Alliance Atlantis Cinema by dwc20915

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									          Trends of cinema-going in Europe and worldwide
                                     Multiplexes in Europe
                                  Digital Cinema worldwide


                                         Talk by Elisabetta Brunella
                                     Secretary General, MEDIA Salles
                    at the CICAE course “Art Cinemas = Action + Management”
                                       9-18 March 2005, Venice, Italy




MEDIA Salles is an initiative of the MEDIA Progranne of the European Union with the support of the Italian Government.
MEDIA Salles is an initiative of the MEDIA Progranne of the European Union with the support of the Italian Government.
         CINEMA-GOING IN WESTERN EUROPE

                             2003

           • overall result –5.1% compared to 2002
              from 958 to 909 million spectators

     • admissions on the 5 main markets are decreasing
       D: -9.1%, E: -2.3%, F: -5.6%, UK: -4.9%, I: -5.5%

            • total screens in 2003: 27 243 (+2.5%)
• screens are stable in D, still growing in E (+6.8%), I (+6.4%),
                     UK (+0.9%), F (+0.6)
              CINEMA-GOING IN CENTRAL
                AND EASTERN EUROPE

                         2003:
        • total admissions are decreasing: -3.9%
    from 102 in 2002 to 98 million spectators in 2003


• the main markets record different trends in admissions:
CZ: +13.5%, HU: -11.4%, PL: -6.7%, RO: -14.8%, TR: +0.5%

              • total screens in 2003: 4 709
    HOW FREQUENTLY DO
EUROPEANS GO TO THE CINEMA?
              FREQUENCY PER CAPITA IN THE 5 MAIN
                MARKETS OF WESTERN EUROPE


      4,00

      3,00

      2,00

      1,00

      0,00
                 2000            2001         2002         2003

                            D       E     F      I    UK


     2000     2001      2002     2003
                                          Average frequency per capita
D      1,86     2,16      1,99     1,80
                                           in Western Europe in 2003:
E      3,39     3,64      3,44     3,31
F      2,82     3,15      3,11     2,92              2.32
I      1,70     1,82      1,82     1,71
UK     2,39     2,60      2,97     2,82
           FREQUENCY PER CAPITA IN THE 5 MAIN
        MARKETS OF CENTRAL AND EASTERN EUROPE


     2,00

     1,50

     1,00

     0,50

     0,00
             2000        2001         2002           2003

                    CZ    HU     PL          RO      TR


     2000 2001 2002 2003         Average frequency per capita
CZ    0,85 1,01 1,05 1,19       in Central and Eastern Europe
HU    1,40 1,54 1,50 1,34                   in 2003:
PL    0,54 0,72 0,70 0,66
RO    0,23 0,26 0,24 0,21                     0.53
TR    0,39 0,38 0,32 0,32
    WESTERN EUROPE vs
EASTERN and CENTRAL EUROPE
                      WESTERN EUROPE
                                 (18 countries)




                   1998               2003          var % 03/98
Km 2                                3 671 000
Population        386 506 500         392 517 800          1,6%
No. of cinemas         11 320              11 050         -2,4%
No. of screens         22 717              27 243         19,9%
Admissions        845 659 000         909 159 000          7,5%
Gross Box
Office (euro)    4 311 793 000      5 247 684 000         21,7%


                   2002               2003          var % 03/02
Population        390 425 995         392 517 800           0,5%
No. of screens         26 584              27 243           2,5%
Admissions        958 436 000         909 159 000          -5,1%
           WESTERN EUROPE- 2003
                     (18 countries)



• One cinema every 332 Km2

• One screen every 135 Km2

• One cinema per 35 522 inhabitants

• One screen per 14 408 inhabitants

• Average size of cinema: 2,5 screens

• Frequency per capita: 2,32 tickets per year

• Average ticket price: 5,77 euro
             CENTRAL and EASTERN EUROPE
                           (15 countries)



                    1998             2003          var % 03/98
Km 2                              2 022 600
Population         185 767 328      187 058 537           0,7%
No. of cinemas           3 879            3 502          -9,7%
No. of screens           4 390            4 709           7,3%
Admissions          98 597 000       98 486 000          -0,1%
Gross Box Office
(euro)             184 774 000      277 895 000         50,4%

                    2002             2003         var % 03/02
Population         186 232 015      187 058 537          0,4%
No. of screens           4 825            4 709         -2,4%
Admissions         102 446 000       98 486 000         -3,9%
 CENTRAL and EASTERN EUROPE - 2003
                     (15 countries)



• One cinema every 578 Km2

• One screen every 430 Km2

• One cinema per 53 415 inhabitants

• One screen per 39 724 inhabitants

• Average size of cinemas: 1,3 screens

• Frequency per capita: 0,53 tickets per year

• Average ticket price: 2.82
                        WESTERN EUROPE vs
                    CENTRAL and EASTERN EUROPE
• Frequency per capita in Western Europe is four times higher than in
Central and Eastern Europe (2,32 vs 0,53).

• The average ticket price in Western Europe is almost double that of
Central and Eastern Europe (5,77 euro vs 2,82 euro).

• In the 1998 – 2003 period,
      - gross box office in Central and Eastern Europe increased by 50.4%, as
      against the 21.7% increase recorded in Western Europe,
      - on the other hand, admissions in Western Europe increased by 7,5%
      and in Central and Eastern Europe decreased by 0,1%,
      - the average ticket price in Western Europe increases slightly, growing
      from 5,10 to 5,77 euro, as against the increase from 1,87 to about 2,82
      recorded in Central and Eastern Europe.

• Western Europe has 1 screen every 14 408 inhabitants whilst Central and
Eastern Europe have 1 every 39 724 inhabitants.

• The ratio of the two regions is over 2:1 (2,75).
WHICH MOVIES DO EUROPEANS
   WATCH AT THE CINEMA?
                        ADMISSIONS IN EUROPE BY FILM ORIGIN

       100,0%
        80,0%
        60,0%
        40,0%
        20,0%
         0,0%
                       1996         1997       1998       1999        2000     2001    2002      2003
                                          US Films
                                          National films on their ow n market
                                          European films outside their ow n market
                                          Others


                                             1996     1997    1998     1999    2000    2001    2002     2003
US Films                                     71,6%    65,9%   77,5%    69,2%   73,3%   65,1%   70,5%    72,1%
National films on their own market           17,0%    21,3%   14,4%    17,5%   15,7%   20,6%   17,9%    19,4%
European films outside their own market      8,8%     10,8%   7,0%     11,3%   7,2%    10,8%   9,9%     6,3%
Others                                       2,6%     2,0%    1,1%     2,0%    3,8%    3,5%    1,7%     2,2%
         MARKET SHARES IN WESTERN EUROPE - 2003


  100%
   90%
   80%
   70%
   60%
   50%
   40%
   30%
   20%
   10%
    0%
            B    CH     D       DK   E      F    FIN      I     IS       L       N    NL    S

                   Domestic films        European films       US films       Other films


D:gross distribution revenues        FIN: percentages of admissions              I: Cinetel data
               MARKET SHARES IN CENTRAL AND
                  EASTERN EUROPE - 2003

100%
80%
60%
40%
20%
 0%
       CS     CY    CZ       EE   HU     LT     LV     PL     RO      SK

            Domestic films    European films     US films     Other films



       CS, EE, HU, PL: new releases    PL: percentage of admissions
              ADMISSIONS IN EUROPE BY FILM ORIGIN

• Breakdown of admissions by film origin is stronly affected by the success
of US films which mantain an extremely high share of total admissions,
around 70%, over the years.

• In alternative years, specifically in 1997, 1999 and 2001, Domestic films
gained significant shares of admissions, as did, to a lesser extent,
European films in general. Thanks to the success of a few titles, the latter
managed to influence the overall market trend.

• In 2003, faced with a predominance of US films, it was mostly Domestic
films that managed to play a significant role in Europe, gaining significant
shares of box office (F: 34.5%, DK: 23.2%, I: 22.0%, S: 18.9%, CZ: 23.7%, CS:
18.5%, PL: 9.8%)

• Instead the market shares of non-domestic European films remain quite
small.
            ADMISSIONS FOR DOMESTIC FILMS

                       GERMANY

              Total admissions in 2004:
                  156.7 m. (+5.2%)
From TOP 10 FILMS (by admissions):

1. (T)RAUMSCHIFF SURPRISE - PERIODE 1 (D):
    9 137 506 admissions
3. 7 ZWERGE (D): 6 486 540 admission
5. DER UNTERGANG (D, I, A): 4 521 903 admissions


     % of top 3 DOM on total admissions: 12.9%
           ADMISSIONS FOR DOMESTIC FILMS

                 CZECH REPUBLIC

             Total admissions in 2003:
                 12.1m. (+13.5%)
From TOP 10 FILMS (by admissions):

1. PUPENDO (CZ): 958 300 admissions
5. JEDNA RUKA NETLESKÁ (CZ): 457 500 admissions
6. KAMENÁK (CZ): 417 700 admissions
7. ŽELARY (CZ, A, SK): 386 800


    % of top 4 DOM on total admissions: 18.3%
              ADMISSIONS FOR DOMESTIC FILMS

             SERBIA AND MONTENEGRO

                Total admissions in 2002:
                      4.8 m. (-0.4%)
                        -15.3% (2001/2000)

From TOP 10 FILMS (by admissions):

1. ZONE (CS): 1 005 156 admissions (21.1% on total admissions)
3. MRTAV 'LADAN (CS): 176 372 admissions
5. MALA NOCNA MUZIKA (CS): 153 687 admissions
8. LAVIRINT (CS): 121 041 admissions
9. JEDAN NA JEDAN (CS): 112 810

      % of top 5 DOM on total admissions: 32.9%
           ADMISSIONS FOR DOMESTIC FILMS
                       POLAND

              Total admissions in 2001:
                 27,6 m. (+ 32,3%)

From TOP 10 FILMS (by admissions):

1. QUO VADIS (PL): 4 276 674 admissions
2. W PUSTYNI I W PUSZCZY (PL): 2 221 137 admissions
3. PRZEDWIOŚNIE (PL): 1 742 587 admissions
7. WIEDZMIN (PL): 606 288 admissions

       % of top 4 DOM on total admissions: 32%
     TRENDS IN CINEMA ADMISSIONS


Concentration of admissions on few titles
                  In 2002:

CS: top 3 films = 31.9% on total admissions
     top 10 films = 52.1% on total admissions
PL: top 10 films = 44.6% on total admissions
EE: top 10 films = 43.2% on total admissions
UK: top 10 films = 41.9% on total admissions
CZ: top 10 films = 34.9% on total admissions
D: top 10 films = 34.3% on total admissions
CINEMA-GOING WORLDWIDE:

    WESTERN EUROPE vs
INTERNATIONAL MAJOR MARKETS
                                   CINEMA-GOING WORLDWIDE:
                                      ADMISSIONS (x 1 000 000)
                                                                                                      var%        var%
             1995       1996       1997       1998       1999     2000     2001     2002     2003     95/03       03/02
W. Europe    664,2       711,1      761,6      815,9      803,2    835,4    923,8    926,4    879,4 32,4%         -5,1%
USA         1 262,6 1 338,6 1 387,7 1 480,7 1 465,2 1 420,8 1 487,3 1 639,3 1 574,0 24,7%                         -4,0%
Japan        127,0       119,3      140,7      153,1      144,7    135,4    163,3    160,8    162,3 27,8%          0,9%
Australia     69,0        73,9       76,0       80,0       88,0     82,0     92,5     92,5     90,0 30,4%         -2,7%
Russia              .          .          .          .     24,6     30,2     36,4     40,5      68            . 67,9%


                                   NUMBER OF SCREENS
                                                                                                      var%        var%
             1995       1996       1997       1998       1999     2000     2001     2002     2003     95/03       03/02
W. Europe   18 928      19 728     20 757     21 908     23 207   24 117   24 950   25 744   26 325   39,1%        2,3%
USA         27 805      29 690     31 640     34 186     37 185   37 396   36 764   35 280   35 786   28,7%        1,4%
Japan        1 776       1 828      1 884      1 993      2 230    2 524    2 585    2 635    2 681   51,0%        1,7%
Australia    1 137       1 251      1 431      1 576      1 748    1 817    1 855    1 872    1 907   67,7%        1,9%
Russia              .          .          .          .     100      130      220      350      542            .   54,9%


            Russia: the number of screens refers to the theatres of new generation
          WESTERN EUROPE - USA:
          NUMBER OF ADMISSIONS
3 000,0
2 500,0
2 000,0
1 500,0
1 000,0
  500,0
     ,0
          1995 1996 1997 1998 1999 2000 2001 2002 2003

                          W. Europe       USA



              Europe 1995 – 2003: + 32%
              Europe 2000 – 2003: + 5%

              USA 1995 – 2003: +25%
              USA 2000 – 2003: +11%
          WESTERN EUROPE - USA:
           NUMBER OF SCREENS
80 000

60 000

40 000

20 000


         1995 1996 1997 1998 1999 2000 2001 2002 2003

                        W. Europe      USA



               Europe 1995 – 2003: + 39%
               Europe 2000 – 2003: + 9%

               USA 1995 – 2003: +29%
               USA 2000 – 2003: -4%
    USA: THEATRES BY NUMBER OF SCREENS
 Total number of Theatres in 2003                  6.066




                                                               Source: MPAA

                   Single screen
                   2-7 screens (Miniplex)
                   8-15 screens (Multiplex)
                   16 or more screens (Megaplex)

                                    2002           2003    Var. % 03/02
        Single screen               1 682          1 684      0,1%
    2-7 screens (Miniplex)          2 457          2 419      -1,5%
   8-15 screens (Multiplex)         1 437          1 473      2,5%
16 or more screens (Megaplex)        474            490       3,4%
MULTIPLEXES IN EUROPE
MULTIPLEXES IN EUROPE
    (as at 31 October 2004)


      10 160 screens
        in 944 sites
      in 30 countries
       TREND OF NUMBER OF SCREENS IN
           MULTIPLEXES IN EUROPE

 Screens in European multiplexes are still in the
             growth but more slowly:

           +6.7% between 2004 and 2003
           +9.5% between 2003 and 2002

 The growth of screens, especially of those located in
multiplexes with 9, 11, 16 screens and in megaplexes (sites
        with at least 16 screens), is slowing down.
                MULTIPLEXES IN WESTERN EUROPE:
                      NUMBER OF SCREENS
                                 (as at 31st October)

                2000   2001   Var%    2002   Var%    2003   Var%    2004   Var%
                              01/00          02/01          03/02          04/03
8 screens       1208   1376   13,9%   1448    5,2%   1584    9,4%   1680    6,1%
9 screens       1026   1179   14,9%   1314   11,5%   1395    6,2%   1449    3,9%
10 screens       950   1070   12,6%   1260 17,8%     1310    4,0%   1390    6,1%
11 screens       407    473   16,2%    583 23,3%      693   18,9%    715    3,2%
12 screens       888   1056   18,9%   1140    8,0%   1236    8,4%   1368   10,7%
10,13 screens    182    286   57,1%    312    9,1%    338    8,3%    364    7,7%
14 screens       518    588   13,5%    686 16,7%      798   16,3%    868    8,8%
15 screens       270    300   11,1%    300     -      345   15,0%    405   17,4%
>=16 screens     601    805   33,9%   1056 31,2%     1142    8,1%   1144    0,2%
Total           6050   7133   17,9%   8099 13,5%     8841    9,2%   9383    6,1%
               MULTIPLEXES IN CENTRAL AND EASTERN
                  EUROPE: NUMBER OF SCREENS
                                      (as at 31st October)

               2000   2001   Var%       2002    Var%    2003   Var%    2004   Var%
                             01/00              02/01          03/02          04/03
8 screens        48     80   66,7%        128   60,0%    152   18,8%    168   10,5%
9 screens        27     54 100,0%          81   50,0%     90   11,1%    117   30,0%
10 screens       80    130   62,5%        160   23,1%    170    6,3%    180    5,9%
11 screens       22     55 150,0%          66   20,0%     66       -     44   -33,3%
12 screens       24     48 100,0%          72   50,0%     84   16,7%     96   14,3%
13 screens       26     26        -        39   50,0%     39       -     65   66,7%
14 screens       42     28   -33,3%        28       -     42   50,0%     56   33,3%
15 screens        0      0        -         0       -     15       -     15        -
>=16 screens      0     20        -        20       -     20       -     36   80,0%
Total           269    441   63,9%        594   34,7%    678   11,6%    777   13.3%
        DENSITY OF SCREENS IN MULTIPLEXES IN
                THE MAJOR MARKETS

 In major markets, the countries with the highest density of
  screens in multiplexes are United Kingdom (60.0%),
  Belgium (52.4%), Spain (50.5%) and Luxemburg (38.5%).

 The analysis of the situation of the number of screens
  during the years shows that the percentage on the total of:
   • the number of screens in multiplexes grows, but with
     decreasing rates in the last four years;
   • the percentage of screens in multi-screens cinemas shows a
     small but constant decrease;
   • the percentage of screens in single-screens cinemas records
     the greatest flexion.
     TREND OF NUMBER OF ADMISSIONS IN
               MULTIPLEXES



       The concentration of admissions
     in multiplexes in Europe is growing.


In 2003, in 8 countries multiplexes account for
         more than 50% of admissions
          MULTIPLEXES IN EUROPE:
       CONCENTRATION OF ADMISSIONS
             (Western Europe)
      1998     1999     2000     2001     2002     2003
A       .        .      48,47%   54,17%   64,12%   59,63%
B     68,21%   73,30%   75,05%   74,35%   75,90%   77,04%
CH    5,27%      .      11,33%   14,00%   13,75%   17,48%
D     29,36%   32,80%   37,52%   39,74%   39,60%   40,96%
DK    16,78%   16,71%   24,97%   27,55%   30,07%   31,78%
E     29,82%   37,68%   47,56%   53,39%   59,72%   64,19%
F     30,75%   36,18%   41,15%   45,16%   47,48%   49,89%
FIN     .      30,10%   36,99%   37,76%   34,84%   40,58%
I     4,32%    7,48%    13,28%   16,95%   24,86%   32,17%
L     79,74%   80,95%   78,76%   76,05%   75,04%   78,70%
N     20,61%   21,09%   c. 21%   20,65%   20,19%   20,34%
NL    8,89%    11,30%   15,22%   20,23%   23,34%   30,46%
S     37,90%   38,60%   31,64%   37,84%     .        .
          MULTIPLEXES IN EUROPE:
       CONCENTRATION OF ADMISSIONS
         (Central and Eastern Europe)

     1998    1999    2000     2001     2002     2003
CZ   7,64%   9,43%   17,65%   28,44%   42,38%   51,74%
EE     -       -       -      54,16%   63,88%   64,41%
HU     .       .       .        .        .      45,98%
LT     .       .       .        .      34,12%   48,19%
LV     -       -       -        -        -      16,70%
PL     .       .       .        .        .      57,57%
RO     -       -     8,07%    18,61%   22,29%   24,55%
SI     -       -       -      40,45%     .      70,57%
DIGITAL CINEMA WORLDWIDE
          DIGITAL SCREENS WORLDWIDE
          (cinemas equipped with DLP CinemaTM projector )


    In the last two years digital screens ranged from
       154 (February 2003) to 291 (December 2004)
                               + 89%
                                                        var %      var %
                    February     June     December     dec04/     dec04/
                      2003       2004       2004       feb03       jun04
AFRICA                  -          -          1           .         .
ASIA                   51         110        136        167%      24%
EUROPE                 16         37          55        244%      49%
LATIN AMERICA           7         11          11        57%         -
NORTH AMERICA          79         85          86         9%        1%
OCEANIA                 1          2          2         100%        -
TOTAL                  154        245        291         89%      19%
        Source: “European Cinema Yearbook – 2004 final edition”
           DIGITAL SCREENS WORLDWIDE
           (cinemas equipped with DLP CinemaTM projector )


    In total, the most significant increase took place in
                      the last 6 months

    February 2003/June 2004 (16 months): +91 screens
    June 2004/December 2004 (6 months): +46 screens


Considering figures by continent, the quickest increase was
       registered in Asian and European countries,
   while the US, the first country equipped with digital
   projectors, show a much lower growth percentage.
                   DIGITAL FILMS WORLDWIDE


           “Digital films: scarce but growing supply of
                     movies in a digital format”



                                                                      total
                   1999    2000    2001    2002    2003    2004     1999-2004
   Number of
films released       4      13      23      32      46      43        161

                            (as at December 2004)



                 NOTE: films released in DLP CinemaTM technology.
       NEW DIGITAL TECHNOLOGIES

D-cinema is growing, standards are now being
                established,

new digital technologies can offer exhibitors
        new business opportunities
      (both D-cinema and E-cinema):

 • alternative content and film programming
             for specific audiences

         • digital cinema advertising
                DIGITAL PROJECTION:
             WHAT’S GOING ON IN EUROPE

   Palace Cinemas, Czech Republic - Hungary
• 2 screens equipped with DLP CinemaTM projectors
  (Palace Slovansky Dum in Prague, MOM Park in Budapest)
• Digital Hollywood films (i.e. Finding Nemo, The Day After
  Tomorrow)

• Alternative contents:
    • Music events: David Bowie and Bon Jovi Live concerts; DVDs premiere
      (i.e. The Beatles – Concert for George)
    • Sports events: UEFA Euro 2004
    • DVDs projections for specialized audience: i.e Bowling a Columbine,
      Apocalypse Now Redux (that probably would not have been shown at the
      cinemas in 35mm)
                DIGITAL PROJECTION:
             WHAT’S GOING ON IN EUROPE

                           Arcadia, Italy

• 2 screen equipped with DLP CinemaTM projector

• Digital Hollywood films (i.e. Atlantis: The Lost Empire, Star
Wars Attack of the Clones, Pinocchio, Alien Director’s Cut, The
Day After Tomorrow, I Robot, The Incredibles)
• Alternative contents:
   • Music events: David Bowie Live Concert
   • Stanley Kubrick: A Life in Pictures
   • Star Wars Episode II - Attack of the Clones - making of
                DIGITAL PROJECTION:
             WHAT’S GOING ON IN EUROPE

                Kinepolis Group, Belgium
      “A strategic choice: digital as an added value and
                     a competitive advantage”

• 10 screens equipped with DLP CinemaTM projectors in Belgium
• Digital Hollywood films (i.e. Finding Nemo, Brother Bear)
• Alternative contents:
   • digital previews of Aspe series, a popular weekly TV movie series
   • broadcast of TV News
   • special digital screenings of local productions for the young audience
     (Plop en de Toverstaf)
   • broadcast of prestigious events and concerts
                 DIGITAL PROJECTION:
              WHAT’S GOING ON IN EUROPE

                         Utopia Group,
        Belgium, Luxembourg, The Netherlands, France


   10 screens were recently equipped with DLP CinemaTM projectors
                             in 3 countries:

- BELGIUM: 2 screens in Utopolis Mechelen, 2 screens in Utopolis
  Turnhout (October-November 2004)

- LUXEMBOURG: 3 screens in Utopolis Luxembourg (March-October
  2004)

- THE NETHERLANDS: 3 screens in Utopolis Almere (November 2004)
                   DIGITAL PROJECTION:
                WHAT’S GOING ON IN EUROPE

            UK Film Council, United Kingdom

                      Digital Screen Network:
 the world’s first large scale digital screen network with the aim of
 improving access to specialised films and broadening the range of
         films available to audiences throughout the UK.

UK Film Council has recently selected Arts Alliance Digital Cinema to install and
   run the Digital Screen Network: AADC will provide a network of up to 250
 screens throughout the UK, covering installation, training, servicing, warranties
   and upgrades. Each cinema will guarantee a minimum number of specialised
(art-house/foreign language) film screenings a week in return for the equipment.

  AADC will also be able to create digital cinema masters for specialised film
       content and to deliver them to cinemas at a pre-agreed price.
                DIGITAL PROJECTION:
             WHAT’S GOING ON IN EUROPE

                          Capa, Norway
• Leading Norwegian cinema advertising company: conversion of
its Scandinavian network to satellite deilvered e-cinema projection,
developing a larger base of advertising clients and offering
exhibitors a reduction of reel-assembly time and more flexibility.

               Carlton Screen Advertising, UK
• Leading UK cinema advertising company: investment in digital
advertising to distribute digital video contents via satellite to the
cinemas.
              DIGITAL PROJECTION:
           WHAT’S GOING ON WORLDWIDE

                      Regal CineMedia, US
• Digital Content Network (DCN): the world’s largest digital
network for the delivery (via satellite) of on-screen and in-lobby
marketing and advertising products as well as digital video
contents to over 5,000 Regal Cinemas’ screens in US:

   • delivery of “The 2wenty”, the Regal CineMedia 20-minute pre-show
   programme offering advertising and entertainment,

   • delivery of alternative contents (HD format): simulcasting of live music
   concerts and events, delivery of educational, entertainment and sports
   programming.
         DIGITAL PROJECTION:
      WHAT’S GOING ON WORLDWIDE

                   China vs India
                 Digital vs Electronic


                       CHINA:
fast growth of d-cinemas, supported by local authorities:
       55 D-cinemas and screens as at June 2004,
  67 D-cinemas and 74 screens as at December 2004.

                         INDIA:
 the world’s largest digital theatre country with around
     130 e-cinemas in small towns and rural areas.
                               “DigiTraining Plus:
                                New Technologies
                             for European Cinemas”

        6 - 10 April 2005, Kuurne, Belgium

                 in collaboration with


     and with ANEC, FICE, ADN, ProjectScope


The second edition of the course devoted to digital cinema
   specifically addressing European cinema exhibitors
              “DigiTraining Plus: New Technologies
                     for European Cinemas”

                                   MAIN TOPICS
• Introduction and general overview of the international market of digital projection:
number of digital installations worldwide, digital products, main operators,
comparison between EU, US and Asian markets, the most recent updates on the
market.
• E-cinema and D-cinema.
• The point of view of distribution on digital projection.
• Analysis of significant cases: the experiences of independent European
companies and international companies.
• Content: distribution of digital content, alternative content, advertising.
• Technical overview: projectors e servers, sound systems, installation and
monitoring, anti-piracy measures.
• Demo of digital screening: from high-definition tv to digital cinema.
• Visit to a cinema with digital installation.
          “DigiTraining Plus: New Technologies
                 for European Cinemas”

  The application form, the provisional programme
and general information on the course are available on
              the MEDIA Salles’ website:


              www.mediasalles.it
                              Course fee

          • 400 euro for enrolments within 21 March
           • 500 euro for enrolments after 21 March

(covering tuition, teaching material, 4-nights accommodation and meals)
             www.mediasalles.it

                  The Course Report
                  of the 2004 edition
 is already available on the MEDIA Salles’ website
  Including the course programme, the speakers’
presentations, the participants’ comments, data on
          digital cinema-going worldwide.



                          “DigiTraining Plus:
                     New Technologies for European
                              Cinemas”
                         31 March – 4 April 2004,
                            Kuurne, Belgium
 For further information:
infocinema@mediasalles.it
    www.mediasalles.it

								
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