital Cinema projectors
Korea’s most expensive film ever
operated smoothly with
made. Officially opened on
high-brightness, true and
December 14, 2005, the movie
pristine images throughout
drew 1.8 million people during
the entire presentation,”
its first five days in theatres and
commented Joon-Ho Lee,
set a local box-office record for
President, Eugenetek
last year. This film, to be
Corporation.
released in North America by
According to CJ CGV, the
DreamWorks, will be the first
first company to introduce
Korean film released by a major. The movie “Typhoon” was Korea’s 1st
simultanous digital screening of the
Korea’s first multiplex theatre
As part of its digitalization
same film in an 11-screen multiplex.
in 1998, it still sees room for
plan, CJ CGV — the country’s
growth in Korea, and plans to digitalize all their
largest multiplex company with a chain of
systems by early 2006. They will continue to build
theatres in Seoul, Bundang, Incheon, Daejeon,
out more screens over the next few years and seek
Suwon and Busan — has marked another mileto provide an improved viewing experience, by
stone in the Korean cinema industry. Eleven
upgrading their theatres — from seats to stateChristie CP2000 Digital Cinema™ projectors were
of-the-art projection and sound equipment. The
installed in the CGV Multiplex in Yongsan for
company also cited that the growth of the exhibition
Korea’s first simultaneous digital screening which
business has played an undeniably important role
premiered the movie Typhoon this past December.
in the growth of the cinema industry in Korea,
Directed by K.T. Kwak of Friend fame, Typhoon
and it remains committed to both.
tells the story of a modern-day pirate who
“CJ CGV has always been at the forefront of
has been betrayed by both North and South
cinema industry and has
Korea and sets out to take revenge.
constantly
More than 3,000 VIP guests,
introduced
celebrities and media from Korea
novel business
and abroad turned up for this
concepts and
historical event.
technological
Christie CP2000
breakthroughs
Digital Cinema
in Korea,” says
Projectors Perform
Lin Yu, Vice
As Forecasted
President of Sales,
Christie
Asia Pacific.
To faciliate the simultaneous
“This
historical
event
screening, Christie’s Korean partner,
with
the
simultaneous
Eugenetek Corporation, installed
digital screening
Christie CP2000 Digital Cinema
for
11 screens has
projectors in CJ CGV Yongsan
illustrated
the reliaMultiplex’s theatres including a
bility
and
the feaunit which was used for an IMAX
sibility
of
Digital
screen. Playback was via GDC
Cinema
technoloTechnology’s SA1000 - DSR™
gy.”
Digital Film Server.
© 2006 CJ Entertainment and Zininsa Film. All rights reserved.
“The highly reliable
The Christie CP2000 with DLP Cinema® technology surpasses the image quality of film, and provides a
more compelling and immersive theatre experience.
10
The Magic of Movies in Mexico
From the first Mexican movie in 1896, through
the “golden age” of Mexican cinema during the
40’s (before the invention of TV), to the political
and social critique films of the 60’s and 70’s,
cinema has helped shape the visual images of
Mexico of the 20th century. Presently, Mexico
is enjoying a renaissance with a new generation
of directors and actors, breathing new life and
creativity with this popular art form.
Bringing the cinema experience to Mexico
for more than 25 years, MultiMedios Cinemas
(MMC), the largest movie theatre network
in Northeast Mexico, and the second largest in
the country, continues to grow and flourish,
entertaining more than 25 million people
a year.
MMC, with more than 120 thousand seats
and over 600 screens in 35 cities in 20 states
of Mexico, is considered one of the most
important exhibitors in the country. “To
differentiate ourselves from our competitors,
MMC features the best automatic projection systems, digital sound, the latest technologies, seating and concessions, and a determined
focus on making movie-going a great tradition
in Mexico,” notes Rene Martinez, General
Director of MultiMedios Cinemas.
ment. We install Christie products for
their reliability and ruggedness, and the ability
to withstand the day-in and day-out rigors of
operation. For example, the Christie P35 film
projectors are so easy to install and operate,
and due to the gearless innovation, the steadiness of the picture on the screen makes
it an ideal choice.”
“Movies in Mexico have had a long tradition.
Our current expansion plans include building
100 screens a year, with quality projection
equipment, and quality services that exceed
customer expectations. MMC looks forward
to maintaining that positive movie-going experience,” added Martinez.
“We install Christie
products for
their reliability
and ruggedness
and the ability
to withstand the
day-in and day-out
rigors of operation.”
Jacques Dornbierer-Hogan
President
DOR International
Key to the Selection Process
Was Quality Equipment
According to Jacques Dornbierer Hogan,
President, DOR International, “Since 1997,
close to 98% of MMC’s theatre complexes,
from Acapulco to Zacatecas, use Christie equip-
Christie’s complete film systems
including P35 film projectors, the
energy-saving SLC Consoles with
its computer-generated reflector
design, and the industry-renowned
AutowindTM film handling platters
make “going to the movies in
Mexico” a great experience.
11
©2006 Christie Digital Systems, Inc. All rights reserved.
CONTACT US
Visit our website at:
www.christiedigital.com
Corporate Offices
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PH: 714-236-8610
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Toll free: 866-880-4462 (North America only)
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CANADA
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Kitchener, Ontario N2G 4Y7
PH: 519-744-8005
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Toll free: (800) 265-2171 (North America
only)
sales-canada @ christiedigital.com
Congratulations
TEXAS INSTRUMENTS
Not since Mozart, has a 10-year-old
displayed such brilliance.
Congratulations on 10 years of DLP® technology.
We’re proud to have been in harmony with you since the beginning.
Worldwide Offices
UK
PH: +44 118 977 8000
FX: +44 118 977 8100
sales-europe @ christiedigital.com
GERMANY
PH: +49 2161 664540
FX: +49 2161 664546
sales-europe @ christiedigital.com
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FX: +33 (0) 1 47 48 26 06
sales-france @ christiedigital.com
HUNGARY/ EASTERN EUROPE
PH: +361 (0) 47 48 100
FX: +361 (0) 47 48 452
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PH: +27 (0) 317 671 347
FX: +27 (0) 317 671 347
SINGAPORE
PH: +65 6877-8737
FX: +65 6877-8747
sales-singapore @ christiedigital.com
SHANGHAI
PH: +86 21 6278 7708
FX: +86 21 6270 5816
sales-china @ christiedigital.com
BEIJING
PH: +86 10 6561 0204
FX: +86 10 6561 0546
sales-china @ christiedigital.com
JAPAN
PH: +81-3-3599-7481
FX: +81-3-3599-7482
sales-japan @ christiedigital.com
Copyright 2006 Christie Digital Systems, Inc. All rights
reserved. All brand names and product names are
trademarks, registered trademarks or tradenames of their
respective holders. Printed in Canada.
We welcome your comments, questions, story
submissions, updates and installation information.
Send correspondence to:
Arlonna Seymour
809 Wellington Street North
Kitchener, ON Canada N2G 4Y7
arlonna.seymour @ christiedigital.com
Kino Notes is published quarterly by Christie and
distributed in print to our cinema partners and customers. We wish to thank our customers for their
support in producing this newsletter. No part of this
newsletter may be reproduced in whole or in part
without the written consent of Christie.
V I S U A L S O L U T I O N S F O R B U S I N E S S , E N T E R TA I N M E N T A N D I N D U S T R Y
W W W. C H R I S T I E D I G I TA L . C O M