One of the topics thoroughly discussed during our Cinema Management Workshops is that of sexual harassment. I can't stress strongly enough the importance to the movie exhibition industry. You may have viewed the Sunday, February 22nd airing of "NOW" - a weekly current events program on PBS. The show addressed teenage sexual harassment in the workplace. One of the prime examples given was a lawsuit brought against UltraStar Cinemas, a small theatre circuit in San Diego, that was sued by several female employees. The lawsuit - which alledged sexual harassment by several male Managers and Asst. Managers - was found in favor of the plaintiffs who won a multi-million dollar settlement. UltraStar has appealed the ruling; however, this points to the requirement by all cinemas to pay special attention to training and policies regarding teen sexual harassment.
Even those companies that feel they have policies in place need to know those policies are properly working to protect staff and yourself (the theatre owner). Look to CTC for training, guidance, and proper policy developement and implementation on this and other pertinent issues.
Monday, March 16, 2009
Friday, March 13, 2009
CINEMA TRAINING CENTRAL 2009 WORKSHOPS
All of CTC's 2009 seminars and workshops have been updated and refreshed to bring you the latest information, technology and developments impacting the cinema industry. Additionally, new products and equipment servicing techniques are being introduced into the technical training workshops. Training dates for 2009 are the weeks of April 20 - 24 and September 14 - 18. Request to entequip@aol.com and we'll send you the 2009 CTC Guidebook. The CTC training facility is an 8plex movie theatre that has been equipped with a variety of movie projection and sound equipment - film and digital formats. Contact Entertainment Equipment Corp. through our website at gotoeec.com.
Thursday, January 08, 2009
PICTURE PERFECT?
I recently heard an exhibitor call the 2K Digital Cinema image 'picture perfect.' That got me thinking. Just how good is the 2K D-Cinema presentation compared to other images we see on a daily basis?
High Definition Television (HDTV) is 1080P or 1080 lines of vertical resolution/Progressive scan, with an aspect (image) ratio of 16:9 (length-to-height) or 1.78:1. 2K D-Cinema has (as the 2K implies) 2048 lines of resolution, but not measured vertically as is HDTV, but horizontally with an aspect ratio of approximately 1.9:1.
If you convert HDTV's 1080 vertical lines to horizontal lines the resolution goes to 1922 lines (1080 x 1.78 = 1922); therefore, 2K D-Cinema and HDTV are, more or less, equivalent in terms of image resolution. Result: the moviegoer gets essentially the same "look" at a cinema with a 2K D-Cinema projection system that he/she gets in their living room, den, or home theatre. Hmmm...not too compelling and certainly not "picture perfect."
So, why purchase and install a 2K projector? The technology is now over 10 years old and has been obsolete for some years as Sony's D-Cinema technology delivers a 4K image (4096 lines) having not twice but four times the pixels (i.e. resolution) of the 2K projectors.
In comparison, 35mm film has a 6 - 8K resolution and IMAX films, (70mm/15 perforations per frame) are literally off the resolution scale. Yet there is a movement to install 2K D-Cinema projectors in IMAX Theatres - talk about taking a giant leap backwards!
Why is it that some in the movie industry continue to embrace a technology that results in offering the moviegoing public a poorer presentation and one that is getting less relevant by the day. As I write this article, it is late December and I'm preparing to attend the International Consumer Electronics Show in early January at which time I fully expect to be viewing HDTVs at a resolution of 1380P or perhaps higher. So, in the not to distant future, home viewing will be more "picture perfect" than 2K D-Cinema.
So, to all Digital Cinema proponents - I'm begging you, stop the madness! You lost and the least you can do is leave the playing field with a little dignity.
(December 2008)
High Definition Television (HDTV) is 1080P or 1080 lines of vertical resolution/Progressive scan, with an aspect (image) ratio of 16:9 (length-to-height) or 1.78:1. 2K D-Cinema has (as the 2K implies) 2048 lines of resolution, but not measured vertically as is HDTV, but horizontally with an aspect ratio of approximately 1.9:1.
If you convert HDTV's 1080 vertical lines to horizontal lines the resolution goes to 1922 lines (1080 x 1.78 = 1922); therefore, 2K D-Cinema and HDTV are, more or less, equivalent in terms of image resolution. Result: the moviegoer gets essentially the same "look" at a cinema with a 2K D-Cinema projection system that he/she gets in their living room, den, or home theatre. Hmmm...not too compelling and certainly not "picture perfect."
So, why purchase and install a 2K projector? The technology is now over 10 years old and has been obsolete for some years as Sony's D-Cinema technology delivers a 4K image (4096 lines) having not twice but four times the pixels (i.e. resolution) of the 2K projectors.
In comparison, 35mm film has a 6 - 8K resolution and IMAX films, (70mm/15 perforations per frame) are literally off the resolution scale. Yet there is a movement to install 2K D-Cinema projectors in IMAX Theatres - talk about taking a giant leap backwards!
Why is it that some in the movie industry continue to embrace a technology that results in offering the moviegoing public a poorer presentation and one that is getting less relevant by the day. As I write this article, it is late December and I'm preparing to attend the International Consumer Electronics Show in early January at which time I fully expect to be viewing HDTVs at a resolution of 1380P or perhaps higher. So, in the not to distant future, home viewing will be more "picture perfect" than 2K D-Cinema.
So, to all Digital Cinema proponents - I'm begging you, stop the madness! You lost and the least you can do is leave the playing field with a little dignity.
(December 2008)
Wednesday, January 07, 2009
THE MOVIE INDUSTRY 2009
A sub-sector of the larger Media and Entertainment industry, the 'movies' are under much less pressure from the cyclicality of the global economic downturn as their venerability is driven more by the absence of boxoffice hits than economic weakness. Moreover, movie attendance does not make up a significant enough proportion of a consumer's overall entertainment/recreation spending to be cut dramatically in a downturn.
For 2009 the U.S. cinema's performance, both boxoffice attendance and revenue, should match or exceed 2008's results with continued hit-driven films and the absence of the Olympics and Presidential election, which negatively impacted this year's results. Additionally, in-cinema advertising, which grew by 17% in 2008 to $860 million, will buck the more general slowdown in overall advertising expenditures and can be expected to increase 9 - 12%, and touch the $1 billion mark.
Exhibitors although somewhat burdened with escalating operating expenses and high fixed costs, carry limited inventory and all sales are essentially immediate (cash or credit card), making for a very low level of receivables while payables are extended and paid on traditional business terms. Although the movie exhibition business does have some concentration - with large circuits like Regal, AMC, etc. - there are limited benefits to industry concentration given strong buyer (moviegoer) and supplier (studios) power present in the industry. Exhibitors are highly susceptible to top-line volatility as they are completely reliant on the studios for the quality and quantity of their product stream, making for limited opportunities to differentiate particularly in the case of the large circuits. However, direct competition for exhibitors is low, their threat comes from indirect competition - the distribution of movie content through non-traditional channels such as DVD, VOD, and the Internet coupled with a collapsing window of exclusive theatrical release.
Nonetheless, movie going remains popular and affordable, although I would be cautious regarding exhibitors ability to maintain boxoffice and concession pricing increases over the next several years. Therefore, movie operators must pay particular attention to operating costs as debt levels and lease obligations are high on average, as are capital expenditures meaning that excellent cash flow and operating expense management is imperative.
OUTLOOK
Digital initiatives, such as Digital Cinema, are not consequential to the movie industry's overall profitability and can be viewed as being more detrimental than positive to stability and profitability for exhibitors.
The movie industry is a hit-driven business. The large studios are housed within media/industrial conglomerates (Time-Warner, Disney, GE, Sony, News Corp., Viacom) and are viewed as relatively modest profit contributors to the consolidated operations of these media giants. However, there are huge barriers to industry entry by outsiders, the most notably being control of a global distribution network. Moreover, there is limited direct competition between the studios as they do not compete on price but on content delivery that can fluctuate significantly year-to-year. Quality of film product (or should I say the public's perception of quality) will continue to be the main driver of movie attendance and revenue. Going forward, I would expect the studios to focus more on titles, characters and stories that can be leveraged into other licensing and ancillary products and outlets. This should be good news for exhibitors as well given that these concept/character-driven movies - particularly the fantasy and superhero films - are the current boxoffice center spikes.
Moving forward exhibitors should look to improving operations by increasing productivity and efficiency. Implementing environmental sustainability programs which reduce energy, water, and waste costs, improving local community relations, introducing non-movie (alternative) content and activities, and finding ways to enhance their patrons' entertainment experience.
(December 2008)
For 2009 the U.S. cinema's performance, both boxoffice attendance and revenue, should match or exceed 2008's results with continued hit-driven films and the absence of the Olympics and Presidential election, which negatively impacted this year's results. Additionally, in-cinema advertising, which grew by 17% in 2008 to $860 million, will buck the more general slowdown in overall advertising expenditures and can be expected to increase 9 - 12%, and touch the $1 billion mark.
Exhibitors although somewhat burdened with escalating operating expenses and high fixed costs, carry limited inventory and all sales are essentially immediate (cash or credit card), making for a very low level of receivables while payables are extended and paid on traditional business terms. Although the movie exhibition business does have some concentration - with large circuits like Regal, AMC, etc. - there are limited benefits to industry concentration given strong buyer (moviegoer) and supplier (studios) power present in the industry. Exhibitors are highly susceptible to top-line volatility as they are completely reliant on the studios for the quality and quantity of their product stream, making for limited opportunities to differentiate particularly in the case of the large circuits. However, direct competition for exhibitors is low, their threat comes from indirect competition - the distribution of movie content through non-traditional channels such as DVD, VOD, and the Internet coupled with a collapsing window of exclusive theatrical release.
Nonetheless, movie going remains popular and affordable, although I would be cautious regarding exhibitors ability to maintain boxoffice and concession pricing increases over the next several years. Therefore, movie operators must pay particular attention to operating costs as debt levels and lease obligations are high on average, as are capital expenditures meaning that excellent cash flow and operating expense management is imperative.
OUTLOOK
Digital initiatives, such as Digital Cinema, are not consequential to the movie industry's overall profitability and can be viewed as being more detrimental than positive to stability and profitability for exhibitors.
The movie industry is a hit-driven business. The large studios are housed within media/industrial conglomerates (Time-Warner, Disney, GE, Sony, News Corp., Viacom) and are viewed as relatively modest profit contributors to the consolidated operations of these media giants. However, there are huge barriers to industry entry by outsiders, the most notably being control of a global distribution network. Moreover, there is limited direct competition between the studios as they do not compete on price but on content delivery that can fluctuate significantly year-to-year. Quality of film product (or should I say the public's perception of quality) will continue to be the main driver of movie attendance and revenue. Going forward, I would expect the studios to focus more on titles, characters and stories that can be leveraged into other licensing and ancillary products and outlets. This should be good news for exhibitors as well given that these concept/character-driven movies - particularly the fantasy and superhero films - are the current boxoffice center spikes.
Moving forward exhibitors should look to improving operations by increasing productivity and efficiency. Implementing environmental sustainability programs which reduce energy, water, and waste costs, improving local community relations, introducing non-movie (alternative) content and activities, and finding ways to enhance their patrons' entertainment experience.
(December 2008)
Thursday, December 11, 2008
ARBOREEL
BUILDING FOR THE FUTURE
WHAT IS ARBOREEL?
ARBOREEL is an environmental initiative for managing the ongoing operations and maintenance of existing cinemas, industry suppliers and service providers. Arboreel identifies and rewards best practices and provides a plan/template to:
- use less energy and water,
- improve the indoor environment, and
- uncover and correct wasteful operating inefficiencies
Arboreel is about transforming businesses into an invironmentally sustainable building through the implementation of a compliance and certification process.
WHAT ARE THE BENEFITS OF ARBOREEL?
Arboreel helps reduce operating costs, saves on utilities' expense, reduces a business's environmental impact, enhances its marketability, and greatly improves customer goodwill - without the requirement of major infrastructure upgrades. Additionally, attaining industry-recognized Arboreel Certification ensures a business reaches its minimal sustainable potential and energy and environmental efficiency.
HOW IS ARBOREEL DIFFERENT FROM OTHER SUSTAINABILITY PROGRAMS?
Arboreel certifies a business's sustainable operations and creates a plan for ensuring that performance over time. Arboreel evaluates the physical systems but, more importantly, the way it is managed and maintained. A rating and certification system specific to the Cinema industry, Arboreel is based upon and is a path toward attaining the globally-recognized U.S. Green Building Council's LEED (Leadership in Environmental and Energy Design) Certification.
HOW DO I KNOW IF ARBOREEL IS RIGHT FOR MY BUSINESS?
Arboreel is a three level program. The prerequisites for each must be met before moving to the next level. Arboreel is unique in that it is entirely at the client's discretion as to what level of compliance they attain. They can stop or postpone the process at any time if they believe they have attained the level that meets their standard of environmental sustainability. The three levels are: Acorn, Sapling, and Oak. Participating in Arboreel is cost-effective and its implementation guarantees savings and efficiencies over the life-cycle of the building.
HOW WAS THE ARBOREEL PROGRAM DEVELOPED?
Arboreel was conceived and developed through the joint efforts of Screentrade Magazine and Entertainment Equipment Corporation and is based upon the U.S. Green Building Council's LEED Rating System. USGBC is an affiliate of the International Green Building Council - the global authority on construction and operation of environmentally-sustainable commercial and residential buildings.
HOW DO I GET STARTED WITH ARBOREEL?
Register your project and review the start-up procedures with an Arboreel representative and arrange for a site visit to develop an implementation plan. It's that easy!
To register or for more information contact:
- In the U.S.:
Jim Lavorato, President, Entertainment Equipment Corporation - 800-448-1656 - entequip@aol.com
Pam Stanton, North America Editor and Events Manager, Screentrade Magazine - 616-847-0144 - pam@screentrademagazine.com
- In Europe:
Philip Turner, Editor, Screentrade Magazine -
+44 (0) 1689 833117 - philip@screentrademagazine.com
Wednesday, December 03, 2008
D-CINEMA IS DEAD - LONG LIVE D-CINEMA!
As predicted weeks ago the funding for the much touted Digital-Cinema rollout has evaporated and with it the misplaced hopes of many in our industry. The lethal combination of high investment/no return (in itself a reason to dismiss the concept outright) and the global economic downturn rendered the D-Cinema initiative a non-starter and hopefully puts it to final rest.
Funding reconsideration - if ever - will not occur for 3-5 years, so independent exhibitors can breath a sigh of relief and return to a normal business posture in managing their cinemas. Further, a 3-5 year hiatus will find the technology upon which D-Cinema is based to be completely obsolete. The studios will hopefully and finally dismiss this misconceived method of movie distribution and accept the fact that film - although burdened by huge logistical baggage - is still the best way to combat piracy as the ease and sophistication of digital copying strengthens by the day.
Funding reconsideration - if ever - will not occur for 3-5 years, so independent exhibitors can breath a sigh of relief and return to a normal business posture in managing their cinemas. Further, a 3-5 year hiatus will find the technology upon which D-Cinema is based to be completely obsolete. The studios will hopefully and finally dismiss this misconceived method of movie distribution and accept the fact that film - although burdened by huge logistical baggage - is still the best way to combat piracy as the ease and sophistication of digital copying strengthens by the day.
CTC INTROS NEW Eco-nomic TRAINING WORKSHOP
For 2009 CTC will be adding a new training workshop to its curriculum devoted specifically to helping cinemas with their environmental sustainability issues and initiatives.
The workshop can be attended by management and staff (at all levels) within the cinema industry - exhibition, manufacturing, distribution, and film production. Action-oriented with emphasis on immediate on-the-job implementation the training will be beneficial to the business, employees, and customers.
2009 CINEMA TRAINING CENTRAL GUIDEBOOK
The new 2009 CTC Guidebook will be available in mid-January but contact us NOW to reserve a copy. This comprehensive booklet provides all the info. you'll need regarding the world's only training facility devoted exclusively to the cinema exhibition industry.
The workshop can be attended by management and staff (at all levels) within the cinema industry - exhibition, manufacturing, distribution, and film production. Action-oriented with emphasis on immediate on-the-job implementation the training will be beneficial to the business, employees, and customers.
2009 CINEMA TRAINING CENTRAL GUIDEBOOK
The new 2009 CTC Guidebook will be available in mid-January but contact us NOW to reserve a copy. This comprehensive booklet provides all the info. you'll need regarding the world's only training facility devoted exclusively to the cinema exhibition industry.
ARBOREEL - "BUILDING FOR THE FUTURE"
If you are planning to attend ShoWest in Las Vegas this coming April - mark your calendar now to join us for a complimentary breakfast or afternoon refreshments at the Billagio Hotel, Thursday, April 2, 2009 for the introduction of Arboreel.
Arboreel is an environmental initiative developed specifically for the cinema exhibition industry. Its purpose is to implement operating and management practices that enhance the green sustainability of a cinema and certify those initiatives. It is very important that our industry become more environmentally aware and institute day-to-day policies and practices which, at least, reach a minimum level of environmental sustainability and energy efficiency.
In April, get introduced to Arboreel and begin "Building For The Future". Spending just a short time to learn and increase your awareness of Arboreel will be well worth the effort and could change the course of your business for years to come.
Look for more on Arboreel in the coming weeks!
ECO-FACTS
In the United States, commerical builidings account for:
- 65% of electrical consumption
- 36% of energy use
- 30% of green gas emissions
- 29% of raw material use
- 28% of waste output, and
- 12% of potable water consumption
What are your cinema's consumption levels?
Arboreel is an environmental initiative developed specifically for the cinema exhibition industry. Its purpose is to implement operating and management practices that enhance the green sustainability of a cinema and certify those initiatives. It is very important that our industry become more environmentally aware and institute day-to-day policies and practices which, at least, reach a minimum level of environmental sustainability and energy efficiency.
In April, get introduced to Arboreel and begin "Building For The Future". Spending just a short time to learn and increase your awareness of Arboreel will be well worth the effort and could change the course of your business for years to come.
Look for more on Arboreel in the coming weeks!
ECO-FACTS
In the United States, commerical builidings account for:
- 65% of electrical consumption
- 36% of energy use
- 30% of green gas emissions
- 29% of raw material use
- 28% of waste output, and
- 12% of potable water consumption
What are your cinema's consumption levels?
Thursday, November 06, 2008
ABOREEL GREEN TIPS
Even simple on-the-job green initiatives carry significant environmental impact. Here are several easily implemented ones:
- Where possible print all documents double-sided
- Use recycled paper as much as possible
- Utilize paperless communications and save emails on line instead of copying them
- Encourage telecommuting by employees when feasible
- Provide indoor bicycle racks
- Have employees use non-paper cups, mugs, and dishes when at work vs. disposables
- Encourage the use of water fountains or coolers vs. single serve bottles
- Where possible print all documents double-sided
- Use recycled paper as much as possible
- Utilize paperless communications and save emails on line instead of copying them
- Encourage telecommuting by employees when feasible
- Provide indoor bicycle racks
- Have employees use non-paper cups, mugs, and dishes when at work vs. disposables
- Encourage the use of water fountains or coolers vs. single serve bottles
ARBOREEL - GREEN TIPS
Starting with this article, we will be featuring "Green Tips". These are actions any business or person can adopt which will have a positive environmental impact - and keep us Eco-conscious.
GREEN TIPS FOR FUEL CONTROL & DRIVING
- Use Cruise Control - maintaining a constant speed saves gas.
- Consider Speed Limits - speeding (as we all do) uses up more gas. Most vehicles maximize
fuel efficiency at 50 mph.
- Maintain Your Vehicle - change air filters and spark plugs on a scheduled basis.
- Remove roof racks when not using.
- Maintain proper tire pressure - low pressure costs lots in wasted fuel.
- Reduce Vehicle's Weight - remove heavy objects from trunk and rear seats, i.e. sand bags
used during the winter months.
- Consolidate Your Driving - organize your to-do list and plan ahead to minimize time and
distance.
GREEN TIPS FOR FUEL CONTROL & DRIVING
- Use Cruise Control - maintaining a constant speed saves gas.
- Consider Speed Limits - speeding (as we all do) uses up more gas. Most vehicles maximize
fuel efficiency at 50 mph.
- Maintain Your Vehicle - change air filters and spark plugs on a scheduled basis.
- Remove roof racks when not using.
- Maintain proper tire pressure - low pressure costs lots in wasted fuel.
- Reduce Vehicle's Weight - remove heavy objects from trunk and rear seats, i.e. sand bags
used during the winter months.
- Consolidate Your Driving - organize your to-do list and plan ahead to minimize time and
distance.
Wednesday, November 05, 2008
SPEAKING OF VIDEO PROJECTORS!
Make no mistake, every cinema must have a video projector for pre-feature presentations, for rentals and parties, for film festivals and gaming, but you must insure (and I can't stress this strongly enough) the projector that you purchase produces on-screen image that is equal to a high definition TV image. That means purchasing a projector with enough lumens (at minimum 75 - 100 lumens per foot of image throw) and the appropriate lens necessary for the image to fill the screen.
EEC sells Christie, Sony, and Panasonic video projectors each having a large selection of projectors suitable for cinema operation. Don't make the mistake of buying a small, inexpensive consumer model from one of the big box retail stores - it won't and can't do the job.
DETERMINING LUMEN REQUIREMENTS
In the article above (published in Cinema Training Central Flash #5/08) it was brought to my attention from several readers that my recommendation on lumen calculation in determining what size video projectors would be best suited for a particular auditorium and screen size was not as accurate as other calculations. This is true. I recommend the use of a simple lumen calculation based on length of image throw. Simply, throw times 75. For example: a 50 ft. throw x 75 = 3750 lumens.
A more precise calculation, as was pointed out to me, would be image height times width x 14FL (FL = foot lamberts of reflected light). For example: a 12 ft. high x 22 ft. wide image would calculate to 264 sq. ft. x 14 = 3696 lumens required. The simple throw calculation will always be higher (which in and of itself is OK) but not as precise. Where the problem may arise is when you have a situation where there is a large image and a short image throw. Then it's best to use the more precise sq. footage calculation.
To receive the CTC Flashes, email entequip@aol.com and request to be added to the email listing.
EEC sells Christie, Sony, and Panasonic video projectors each having a large selection of projectors suitable for cinema operation. Don't make the mistake of buying a small, inexpensive consumer model from one of the big box retail stores - it won't and can't do the job.
DETERMINING LUMEN REQUIREMENTS
In the article above (published in Cinema Training Central Flash #5/08) it was brought to my attention from several readers that my recommendation on lumen calculation in determining what size video projectors would be best suited for a particular auditorium and screen size was not as accurate as other calculations. This is true. I recommend the use of a simple lumen calculation based on length of image throw. Simply, throw times 75. For example: a 50 ft. throw x 75 = 3750 lumens.
A more precise calculation, as was pointed out to me, would be image height times width x 14FL (FL = foot lamberts of reflected light). For example: a 12 ft. high x 22 ft. wide image would calculate to 264 sq. ft. x 14 = 3696 lumens required. The simple throw calculation will always be higher (which in and of itself is OK) but not as precise. Where the problem may arise is when you have a situation where there is a large image and a short image throw. Then it's best to use the more precise sq. footage calculation.
To receive the CTC Flashes, email entequip@aol.com and request to be added to the email listing.
Thursday, October 30, 2008
ARBOREEL
As you are aware Entertainment Equipment is putting forward a concerted effor to address the environmental sustainability of the cinema exhibition industry. To this end we have partnered with Screentrade Magazine to put forth a program which will guide and asisst cinemas in improving their environmental impact.
Termed the Arboreel Program, it addresses the initiation of actions which will greatly improve the usage of energy and water, and the minimization of waste through recycling and reuse. We can all agree that improving a building's sustainability is a good thing and it's NOW time to act! Arboreel will be good for you, your family, your community, and your bottom line as it will foster significant saving on the spiraling costs of energy and water. In the future, the real estate marketplace will strongly favor and place a premium value on green buildings; therefore, it behooves every cinema owner/investor to build or upgrade to green standards and that is where Arboreel comes in.
You will be hearing more about the Arboreel Program and the many benefits it will bring to your cinema and the exhibition industry. Its formal introduction will be in April at the 2009 ShoWest convention. More information on the where, when, and who will be forthcoming. Plan on attending! It will be well worth your time and effort.
OF NOTE
Providing valid information always helps to visualize a problem - so here are a few reasons why you should consider participating in the Arboreel Program and which demonstrate the enormity of the problems we all face:
Termed the Arboreel Program, it addresses the initiation of actions which will greatly improve the usage of energy and water, and the minimization of waste through recycling and reuse. We can all agree that improving a building's sustainability is a good thing and it's NOW time to act! Arboreel will be good for you, your family, your community, and your bottom line as it will foster significant saving on the spiraling costs of energy and water. In the future, the real estate marketplace will strongly favor and place a premium value on green buildings; therefore, it behooves every cinema owner/investor to build or upgrade to green standards and that is where Arboreel comes in.
You will be hearing more about the Arboreel Program and the many benefits it will bring to your cinema and the exhibition industry. Its formal introduction will be in April at the 2009 ShoWest convention. More information on the where, when, and who will be forthcoming. Plan on attending! It will be well worth your time and effort.
OF NOTE
Providing valid information always helps to visualize a problem - so here are a few reasons why you should consider participating in the Arboreel Program and which demonstrate the enormity of the problems we all face:
- According to the Consumer Electronics Association over 426,000 cell phones are "retired" in the U.S. EVERYDAY!
- If every commuter carried just one more passenger the U.S. would save 600,000 gallons of gasoline and reduce carbon dioxide emissions by 12 million pounds EVERYDAY!
- PC screen savers DON'T save energy! - Turn PCs and Laptops OFF!
- The average office worker discards over 175 pounds of office paper every year - use recycled paper - which takes 64% less energy and 58% less water to manufacture than new paper.
Friday, June 20, 2008
MILDLY HOSTILE CUSTOMER PRACTICES
According to the U.S. Department of Commerce the number one reason customers stop dealing with a business is because of indifference, rudeness, or lack of service on the part of the employees (see inset).
All businesses - but particularly service oriented ones, and certainly cinemas - must be constantly attentive with regards to practices that are what I term - "mildly hostile" - towards their customers. These are the small annoyances that by themselves may not garner sufficient weight to motivate a customer to cease dealing with your business but tend, over time, to compel customers to look elsewhere to satisfy their needs.
WHY CUSTOMERS LEAVE
1% Die
3% Move
5% Buy From Friends
9% Prefer Competition
14% Judge All Like Businesses The Same
68% Indifference, Rudeness, Lack of Service By Employees
Examples of mildly hostile customer practices are fairly widespread particularly in the retail/consumer products and services areas and I'm sure each of you reading this are fully aware of what I mean and can recite horror stories from your own experiences in the retail jungle.
As cinema owners/operators, being aware of mildly hostile practices requires constant vigilance for, like wrinkles and graying, their precise beginnings are hard to determine until the day when their grim evidence is impossible to refute.
There are a myriad of mildy hostile customer practices, and include such things as:
All businesses - but particularly service oriented ones, and certainly cinemas - must be constantly attentive with regards to practices that are what I term - "mildly hostile" - towards their customers. These are the small annoyances that by themselves may not garner sufficient weight to motivate a customer to cease dealing with your business but tend, over time, to compel customers to look elsewhere to satisfy their needs.
WHY CUSTOMERS LEAVE
1% Die
3% Move
5% Buy From Friends
9% Prefer Competition
14% Judge All Like Businesses The Same
68% Indifference, Rudeness, Lack of Service By Employees
Examples of mildly hostile customer practices are fairly widespread particularly in the retail/consumer products and services areas and I'm sure each of you reading this are fully aware of what I mean and can recite horror stories from your own experiences in the retail jungle.
As cinema owners/operators, being aware of mildly hostile practices requires constant vigilance for, like wrinkles and graying, their precise beginnings are hard to determine until the day when their grim evidence is impossible to refute.
There are a myriad of mildy hostile customer practices, and include such things as:
- Employing under-qualified staff
- Poor & unfriendly service
- Thoughtless policies, such as inconvenient show times
- Slow response in resolving customer queries and problems
- Inconsistent service standards
- Messy, semi-clean facilities
- Untrained staff
Many of these practices are derived from weak, ineffective management which usually emanates from a tolerance for poor staff performance. Others may come from a company's fuzzy notion of customer satisfaction or from inconsistent service fortified by a lack of corporate support and funding for proper staff training.
Remember; it's not only blatant mismanagement and major mistakes that cause customer dissatisfaction and defection, but also those practices that are mildly hostile but which over time cause customer departure.
Before ending I would like to mention a trend that has developed over the last several years in corporate America and is worth mentioning. That is the creation and staffing by large organizations of a position called Chief Customer Experience Officer or CXO. A CXO is a senior level executive charged with evaluating, directing, and overseeing the customer experience effort and its implementation throughout the entire organization. The CXO position started to appear in 2005, and now, almost 25% of the largest 100 U.S. corporations have a CXO.
Reporting to the CEO, the CXO's responsibilities cut-across all product, service, and distribution channels and they have significant input into the corporation's marketing, promotion, and advertising activities. The CXO position will quickly become relevant for both large and mid-sized companies, in both the services or manufacturing sectors, and you'll be hearing more about this new and critical position as time goes on.
Reprinted from Spring 2008 Screentrade MagazineWednesday, June 11, 2008
DROP YOUR SHORTS
Now that I have your attention, let's talk about something less provacative but, nontheless, serious and perhaps even dearer to an exhibitor's heart. Drop Your Shorts is one of over 25,000 film festivals held annually across the globe. Forget Cannes and Sundance. We're talking about Toronto's Hunk of Junk Fest, Tokyo's Short Shorts, Sydney's Homebrewed Fest, Hollywood's Scream Fest, and London's Food Film Fiesta. The list and topics are endless. So with all these film festivals why should I be writing about cinemas sponsoring their own digital film fest? Because - it's an easy way to make money and (perhaps more importantly) connect your cinema to the local community in a very positive way. Film festivals fall under my current pet business premise for cinemas: Think Global / Act Local.
THE HOW TOs OF SPONSORING A FILM FESTIVAL
THE HOW TOs OF SPONSORING A FILM FESTIVAL
- Advertise locally that your cinema is sponsoring a film festival. Start the promotion at least 6 - 8 weeks before the Festival. You should be able to get free local press coverage before and during the event. Also use the Cinema's website and in-theatre notices.
- Charge entrants a minimal submission fee - say $15 - $25. Limit all submissions to 10 minutes or less and accept only DVD formatted entries.
- Shortly after the deadline submission date review each submission for integrity (you set the entry rules), and then compile the accepted works onto a single "Festival" DVD.
- Form a 3 person judging panel (awards will be given). Staff the panel with people who know something about the cinema or have local stature - professors/teachers at local schools or universities are a good source, as are local media people (radio, TV, press). You'll find most are ready and willing to assist.
- Determine where and when to hold the Festival (provide a name). Have it at least two or three presentation times over a two/three day period - preferably weekend mornings/early afternoons.
- Produce copies of the Festival DVD which would be available for sale during the Festival and through your Cinema's website.
- For the presentations, use a video projector that is putting out 50 - 100 lumens of light per foot of picture throw. This is your benchmark projector size.
- Give out awards - trophies, certificates, cash prizes - and have a number of awards, by: age group, submission genre, length of submission, etc.
- Sell concessions!
YOUTUBE ON THE BIG SCREEN
The key in having the community participate is to get the word out early and often. If promoted properly you'll be surprised on the number of entries submitted. Get local schools involved. Another good idea is to link up with a community arts group as co-sponsor - this will provide a promotional jump start and further encourage local participation. The trick in having a digital film fest is not to get too fancy or too complicated. This is all about reinforcing the link between the cinema and the local community - it's that simple but that imperative.
Being a big proponent of cinemas offering up a full range of "alternative content" - be it a film festival or an in-cinema video gaming initiative, over the long haul cinemas will have to gravitate toward the use of non-movie entertainment to survive. Single theatre operation or chain it doesn't matter, sponsoring a digital film festival is easy, straight forward, and profitable - try it!
Tuesday, May 27, 2008
3-D Cinema: A 2-D Perspective
Already faced with the problem of conversion to digital cinema, exhibitors now have the added worry of 3-D. Just as Cinemascope was created and adopted by theatres to get people away from that new gadget, the TV, now
On the distribution end, this concept will definitely float, because even if only a fraction of theaters are equipped with 3-D projection equipment, their film can still be screened on both formats. They already get the majority of the box office and nothing comes out of their pocket for the equipment on which it is projected.
However for exhibitors, it’s more sink or swim. If you’re not already equipped with 3-D (and chances are you’re not, since digital screens alone in the U.S. are only around 4,000 out of 38,000), here are your options. If you already own a D-Cinema projector, great, you only have to drop around $15-20,000 per screen to kick it up to the 3-D notch. If you’re looking to upgrade from your 35mm to 3-D, the sticker will be $100-150,000 per screen. For the big chains who are publicly traded, where’s that money going to come from, we’ve seen your numbers. And for the small circuits, good luck in finding the bank that’s willing to back you.
Once you have the money, here are some options. Real D, out of
To combat the bite of the price tag, exhibitors have been charging a higher admission for 3-D films over the boring old 2-D. So pose this to your average customer, would you pay $15 over $7 to see Indiana Jones come off the screen? Sure, but would you answer the same for Made of Honor, Baby Mama, and the rest of the 90% of releases that are not the heavy hitting blockbusters? Right now only ten films are slated to be released in 3-D in the next year, with possibly 20 following in the next. It is still a small number compared to the number of releases annually – over 450 for the year 2008.
And let’s not forget about the 3-D glasses. They’re not your parents’ glasses, they are special polarized ones, that, with Real D, will run you $2 a pair (recyclable yes, but they don’t have that environmental friendliness that more and more people are looking for), while Dolby’s glasses have a price tag of $40 a pair (reusable yes, but they will need to be cleaned by your staff and closely watched to prevent theft).
Let’s look to Hannah Montana for further analysis. “The Best of Both Worlds” 3-D concert film scored well, considering it only opened on 683 screens. $30 million was grossed in its first week in that handful of theatres, but Disney took 90% of it back before you blinked, and many of those $40 a pair glasses were damaged or walked off. It’s success could also be largely in fact due to that tweener demographic that has made Hannah Montana a sold out arena phenomenon. That, and the pressure of those little girls, “Well Kaitlin’s Mom is taking her to see the movie!”
With technology there’s always risk involved. The software and hardware you install today, could be replaced by the software and hardware they develop tomorrow. At least with 35mm, it’s the same device that has been used for over a hundred years, it’s mechanical, a belt breaks, you replace it. You oil its gears and it does its job. It won’t crash, it won’t require periodic system upgrades. Technology’s lifespan is somewhat short to that of something mechanical. Just as CD’s became MP3s and movies can be watched on laptops and iPods, it’s predicted that in the next five to ten years, 3-D will reach the home theater, at which point then, what will be the next fad to get people back?
- Tracy Janis
Tuesday, January 29, 2008
The NextLEVEL: Video Gaming Phenomena Presents Business Opportunities For Cinemas
It’s difficult to assess the impact video gaming has had on global entertainment – its growth and universal acceptance is nothing short of incredible. According to the Consumer Electronics Association:
- Video gaming business for 2007 exceeded $32 billion globally with an expected growth rate of 30 – 40% per year through the decade.
- Upwards of 1.5 billion people participate in some form of video gaming on a daily basis – up from only 300 million in 2004.
- Gaming consoles and accessories was the strongest growing product category for on-line sales in 2007 up 130%.
Gaming’s glowing statistics arise from its’ universality. With the possible exception of television, gaming has the broadest reach of any other form of entertainment, as it spans age, culture, gender, and economic levels.
Gamers classify games into deep or easy – the very most successful being both. Singular play still dominates but social and multiplayer gaming is rapidly increasing (be it on-line or in physical group interplay as the Nintendo Wii gaming platform encourages). Additionally, unlike most other entertainment, games are easily accessed having the widest variety of user platforms: PCs, consoles, on-line, hand-helds, cell phones, wireless networks, etc. Easy access, coupled with its recent emphasis on self- improvement and social interaction make gaming the most versatile of all recreational activities.
The couch gamer is now getting up and socializing with an activity that can be compared, contrasted, created, and communicated with others. For example, Activision’s Guitar Hero, introduced in the fall of 2005, is an interactive and social game now in its third version. Since its launch over 14 million units (valued at over $1 billion) have been sold in North America alone. But Guitar Hero is more. It is a media distribution platform as songs to play are downloaded for a fee from the Internet. The latest version, “Guitar Hero III: Legends of Rock” generated over 5 million song downloads in the first 10 weeks of its debut.
The Guitar Hero franchise’s broad appeal confirms that video games have reached the status of a true mass medium.
PLAYER vs. SPECTATOR
More so than viewing an event – be it sports, music, concert, T.V. program, or movie – video gaming offers an enhanced adrenaline high, as it fully engages the consumer. When viewing a sporting event, for example, there is a lot of boring space between exciting moments – in contrast video games offer full-time engagement.
Consumers are becoming players vs. spectators. They are interacting with and controlling much more of each activity they engage in, be it working, traveling, playing, or shopping - at home, office, or wherever they may be.
HOW CAN CINEMAS TAP INTO THE GAME CRAZE?
The movie and gaming industries have had a symbiotic relationship for quite some time – movies inspiring game creation, games inspiring movie creation. Now, that relationship is triangulating: as content, gaming, and advertising/marketing merge, each mutually benefiting the other.
With the socializing aspects of gaming, with competitive gaming on the brink of going mainstream, and with the existing link between movies and gaming, a cinema offers a logical platform to fully enjoy the gaming experience. The local cinema provides a convenient, safe, and familiar venue, and one (with little effort) that is “gamer” ready.
To address this phenomena Entertainment Equipment Corporation created NextLEVEL. A stand-alone, turnkey, day-one revenue generating business resident within a cinema. The concept of NextLEVEL is simply to have movie exhibitors tap into the gaming phenomena in a meaningful way by filling a need – offering a place where people can go to play video games and interact and socialize at the same time.
The goal is the utilization of available space within a cinema for a business tied to a social activity that is growing exponentially and linked via the common thread of entertainment. Requiring small investment, NextLEVEL has significant and evident benefits:
- Play Time Fees
- Increased Concession Revenues
- Sales of Games and Gaming Accessories
- Cross-fertilization with Box Office Attendance
NextLEVEL offers a great opportunity for those exhibitors that want to expand the entertainment scope of their cinema and broaden its’ business reach.
For more information on NextLEVEL please contact EEC at entequip@aol.com or call 716-855-2162.
Friday, January 04, 2008
2008 CINEMA TRAINING CENTRAL SCHEDULE
APRIL 2008 TRAINING SCHEDULE
MONDAY 4.14.08
Primary Technical Training (Day 1 of 2)
Advanced Technical Training (Day 1 of 3)
Marketing Your Cinema (Day 1 of 1)
TUESDAY 4.15.08
Primary Technical Training (Day 2 of 2)
Advanced Technical Training (Day 2 of 3)
Pre-Feature Entertainment & Alternative Content (Day 1 of 1)
WEDNESDAY 4.16.08
Managing a Cinema (Day 1 of 2)
Digital Cinema - Present & Future (Day 1 of 1)
Advanced Technical Training (Day 3 of 3)
THURSDAY 4.17.08
Managing a Cinema (Day 2 of 2)
Intermediate Technical Training (Day 1 of 2)
FRIDAY 4.18.08
Intermediate Technical Training (Day 2 of 2)
Modern Theatre Design & Planning (Day 1 of 1)
Concessions: Where the Money Is (Day 1 of 1)
SEPTEMBER 2008 TRAINING SCHEDULE
MONDAY 9.15.08
Primary Technical Training (Day 1 of 2)
Advanced Technical Training (Day 1 of 3)
Marketing Your Cinema (Day 1 of 1)
TUESDAY 9.16.08
Primary Technical Training (Day 2 of 2)
Advanced Technical Training (Day 2 of 3)
Pre-Feature Entertainment & Alternative Content (Day 1 of 1)
WEDNESDAY 9.17.08
Managing a Cinema (Day 1 of 2)
Digital Cinema - Present & Future (Day 1 of 1)
Advanced Technical Training (Day 3 of 3)
THURSDAY 9.18.08
Managing a Cinema (Day 2 of 2)
Intermediate Technical Training (Day 1 of 2)
FRIDAY 9.19.08
Intermediate Technical Training (Day 2 of 2)
Modern Theatre Design & Planning (Day 1 of 1)
Concessions: Where the Money Is (Day 1 of 1)
MONDAY 4.14.08
Primary Technical Training (Day 1 of 2)
Advanced Technical Training (Day 1 of 3)
Marketing Your Cinema (Day 1 of 1)
TUESDAY 4.15.08
Primary Technical Training (Day 2 of 2)
Advanced Technical Training (Day 2 of 3)
Pre-Feature Entertainment & Alternative Content (Day 1 of 1)
WEDNESDAY 4.16.08
Managing a Cinema (Day 1 of 2)
Digital Cinema - Present & Future (Day 1 of 1)
Advanced Technical Training (Day 3 of 3)
THURSDAY 4.17.08
Managing a Cinema (Day 2 of 2)
Intermediate Technical Training (Day 1 of 2)
FRIDAY 4.18.08
Intermediate Technical Training (Day 2 of 2)
Modern Theatre Design & Planning (Day 1 of 1)
Concessions: Where the Money Is (Day 1 of 1)
SEPTEMBER 2008 TRAINING SCHEDULE
MONDAY 9.15.08
Primary Technical Training (Day 1 of 2)
Advanced Technical Training (Day 1 of 3)
Marketing Your Cinema (Day 1 of 1)
TUESDAY 9.16.08
Primary Technical Training (Day 2 of 2)
Advanced Technical Training (Day 2 of 3)
Pre-Feature Entertainment & Alternative Content (Day 1 of 1)
WEDNESDAY 9.17.08
Managing a Cinema (Day 1 of 2)
Digital Cinema - Present & Future (Day 1 of 1)
Advanced Technical Training (Day 3 of 3)
THURSDAY 9.18.08
Managing a Cinema (Day 2 of 2)
Intermediate Technical Training (Day 1 of 2)
FRIDAY 9.19.08
Intermediate Technical Training (Day 2 of 2)
Modern Theatre Design & Planning (Day 1 of 1)
Concessions: Where the Money Is (Day 1 of 1)
Tuesday, December 18, 2007
CIRCULAR ENTERTAINMENT
With one-quarter of all entertainment being created and shared within peer groups by 2012 a seminal transformation is taking place in the entertainment industry. Termed “Circular Entertainment” – for its transference from one individual to another – this form of entertainment is not passive, but provides the consumer an active role in their entertainment.
The next episode in entertainment will allow consumers to “compare, contrast, create and communicate” their entertainment with each other, states Tom Savigan, Trends Director of The Future Laboratory, which conducted the survey.
The survey’s results indicated that:
- 23% of the respondents buy digital movies
- 39% watch TV on the Internet
- 46% regularly use instant messaging
- 28% regularly visit social networking sites
- 17% played multiplayer on-line games
- 17% upload to the Internet on a mobile device
- 29% regularly blog
The research has identified four key outlying trends that, as they mainstream, will set the stage for the Circular Entertainment phenomenon.
Immersive Living – the rise of lifestyles which blur the reality of being on and offline. Entertainment will no longer be segmented but accessible and created wherever.
Geek Culture – consumers will shift to more sophisticated interactive entertainment which has visible recognition and rewards. Entertainment purchased and that which is created will merge.
G Tech – an immersing social force which effectively feminizes technology so as to make things – particularly entertainment – more collaborative, democratic, emotional and customized.
Localism – there is a locally-minded move in entertainment consumption. Localism and community-centrism will become a key as consumers take pride in seeking out the local and home-grown.
The next episode in entertainment will allow consumers to “compare, contrast, create and communicate” their entertainment with each other, states Tom Savigan, Trends Director of The Future Laboratory, which conducted the survey.
The survey’s results indicated that:
- 23% of the respondents buy digital movies
- 39% watch TV on the Internet
- 46% regularly use instant messaging
- 28% regularly visit social networking sites
- 17% played multiplayer on-line games
- 17% upload to the Internet on a mobile device
- 29% regularly blog
The research has identified four key outlying trends that, as they mainstream, will set the stage for the Circular Entertainment phenomenon.
Immersive Living – the rise of lifestyles which blur the reality of being on and offline. Entertainment will no longer be segmented but accessible and created wherever.
Geek Culture – consumers will shift to more sophisticated interactive entertainment which has visible recognition and rewards. Entertainment purchased and that which is created will merge.
G Tech – an immersing social force which effectively feminizes technology so as to make things – particularly entertainment – more collaborative, democratic, emotional and customized.
Localism – there is a locally-minded move in entertainment consumption. Localism and community-centrism will become a key as consumers take pride in seeking out the local and home-grown.
VIDEO GAMING BRINGS OPPORTUNITY FOR CINEMA
In the U.S. this year, sales of packaged video games will exceed box office revenues and worldwide their sales will be twice that of movie grosses. Total this with on-line gaming subscriptions, gaming consoles (which will outsell PCs by a factor of 10 in 2007), gaming software (which increased by more than 40% in the first half of this year over 2006) and hand-held games – your looking at a $40 billion video gaming industry. Additionally, all aspects of the video gaming industry are expected to soar for at least the next five years.
The big three console makers – Microsoft, Nintendo and Sony – are currently hitting new heights in gaming and scores of software gaming manufacturers are producing hundreds of new games for each console platform. But, that’s not all. The consoles are being developed to accommodate other entertainment functions as well. For example, Microsoft’s Xbox 360 console has the capability to use Microsoft’s Live Marketplace which allows 360 owners to download new games, as well as features films, TV shows, movie trailers, etc., some of which are fee based and some of which are free. Oh, and did I mention the 360 can also playback high definition DVDs. Going forward, the console will be used as a set-top receiver for internet TV.
If carried to its logical end, accessing entertainment for the home will be entirely virtual – with consumers never having to leave their homes to experience viewed or interactive entertainment.
All this being said, the gaming phenomenon also has a social aspect. Not unlike going to the movies, the camaraderie component of sharing the entertainment ‘high’ is even more pronounced with gaming. In fact, many video games are constructed for simultaneous play by two or more gamers. This is where the use of a cinema as a gaming destination comes about – as almost the perfect venue for “social gaming.” Designed as a turn key business established within a cinema, it provides the optimum setting for game enthusiasts (the demographic of which is male and female ages of 5-75+ with the average being a 37 year old female) to play their favorite games while experiencing the social aspects of gaming – shared fun and excitement, camaraderie and the emotions of human interaction – taking place in a comfortable, safe and customer friendly setting. The added availability of concessions, gaming accessories and a gamers swap shop make for a trendy, multi-demographic business which addresses a current and future entertainment juggernaut.
To arrange a meeting to discuss a video gaming center in your theatre please contact Entertainment Equipment at 800-448-1656 and ask for Jim Lavorato or Tracy Janis.
The big three console makers – Microsoft, Nintendo and Sony – are currently hitting new heights in gaming and scores of software gaming manufacturers are producing hundreds of new games for each console platform. But, that’s not all. The consoles are being developed to accommodate other entertainment functions as well. For example, Microsoft’s Xbox 360 console has the capability to use Microsoft’s Live Marketplace which allows 360 owners to download new games, as well as features films, TV shows, movie trailers, etc., some of which are fee based and some of which are free. Oh, and did I mention the 360 can also playback high definition DVDs. Going forward, the console will be used as a set-top receiver for internet TV.
If carried to its logical end, accessing entertainment for the home will be entirely virtual – with consumers never having to leave their homes to experience viewed or interactive entertainment.
All this being said, the gaming phenomenon also has a social aspect. Not unlike going to the movies, the camaraderie component of sharing the entertainment ‘high’ is even more pronounced with gaming. In fact, many video games are constructed for simultaneous play by two or more gamers. This is where the use of a cinema as a gaming destination comes about – as almost the perfect venue for “social gaming.” Designed as a turn key business established within a cinema, it provides the optimum setting for game enthusiasts (the demographic of which is male and female ages of 5-75+ with the average being a 37 year old female) to play their favorite games while experiencing the social aspects of gaming – shared fun and excitement, camaraderie and the emotions of human interaction – taking place in a comfortable, safe and customer friendly setting. The added availability of concessions, gaming accessories and a gamers swap shop make for a trendy, multi-demographic business which addresses a current and future entertainment juggernaut.
To arrange a meeting to discuss a video gaming center in your theatre please contact Entertainment Equipment at 800-448-1656 and ask for Jim Lavorato or Tracy Janis.
ADVERTISING EXPENDITURES FOR CINEMAS
Broken into seven categories, television will lead in global advertising expenditures for 2008 with a forecasted 38% or $182 billion of total ad revenues – which are anticipated to reach $478 billion. With expected viewership of over 3 billion for the Beijing Summer Olympics (which will be the most watched television program in history) and the U.S. Presidential elections, TV will get a big boost in 2008 of over $13 billion.
Magazines - 56.1 / 58.3
Television - 169.9 / 182.4
Radio - 36.3 / 37.5
Cinema - 1.9 / 2.1
Outdoor - 25.6 / 27.5
Internet - 33.7 / 41.6
TOTAL 448.4 / 477.9
On-line video and local search continue to display the highest growth rate – which has increased 22% each year since 2006. Print media’s, particularly newspapers, share of total revenues will be declining from 28% of total 2007 expenditures to 26% of 2008’s although the aggregate number increases by $1.5 billion.
Surprisingly, Central and Eastern Europe (up 18.3%) and the Middle East/Africa (up 17.2%) will experience the fastest growth in advertising. North America the lowest.
The ten fastest growing markets are listed below.
Serbia - 308.8
Qatar - 214.7
Kazakhstan - 164.1
Egypt - 117.7
UAE - 108.9
Russia - 108.3
Ukraine - 100.5
Moldova - 97.1
Belarus - 96.8
Romania - 93.0
GLOBAL ADVERTISING EXPENDITURE BY MEDIUM
(US$ in millions, current prices Currency conversion at 2006 average rates)
2007/2008
Newspapers - 124.9 / 128.4Magazines - 56.1 / 58.3
Television - 169.9 / 182.4
Radio - 36.3 / 37.5
Cinema - 1.9 / 2.1
Outdoor - 25.6 / 27.5
Internet - 33.7 / 41.6
TOTAL 448.4 / 477.9
On-line video and local search continue to display the highest growth rate – which has increased 22% each year since 2006. Print media’s, particularly newspapers, share of total revenues will be declining from 28% of total 2007 expenditures to 26% of 2008’s although the aggregate number increases by $1.5 billion.
Surprisingly, Central and Eastern Europe (up 18.3%) and the Middle East/Africa (up 17.2%) will experience the fastest growth in advertising. North America the lowest.
The ten fastest growing markets are listed below.
THE TEN FASTEST GROWING AD MARKETS
(Growth % 2009 vs. 2006)
(Growth % 2009 vs. 2006)
Serbia - 308.8
Qatar - 214.7
Kazakhstan - 164.1
Egypt - 117.7
UAE - 108.9
Russia - 108.3
Ukraine - 100.5
Moldova - 97.1
Belarus - 96.8
Romania - 93.0
Monday, December 17, 2007
DEAR SANTA: A CINEMA MANAGER'S WISH LIST by Tracy Janis
Santa, I've got enough stuff. This year, surprise me with something a little more difficult to attain:
1. A tree on which good employees grow - I have yet to find that renaissance concessionist who can stay productive, sell snow to an Eskimo AND comes built with common sense.
2. Customers who keep their mouths shut about the prices - "$5.00 for a popcorn?!?" I mean, really, what was the last movie you saw at a theater, Jaws? And do you question the station attendant every time you buy gas?
3. Parents who actually attend movies with their children - when did I start running a babysitting service?
4. Solar powered cell phones that don't work in the dark.
5. And last, world peace...and affordable digital cinema for all.
1. A tree on which good employees grow - I have yet to find that renaissance concessionist who can stay productive, sell snow to an Eskimo AND comes built with common sense.
2. Customers who keep their mouths shut about the prices - "$5.00 for a popcorn?!?" I mean, really, what was the last movie you saw at a theater, Jaws? And do you question the station attendant every time you buy gas?
3. Parents who actually attend movies with their children - when did I start running a babysitting service?
4. Solar powered cell phones that don't work in the dark.
5. And last, world peace...and affordable digital cinema for all.
Thursday, November 08, 2007
DIGITAL CINEMA: MOSH PIT OR BLACK HOLE
I have been dealing one way or another with Digital Cinema for over 10 years and I see no reason to be anymore enthusiastic about it now than I was a decade ago and, in fact – the way things have evolved – I’m coming to the conclusion that D-Cinema could lead to the ultimate demise of the cinema industry. Similar to what has occurred to the music business, once movies vacate their analog format chances are the studios will lose distribution control and the industry (as it now exists) will begin its decline.
At best, I can categorize D-Cinema as a mosh pit – semi-controlled chaos with the potential for inflicting lot of damage. At worst, we’re witnessing what could be a black hole – sucking in the entire cinema industry. What would remain? DVDs and variations of alternative content. My concern would be eminent but D-Cinema continues to fall short of its expectation and is not the transformational acquisition it has been dubbed.
ADMISSION TO THE MOSH PIT
What is the cost of Digital Cinema? I get this question a lot. “About $100,000 to $120,000”, I say, “and then there’s the ongoing operating and maintenance costs, and oh yeah, the 3D option if you want that”. It’s not a very good answer but then again it is in keeping with the nebulousness of the whole D-Cinema saga. However, least I be accused of perpetuating the notion of D-Cinema as the industry’s ‘black hole’ I’ll quantify this mosh pit.
Big-D requires a cadre of basic components; as well as, ancillary items and services. The detail below depicts average pricing from component manufacturers less 20%. All amounts are stated in incredible shrinking U.S. dollars.
COMPONENTS
- Show Player – for image decoding and data feed to D-projector, also provides digital audio output to sound system
- Show Storer – stores digital movie (received from studios in DCP packages) for playback through Show Player
- Show Manager (System Software) Player, Storer and Manager: $20,000
- Digital Media Adapter – interfaces Show Player to existing cinema sound system: $2,500
- Network Automation Interfacer – interfaces Digital System to existing cinema automation system: $2,500
- Digital Cinema Projector w/Power Supply (2K Version) Lenses, Lamp, Pedestal: $80,000
-Alternative Content Formatter – for playback of alternative content through digital cinema projector: $6,000
- PC/Laptop w/work station: $3,000
- Installation - Equipment setup, interfacing, alignment, testing, & training, including all cabling, wiring, interconnections, etc.: $5,000
TOTAL: $119,000
3D OPTION
- 3D Filter Controller & Filter Wheel Assby.: $18,000
- 3D Glasses – Regular Type: $35 each
Calibration Type: $100 each
- Silver Theatre Screen - $3.75/sq. ft. – if required for 3D Option
Screen Installation: $1,000 – 2,500
OTHER COSTS
- Annual Service/Maintenance Fees: $1,500 – 3,000
- Build-out costs for any enhanced electrical power and/or exhaust & cooling requirements in Projection Room: Unknown
So, at the present time, the cost to convert one auditorium is approximately $120,000 – 140,000 with an undetermined useful life. Additionally, although not published, there are indications that the failure rate of the digital cinema components is higher than that of film projection. It is also worth noting that the various digital components making up the ’system’ are manufactured by various companies. In some cases, being “sold through” other manufacturers/vendors under contractual arrangement.
SURVIVING
Big D’s reason for being – with all of its inherent complexities and costs – is Hollywood’s attempt to retain control of movie distribution while increasing their share of pre-feature advertising revenues. Otherwise, films could be transmitted to theatres via the internet or sent on encrypted HD-DVDs.
Film is the glue that keeps the relationship between the studios and the exhibitors from falling apart and provides the studio’s distribution control. As is happening with other media that has experienced digital conversion once the bits are out it is impossible to get them back. Currently, piracy is a problem but the copies are inferior and it is not an industry killer. Digital piracy could be.
Late last year I forecast the U.S. box office would reach $10 billion in 2007. As it now stands it should come in between $9.8 – 10b, a 6 – 7% increase over ’06, but bolstered by a stellar summer box office (which was anticipated), and a good holiday finale (also in the cards). Internationally, there is higher growth but as compared to other (competing) forms of entertainment particularly internet and video gaming, the cinema’s growth is modest. Toying with the cinema’s fragile business model could prove disastrous – best to leave it alone.
At best, I can categorize D-Cinema as a mosh pit – semi-controlled chaos with the potential for inflicting lot of damage. At worst, we’re witnessing what could be a black hole – sucking in the entire cinema industry. What would remain? DVDs and variations of alternative content. My concern would be eminent but D-Cinema continues to fall short of its expectation and is not the transformational acquisition it has been dubbed.
ADMISSION TO THE MOSH PIT
What is the cost of Digital Cinema? I get this question a lot. “About $100,000 to $120,000”, I say, “and then there’s the ongoing operating and maintenance costs, and oh yeah, the 3D option if you want that”. It’s not a very good answer but then again it is in keeping with the nebulousness of the whole D-Cinema saga. However, least I be accused of perpetuating the notion of D-Cinema as the industry’s ‘black hole’ I’ll quantify this mosh pit.
Big-D requires a cadre of basic components; as well as, ancillary items and services. The detail below depicts average pricing from component manufacturers less 20%. All amounts are stated in incredible shrinking U.S. dollars.
COMPONENTS
- Show Player – for image decoding and data feed to D-projector, also provides digital audio output to sound system
- Show Storer – stores digital movie (received from studios in DCP packages) for playback through Show Player
- Show Manager (System Software) Player, Storer and Manager: $20,000
- Digital Media Adapter – interfaces Show Player to existing cinema sound system: $2,500
- Network Automation Interfacer – interfaces Digital System to existing cinema automation system: $2,500
- Digital Cinema Projector w/Power Supply (2K Version) Lenses, Lamp, Pedestal: $80,000
-Alternative Content Formatter – for playback of alternative content through digital cinema projector: $6,000
- PC/Laptop w/work station: $3,000
- Installation - Equipment setup, interfacing, alignment, testing, & training, including all cabling, wiring, interconnections, etc.: $5,000
TOTAL: $119,000
3D OPTION
- 3D Filter Controller & Filter Wheel Assby.: $18,000
- 3D Glasses – Regular Type: $35 each
Calibration Type: $100 each
- Silver Theatre Screen - $3.75/sq. ft. – if required for 3D Option
Screen Installation: $1,000 – 2,500
OTHER COSTS
- Annual Service/Maintenance Fees: $1,500 – 3,000
- Build-out costs for any enhanced electrical power and/or exhaust & cooling requirements in Projection Room: Unknown
So, at the present time, the cost to convert one auditorium is approximately $120,000 – 140,000 with an undetermined useful life. Additionally, although not published, there are indications that the failure rate of the digital cinema components is higher than that of film projection. It is also worth noting that the various digital components making up the ’system’ are manufactured by various companies. In some cases, being “sold through” other manufacturers/vendors under contractual arrangement.
SURVIVING
Big D’s reason for being – with all of its inherent complexities and costs – is Hollywood’s attempt to retain control of movie distribution while increasing their share of pre-feature advertising revenues. Otherwise, films could be transmitted to theatres via the internet or sent on encrypted HD-DVDs.
Film is the glue that keeps the relationship between the studios and the exhibitors from falling apart and provides the studio’s distribution control. As is happening with other media that has experienced digital conversion once the bits are out it is impossible to get them back. Currently, piracy is a problem but the copies are inferior and it is not an industry killer. Digital piracy could be.
Late last year I forecast the U.S. box office would reach $10 billion in 2007. As it now stands it should come in between $9.8 – 10b, a 6 – 7% increase over ’06, but bolstered by a stellar summer box office (which was anticipated), and a good holiday finale (also in the cards). Internationally, there is higher growth but as compared to other (competing) forms of entertainment particularly internet and video gaming, the cinema’s growth is modest. Toying with the cinema’s fragile business model could prove disastrous – best to leave it alone.
Thursday, November 01, 2007
KEEPING UP WITH TECHNOLOGY Read Fast: This Article Expires in 5 Minutes
Technology is moving so fast it’s difficult, if not impossible, to keep up – change is the only constant. Communications technology is one such area and its advancement is having a profound impact (good and bad) on all businesses including cinemas. Several communication technologies, including IM and Texting, along w/portable storage devices (such as flash sticks) clearly represent this good vs. evil clash.
THE IM DILEMMA
IM (instant messaging) has become ubiquitous in every day work and play environments. Used to communicate with other employees, vendors, and certainly friends & family IM should be viewed as a good and valuable technology but one that is also a potential security risk. As many cinema owners/operators have discovered, IM is very hard to control in the workplace as its convenience and speed make controlling it nearly impossible. Compounding the problem is the fact that telecommunications companies knowing that many businesses are trying to control and/or block IM, frequently (and randomly) change the requisite messaging protocol, as they constantly endeavor to keep user traffic high – effectively increasing monthly billings.
On the other hand, IM has its benefits. For one, it does improve employee productivity. People can work at a faster pace as IM takes less time than emailing while using up much less band width. Additionally, as compared to voice communication, IM saves vast amounts of time in eliminating both unnecessary conversation and phone tagging.
To alleviate control problems while maintaining IM’s benefits, businesses that allow IM should implement control software as, if unmanaged, IM can put any company at risk for potential internal security breaches and/or theft of intellectual property, not to mention, law suits. To illustrate, in the U.S., Britain, and most other developed countries, IM is governed by the same civil laws as emails so, for example, if an employee were to IM a sexually explicit or aggressive message to another employee the company could be held liable for harassment just as if those sentiments were expressed by email or verbally. So the potential for legal ramifications is a very real one. Affordable enterprise-class IM software products to address these control issues is available and inexpensive. For instance, both Lotus and Microsoft offer very refined products to meet this need and every cinema with more than two locations should be using it.
TEXTING: THE GENIE OUT OF THE BOTTLE
That’s all well and good for IM but there is currently no way to control Texting between cell phones. Cinemas face a dual problem with Texting: internally (employees) and externally (customers). Unlike IM, Texting has not been addressed by any type of regulation and there are no legal mandates surrounding it. For example, if a company provides a mobile phone to an employee and pays the bill there is the risk that if that phone is used in any illicit way the company may be held liable. Additionally, cell phone(s) and PDA(s) present other (perhaps more relevant) security issues. “Cell slurping” – the term used to describe the action of plugging a cell or PDA into a computer and downloading files (not unlike the use of flash stick or memory card) - presents very specific security risks regarding both viruses and corporate data theft.
ACTION STEPS TO HELP
There is no doubt that IM is fast becoming a critical and useful form of communication within companies – large and small. The key is in having employees use the technology (they probably will anyway) with its obvious advantages over voice or email by implementing good usage policy and practices. Here are several that every cinema should adopt:
* Take the existing email usage policy (if you don’t have one you should) and extend it to include IM and Texting.
* Make it clearly understood to all employees that company supplied technology tools, particularly communication devices, can only be used for business communications.
* Employees should be informed that their IM sessions may be archived on the company network.
* Take an informal survey within the company to see if a lot of IM is occurring, if so, determine the company’s needs for this practice to continue. If there is a corporate benefit then enhance company policy and standards and purchase the required enterprise software to control it.
Trying to keep up with technological advancements is virtually impossible. Additionally, technologies used by individuals and organizations are blending at a faster and faster pace, giving rise to unforeseen benefits, as well as, drawbacks. Take a look at your cinema operations and determine what technologies are being used (those formally sanctioned and those being used informally) weigh the benefits and drawbacks of each and decide what is best suited for the cinema and its employees, and which is not.
THE IM DILEMMA
IM (instant messaging) has become ubiquitous in every day work and play environments. Used to communicate with other employees, vendors, and certainly friends & family IM should be viewed as a good and valuable technology but one that is also a potential security risk. As many cinema owners/operators have discovered, IM is very hard to control in the workplace as its convenience and speed make controlling it nearly impossible. Compounding the problem is the fact that telecommunications companies knowing that many businesses are trying to control and/or block IM, frequently (and randomly) change the requisite messaging protocol, as they constantly endeavor to keep user traffic high – effectively increasing monthly billings.
On the other hand, IM has its benefits. For one, it does improve employee productivity. People can work at a faster pace as IM takes less time than emailing while using up much less band width. Additionally, as compared to voice communication, IM saves vast amounts of time in eliminating both unnecessary conversation and phone tagging.
To alleviate control problems while maintaining IM’s benefits, businesses that allow IM should implement control software as, if unmanaged, IM can put any company at risk for potential internal security breaches and/or theft of intellectual property, not to mention, law suits. To illustrate, in the U.S., Britain, and most other developed countries, IM is governed by the same civil laws as emails so, for example, if an employee were to IM a sexually explicit or aggressive message to another employee the company could be held liable for harassment just as if those sentiments were expressed by email or verbally. So the potential for legal ramifications is a very real one. Affordable enterprise-class IM software products to address these control issues is available and inexpensive. For instance, both Lotus and Microsoft offer very refined products to meet this need and every cinema with more than two locations should be using it.
TEXTING: THE GENIE OUT OF THE BOTTLE
That’s all well and good for IM but there is currently no way to control Texting between cell phones. Cinemas face a dual problem with Texting: internally (employees) and externally (customers). Unlike IM, Texting has not been addressed by any type of regulation and there are no legal mandates surrounding it. For example, if a company provides a mobile phone to an employee and pays the bill there is the risk that if that phone is used in any illicit way the company may be held liable. Additionally, cell phone(s) and PDA(s) present other (perhaps more relevant) security issues. “Cell slurping” – the term used to describe the action of plugging a cell or PDA into a computer and downloading files (not unlike the use of flash stick or memory card) - presents very specific security risks regarding both viruses and corporate data theft.
ACTION STEPS TO HELP
There is no doubt that IM is fast becoming a critical and useful form of communication within companies – large and small. The key is in having employees use the technology (they probably will anyway) with its obvious advantages over voice or email by implementing good usage policy and practices. Here are several that every cinema should adopt:
* Take the existing email usage policy (if you don’t have one you should) and extend it to include IM and Texting.
* Make it clearly understood to all employees that company supplied technology tools, particularly communication devices, can only be used for business communications.
* Employees should be informed that their IM sessions may be archived on the company network.
* Take an informal survey within the company to see if a lot of IM is occurring, if so, determine the company’s needs for this practice to continue. If there is a corporate benefit then enhance company policy and standards and purchase the required enterprise software to control it.
Trying to keep up with technological advancements is virtually impossible. Additionally, technologies used by individuals and organizations are blending at a faster and faster pace, giving rise to unforeseen benefits, as well as, drawbacks. Take a look at your cinema operations and determine what technologies are being used (those formally sanctioned and those being used informally) weigh the benefits and drawbacks of each and decide what is best suited for the cinema and its employees, and which is not.
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