.widget.ContactForm { display: none; }

Sunday, April 29, 2018

Studio Weekend Estimates: ‘Avengers: Infinity War’ Explodes with Record-Breaking $250M, Topping ‘Star Wars: The Force Awakens’

Avengers: Infinity War has started the summer movie season with a huge bang. The latest chapter in the MCU canon more than delivered on its immense promise this weekend with a colossal, record-breaking opening of $250 million, surpassing Star Wars: The Force Awakens‘ opening weekend gross of $247.9 million back in December 2015. If estimates hold, that gives the Disney-Marvel blockbuster the biggest opening weekend of all time.

Infinity War‘s astronomical opening wasn’t much of a surprise when considering the film’s grosses early in the weekend, where it took in $39 million in Thursday night previews (fourth best of all time) and a gargantuan $105.9 million on Friday (making it the second best opening day all-time and the first non-Star Wars film to gross over $100 million in its first full day of release). It didn’t hurt that the team-up sequel, which features the largest cast of Marvel characters in a single movie to date, received largely-positive reviews (it has a “Certified Fresh” score of 84% on Rotten Tomatoes) and a solid “A” Cinemascore based on exit surveys.

The opening represents a major improvement on the two previous Avengers installments, which took in $207.4 million and $191.2 million, respectively, on their way to final grosses of $623 million and $459 million in North America.

How Infinity War performs in the weeks ahead will be key in determining its final placement on the list of all-time blockbusters. As we’ve mentioned here previously, the film’s legs could potentially suffer due to the fact that it’s not a standalone MCU installment – which tend to hold better – but rather the first of a two-part story that hinges on a particularly dark cliffhanger. Nonetheless, this is a massive debut that once again reaffirms the enduring power of the MCU brand and its dedication to quality, audience-pleasing filmmaking.

Needless to say, Infinity War more or less leveled nearly every other title currently in the marketplace, including two-time champ A Quiet Place, which finished a very, very distant second with $10.6 million in its fourth weekend. That represents the Paramount hit’s highest drop to date (49 percent), but given the competition that’s actually a stellar hold. The Paramount release’s total now stands at a remarkable $148.1 million.

In third place, STX’s I Feel Pretty grossed an estimated $8.1 million, down a not-bad 49 percent from last weekend. The Amy Schumer vehicle weathered the Infinity War-dominated frame better than most holdovers, partially owing to the fact that it’s not competing as directly with the MCU blockbuster as more action-oriented titles. The film’s total now stands at a so-so $29.5 million after ten days, putting it slightly below Schumer’s previous comedy Snatched, which finished with a disappointing $45.8 million last summer.

More to come…

The post Studio Weekend Estimates: ‘Avengers: Infinity War’ Explodes with Record-Breaking $250M, Topping ‘Star Wars: The Force Awakens’ appeared first on BoxOffice Pro.



from BoxOffice Pro

‘Avengers: Infinity War’ Earns Best Global Opening Ever w/ $630M

The number were almost “infinite” as Disney’s Avengers: Infinity War opened with the best global opening and second-best overseas opening of all time.

Starting with $380 million overseas, that’s the second-highest overseas opening ever, behind only last summer’s The Fate of the Furious with $443.1 million.

Most impressively, Infinity War racked up that overseas total without China, where it won’t be released until May.

The highly-anticipated superhero film had opened in dozens of markets on Wednesday or Thursday, prior to the film’s Friday domestic release.

It’s also the best global opening ever with an estimated $650 million total, beating the previous record holder which was also The Fate of the Furious with $541.9 million.

Top grossing markets in Infinity War‘s opening include the United Kingdom with $42.2 million, South Korea with $39.2 million, and Mexico with $25.1 million.

That’s combined with the film’s estimated $250.0 million million domestic start, which would make it the top domestic opening weekend of all time in pure dollars.

The post ‘Avengers: Infinity War’ Earns Best Global Opening Ever w/ $630M appeared first on BoxOffice Pro.



from BoxOffice Pro

Saturday, April 28, 2018

Fandango Sells More Than 36% of “Avengers: Infinity War” Opening Night Box Office Dollars

Their official press release:

Fandango, the ultimate digital network for all things movies, announced it sold more than a third of “Avengers: Infinity War” domestic box office dollars on Thursday night, representing the company’s highest share of a superhero movie’s opening.  Approximately 1 out of every 3 “Infinity War” tickets for Thursday night were purchased on Fandango, with more than 2,500 showtimes selling out on Fandango before the film opened. Theater owners are continuing to add new showtimes on Fandango throughout the weekend to meet the fan demand.

According to a Fandango moviegoer survey of more than 1,000 “Infinity War” moviegoers:

  • 96% said they were attracted to the film’s heart and humor.
  • 74% said the plot’s secrecy (no spoilers!) was the major factor for them to see the movie on opening weekend.
  • 73% watched or re-watched previous Marvel movies at home in preparation for “Avengers: Infinity War.”

Fandango’s “Avengers: Infinity War” presales records include:

  • Top Superhero Preseller: “Avengers: Infinity War” outsold “Black Panther’” in total Fandango presales prior to opening night.
  • Top April Preseller: “Avengers: Infinity War” raced past Fandango’s previous April presales champ, 2015’s “Furious 7.”

With every Fandango VIP purchase of “Infinity War” tickets, Fandango is offering a complimentary “Infinity War” poster by popular artist Kaz Oomori from Fandango Fanshop, while supplies last. Fans have the option to choose one of five exclusive posters, featuring Black Panther, Okoye, Iron Man, Captain America, Spider-Man, Hulk, Black Widow, Guardians of the Galaxy and many others. Fandango is offering limited edition “Avengers: Infinity War” collectible movie character gift cards here.

To celebrate a summer of unprecedented blockbusters and incentivize moviegoing and advance ticketing, Fandango has launched its new Fandango VIP+ rewards program. For the first time, Fandango ticket buyers can earn VIP+ Points redeemable for discounts and free stuff across Fandango’s family of businesses.  Full details on the Fandango VIP+ rewards program can be found here (www.fandango.com/VIP-Plus).

 About Fandango

Fandango is the ultimate digital network for all things movies, serving consumers with best-in-class movie information, ticketing to more than 40,000 screens globally, movie trailers and original video content for movie discovery, and home entertainment.  Its portfolio reaches more than 67 million unique visitors per month worldwide, with 210 million app downloads in the U.S. and Latin America, and includes popular movie properties Flixster, Rotten Tomatoes and the Tomatometer™ rating, and Fandango Movieclips, the No. 1 movie trailers and content channel on YouTube.  Also part of the Fandango family are Latin America’s leading online ticketers, Ingresso.com and Fandango Latin America (formerly Cinepapaya) – extending Fandango’s reach to Brazil, Mexico, Argentina, Colombia, Peru, Chile, Ecuador and Bolivia.

The post Fandango Sells More Than 36% of “Avengers: Infinity War” Opening Night Box Office Dollars appeared first on BoxOffice Pro.



from BoxOffice Pro

Friday, April 27, 2018

Long Range Tracking: ‘Jurassic World: Fallen Kingdom’ & ‘Deadpool 2’ Updates

This week’s report focuses on Jurassic World: Fallen Kingdom — the fifth installment in the Jurassic Park franchise, which will be in the midst of celebrating its 25th anniversary this summer.

The return of stars Chris Pratt and Bryce Dallas Howard will please fans of 2015’s Jurassic World, while older fans are eagerly anticipating the return of Jeff Goldblum’s Ian Malcolm character, whom hasn’t been seen in the franchise since 1997’s The Lost WorldFallen Kingdom‘s early teaser reactions weren’t as positively received as those of its predecessor initially, but the most recent payoff trailer has generated more positive reactions online.

While comparing social media trends for this sequel to the 2015 film could be hit and miss due to severe under-tracking three years ago, Kingdom‘s same-point metrics are comparable to those of fellow Chris Pratt-led sequel Guardians of the Galaxy Vol. 2. That title bowed to an excellent $146.5 million as 2017’s summer opener, legging its way out to nearly $390 million domestically.

At this time, Fallen Kingdom is tracking for a performance similar to that Marvel sequel, largely due to a more competitive release slate this year. Jurassic World faced a blockbuster Pixar title virtually head-to-head (as its sequel will this summer), but was the first live action tentpole to open over $100 million after early May’s Avengers: Age of Ultron. This year, it’s widely expected that three films in May alone will break past that mark, potentially softening demand for a mid-June action tentpole (not to mention the other expected hits).

In terms of staying power, Jurassic World never faced a live action film that opened to more than $33 million until its sixth weekend of release (Marvel’s Ant-Man). This time around, Ant-Man and the Wasp will bow in Kingdom‘s third weekend, followed by Dwayne Johnson’s Skyscraper one week later. Both will likely cut into some of Jurassic‘s target audience.

Ultimately, while diminished returns are expected, that’s par for the course for many sequels — especially those following unexpected and historic box office runs with unique circumstances and built-up nostalgia driving them. Taking global performance into consideration, Universal should be sitting pretty with another hugely profitable box office run when Jurassic World: Fallen Kingdom hits theaters this summer.

Boxoffice is currently tracking Fallen Kingdom for an opening weekend range of $130-150 million and total domestic range of $325-380 million.

This Week’s Other Updates

  • Deadpool 2 came on traditional industry this week to a wide range of expectations. Current metrics suggest the film could open anywhere in between $110 million and $140 million. The sequel’s most recent trailer has generated a needed uptick in social media buzz, and although it still trails the unique footprint of its predecessor, the surge in interest is significant enough to warrant an increased forecast.

8-Week Tracking

Release Date Title 3-Day Wide Opening % Chg from Last Week Domestic Total % Chg from Last Week Estimated Location Count Distributor
5/4/2018 Bad Samaritan n/a n/a 1,800 Electric Entertainment
5/4/2018 Overboard $14,000,000 $39,000,000 1,500 Lionsgate / Pantelion
5/4/2018 Tully n/a n/a 1,200 Focus Features
5/11/2018 Breaking In $13,000,000 $34,800,000 2,300 Universal
5/11/2018 Life of the Party $21,000,000 $54,000,000 3,500 Warner Bros. / New Line
5/18/2018 Book Club $8,000,000 33% $25,000,000 32% Paramount
5/18/2018 Deadpool 2 $120,000,000 20% $290,000,000 20% Fox
5/18/2018 Show Dogs $8,000,000 $25,000,000 Global Road Films
5/25/2018 Solo: A Star Wars Story $150,000,000 $390,000,000 Disney
6/1/2018 Action Point $17,000,000 $42,500,000 Paramount
6/1/2018 Adrift $10,000,000 $34,000,000 STXfilms
6/1/2018 Upgrade n/a n/a OTL Releasing / BH Tilt
6/8/2018 Hereditary n/a n/a A24
6/8/2018 Hotel Artemis n/a n/a Global Road Films
6/8/2018 Ocean’s 8 $42,000,000 $145,000,000 Warner Bros.
6/15/2018 The Incredibles 2 $110,000,000 $395,000,000 Disney / Pixar
6/15/2018 Superfly n/a n/a Sony
6/15/2018 Tag $13,000,000 $43,000,000 Warner Bros.
6/15/2018 Untitled Entertainment Studios (2018) n/a n/a Entertainment Studios
6/22/2018 Jurassic World: Fallen Kingdom $139,000,000 NEW $350,000,000 NEW Universal

The post Long Range Tracking: ‘Jurassic World: Fallen Kingdom’ & ‘Deadpool 2’ Updates appeared first on BoxOffice Pro.



from BoxOffice Pro

Disney: ‘Avengers: Infinity War’ Projected for $95M-$100M Domestic Opening Day, On Pace for Second Biggest Weekend Ever

Friday Update: Disney sent along an official projection this afternoon, calling for a Friday total between $95 million and $100 million. If it holds, that would line with our pre-release forecasts and mark the third biggest single day gross in history behind Star Wars: The Force Awakens and Star Wars: The Last Jedi.

That very early estimate includes Thursday night’s $39 million bow, which stands as the fourth best in history and the biggest ever for a Marvel film, besting Age of  Ultron ($27.6 million), Black Panther ($25.2 million), and Captain America: Civil War ($25.0 million).

Based on Friday’s early estimate, the studio officially projects a weekend pace of $225 million (“give or take”), although that could still be a slightly conservative projection based on our models.

Internationally, the film debuted to $95 million through its first two days of release after an April 25 rollout in 21 markets and 22 more on April 26.

“The film has so far registered the highest opening day in industry history in Korea, Brazil, Philippines, Thailand, Indonesia, Malaysia, Hong Kong, Vietnam, Central America, Chile, Peru, Bolivia and UAE. Today, in addition to its North American debut, the film opens in Spain, Mexico, Japan, India, Turkey and South Africa. Major markets not opening this weekend are Russia (May 3) and China (May 11),” says Disney.

The studio provided the following breakdowns:

Territories GBO
Korea $11.4M
Australia $10.0M
UK $8.9M
France $6.5M
Italy $5.1M
Brazil $4.8M
Philippines $4.7M
Thailand $4.1M
Indonesia $3.6M
Germany $3.2M
Taiwan $3.2M
Malaysia $2.8M
Hong Kong $2.5M
Other $24.2M
Total $95.0M

New openers

  • Avengers: Infinity War opened at #1 in all markets.
  • Brazil:  Opening day is the highest opening day in industry history with an outstanding 87% market share.
  • UK:  Opening day is the 3rd highest opening day for Disney and highest MCU opening day of all-time with an outstanding 89% market share.
  • Germany:  Opening day is the highest superhero opening day of all-time with an outstanding 85% market share.
  • Argentina:  Opening day is the 2nd highest opening day in industry history with an outstanding 83% market share.
  • Rest of Latin America:  Highest opening day in industry history in Central America, Chile, Peru and Bolivia.  Market shares in each country above 90%.
  • Rest of Europe:  Highest opening day in industry history in UAE.  Highest superhero opening day of all-time in Austria, Bosnia/Herz, Czech Rep, Estonia, Greece, Hungary, Middle East, Poland, Serbia, Slovakia, Slovenia and the Ukraine.  Outstanding market shares include Greece (95%), Austria (85%) and Czech Rep (85%).

“Looking at the same suite of territories at today’s exchange rates, Avengers: Infinity War continues to pace ahead of all other MCU releases in most territories. However, it is not apples-to-apples at this early stage due to the varying release patterns of those comps for the territories to date.  We’ll have a comprehensive look at the global debut on Sunday,” Disney added.

“Of note, premium formats are playing well domestically with IMAX previews generating an estimated $4.1M in North America, the 3rd highest IMAX previews ever behind only Star Wars: The Force Awakens and Star Wars: The Last Jedi.  Internationally IMAX screens have already earned an estimated $5.1M through yesterday,” the studio’s update concluded.

The post Disney: ‘Avengers: Infinity War’ Projected for $95M-$100M Domestic Opening Day, On Pace for Second Biggest Weekend Ever appeared first on BoxOffice Pro.



from BoxOffice Pro

‘Avengers: Infinity War’ Takes $39M in Domestic Previews, Hits $95M Overseas

Avengers: Infinity War posted the fourth highest preview gross of all time, earning $39 million from Thursday evening previews. It is the highest preview tally of any Marvel title, ahead of Avengers: Age of Ultron ($27.6M), Black Panther ($25.2M), and Captain America: Civil War ($25M). IMAX previews contributed an estimated $4.1 million of that figure, the third highest on record behind Star Wars: The Force Awakens and Star Wars: The Last Jedi.

The title has grossed $95 million over its first two days overseas, where it is already playing in 43 markets. IMAX screenings have generated an additional $5.1 million overseas through Thursday. Disney reports Infinity War has recorded the highest opening day in industry history in South Korea, Brazil, Philippines, Thailand, Indonesia, Malaysia, Hong Kong, Vietnam, Central America, Chile, Peru, Bolivia and UAE. The film opens India, Japan, Mexico, South Africa, Spain, and Turkey on Friday with Russia (May 3) and China (May 11) still on deck. 

Overseas highlights, provided by Disney, are included below:

Top Territories:

South Korea $11.4M

Australia $10.0M

UK $8.9M

France $6.5M

Italy $5.1M

Brazil $4.8M

Philippines $4.7M

Thailand $4.1M

Indonesia $3.6M

Germany $3.2M

Taiwan$3.2M

Malaysia $2.8M

Hong Kong $2.5M

 

Thursday Openers

·       Brazil:  Highest opening day in industry history with an 87% market share.

·       UK:  3rd highest opening day for Disney and highest MCU opening day of all-time with an 89% market share.

·       Germany:  Highest superhero opening day of all-time with an 85% market share.

·       Argentina:  2nd highest opening day in industry history with an 83% market share.

·       Rest of Latin America:  Highest opening day in industry history in Central America, Chile, Peru and Bolivia.  Market shares in each country above 90%.

·       Rest of Europe:  Highest opening day in industry history in UAE.  Highest superhero opening day of all-time in Austria, Bosnia/Herz, Czech Rep, Estonia, Greece, Hungary, Middle East, Poland, Serbia, Slovakia, Slovenia and the Ukraine. Market shares include Greece (95%), Austria (85%) and Czech Rep (85%).

The post ‘Avengers: Infinity War’ Takes $39M in Domestic Previews, Hits $95M Overseas appeared first on BoxOffice Pro.



from BoxOffice Pro

‘Avengers: Infinity War’ Posts $39M in Thursday Night Previews; $95M Total Overseas

Disney’s Avengers: Infinity War posted $39.0 million in Thursday preview grosses domestically.

That’s the fourth-highest Thursday preview gross ever, behind Star Wars: The Force Awakens with $57.0 million, Star Wars: The Last Jedi with $45.0 million, Harry Potter and the Deathly Hallows Part 2 with $43.5 million.

In terms of what this might indicate for the opening weekend, those other three films have the highest, second-highest, and 10th-highest opening weekends of all time, respectively. This indicates that Infinity War is likely to place in the top five and perhaps even top three for opening weekends.

It’s also the biggest Thursday preview number ever for a Marvel Cinematic Universe installment, beating the previous record of Avengers: Age of Ultron with $27.6 million.

On the overseas front, Infinity War has $95 million through its first two days of release, after debuting on Wednesday and Thursday in 43 international markets. It has boasted the highest opening day of all time in at least 12 individual countries.

Major grosses to date include $11.4 million in South Korea, $10.0 million in Australia, and $8.9 million in the United Kingdom.

However, the film will not open in perhaps its biggest market – China – until May 11.

The post ‘Avengers: Infinity War’ Posts $39M in Thursday Night Previews; $95M Total Overseas appeared first on BoxOffice Pro.



from BoxOffice Pro

Thursday, April 26, 2018

Interactive ‘Choose Your Own Adventure’ Movie Using Kino Technology in Development at Fox

PRESS RELEASE

__________________________________

Los Angeles, CA – April 26, 2018 – Twentieth Century Fox Film (TCFF) today announced that they are licensing Kino Industries’ CtrlMovie technology for the Studio’s upcoming film, CHOOSE YOUR OWN ADVENTURE. The patented technology will allow in-theater audiences to control the characters’ action throughout the film using the app developed and created by Kino. This is the first film in a potential multi-film partnership utilizing this innovative technology. The announcement was made today during the CinemaCon presentation for TCFF in Las Vegas.
The film, based on the iconic 1980s book series that sold over 265 million copies worldwide, is currently in development at TCFF with John Davis and John Fox of Davis Entertainment, Greg Berlanti and Sarah Schechter of Berlanti Productions, and Shannon Gilligan of Chooseco, the publisher of the “Choose Your Own Adventure” brand, attached to produce. Kino Industries principals Chady Eli Mattar, Scott C. Silver and Tobias Weber will serve as executive producers. Mike Ireland will oversee the project for TCFF.
Using Kino’s simple, proprietary app on their smart devices, viewers vote to decide what characters will do at pivotal points in the narrative. That means the same film will have a different plot, ending and even running time depending on the audience’s unanimous choices. And unlike previous attempts at interactive filmmaking, it all happens seamlessly, with no break in the onscreen action. The result is a deeply engaging and highly communal movie-watching experience, unlike anything that’s come before.
“Bringing game changing, innovative technology to audiences and enhancing the cinematic experience has always been a cornerstone of the Twentieth Century Fox brand and our next venture is the outstanding CtrlMovie technology we are utilizing for CHOOSE YOUR OWN ADVENTURE,” said TCFF President of Domestic Distribution Chris Aronson. “This interactive experience, and the passionate, creative team behind this project, allow the true spirit of the beloved book series to fall into the hands of fans around the world.”
“First and foremost, we are filmmakers whose goal is to preserve the communal, in-theatre, big-screen experience. With CtrlMovie we will be expanding the art and science of motion pictures by transporting audiences to a new realm of movie-going while providing filmmakers, distributors and exhibitors with the tools, support and technology to take them there,” says Kino Co-CEO Chady Eli Mattar. “We are thrilled that Fox has opted to license our technology for their CHOOSE YOUR OWN ADVENTURE films, which we expect to be the beginning of a new, long term partnership with the studio.”

The post Interactive ‘Choose Your Own Adventure’ Movie Using Kino Technology in Development at Fox appeared first on BoxOffice Pro.



from BoxOffice Pro

‘Aquaman,’ ‘Shazam!’ and More Warner Bros. Titles to Screen in ScreenX Panoramic Format

PRESS RELEASE

___________________________________

Hollywood, CA (April 26, 2018) – CJ 4DPLEX announced today that Warner Bros. Pictures intends to release up to five titles within the next 12 months, including The Nun in September, Aquaman in December, and Shazam! in April 2019, with additional titles to be confirmed later this year. This will build on the success of Rampage, which was released earlier this month in the panoramic, 270-degree, premium cinema format. 

“Warner Bros. continues to be our strong partner, and we are thrilled to release five new titles from their upcoming film lineup. We look to expand the reach of this new technology that we feel will change the moviegoing experience for the better in the years to come,” said Byung-Hwan Choi, CEO of CJ 4DPLEX.

“As we look toward the future, we are excited to bring new films to theatres that take advantage of innovative formats like ScreenX,” said Thomas Molter, EVP of International Distribution and Exhibition Strategy, Warner Bros. Pictures. “As a company, we’re always looking to engage audiences by telling great stories in unique ways, and CJ 4DPLEX allows us to utilize new technologies that bring an immersive experience to film-goers.”

Since making its CinemaCon debut in 2015, ScreenX, the world’s first multi-projection cinematic system that provides an immersive, 270-degree panoramic film-viewing experience, has quickly enhanced its international reach, successfully screening Hollywood blockbusters and local feature films alike.

In the past 12 months, ScreenX has seen a surge in the number of ScreenX installed auditoriums, which have grown from 107 to 142, a 33% increase year-over-year. Additional screens are expected to be equipped with the unique technology across China, the U.S. and Europe in the coming year, expanding current total screens by 25% by the end of 2018. This includes a deal with B&B Theatres announced earlier this week that will bring four new ScreenX locations to the U.S. through 2019, including one in Liberty, MO, that will be the largest ScreenX in the world.

Also at CinemaCon, CJ 4DPLEX is showcasing a wide array of immersive cinema technologies and future of cinema concepts that will positively impact the theatre from the lobby to the auditorium, including several virtual reality based experiences and the U.S. debut of “4DX with ScreenX.” Available for demo in Roman Ballroom II, ‘4DX with ScreenX’ combines the motion seats and environmental effects of 4DX with the panoramic ScreenX format in the same auditorium.

The post ‘Aquaman,’ ‘Shazam!’ and More Warner Bros. Titles to Screen in ScreenX Panoramic Format appeared first on BoxOffice Pro.



from BoxOffice Pro

Eclair Announces Successful Live-Event Screening at Vitrolles Theater with EclairLive

PRESS RELEASE

__________________________________

Paris-Vanves (France), 26 April 2018 / Eclair, a leader in content services for the motion picture and television industries in Europe (Ymagis Group – FR0011471291, MAGIS, PEA-PME, TECH 40), announces its successful first screening of a live event via streaming at the CGR cinema in Vitrolles, near Marseille (Bouches-du-Rhône) April 22. This first-ever event of its kind featured the NBA Playoffs match of the Golden State Warriors versus the San Antonio Spurs (CGR Events/beIN SPORTS).

“We would like to thank CGR Events, specialized in the distribution of live event screenings for cinemas, for the trust they put in our EclairLive solution, which made this operation through broadband Internet possible,” explains Bruno d’Isidoro, Business Director for EclairLive at Eclair. “So far, the distribution of event cinema – concerts, opera, ballet, sports – was only possible via satellite transmission. Today, our streaming technology gives us more flexibility when it comes to alternative content distribution, and it guarantees an optimal image and sound quality for cinema exhibitors. Our EclairLive streaming solution allows content to be broadcast at a rate of between 6 and 10 Megabits/s, which is the existing configuration in most cinemas in France. We hope that this new solution will allow distributors of alternative content to convince more exhibitors with the live event experience.”

For Jocelyn Bouyssy, Managing Director of CGR Cinemas, “EclairLive, with its new live streaming capability, will allow us to expand the screening of alternative content in our cinemas. We will extend our content offer to meet the growing requests from our audiences, all without altering the image and sound quality.” “The screenings that took place yesterday were the first real opportunity to demonstrate the technical capacities of EclairLive. We are very pleased with our first collaboration,” explains Katrin Mathe, Manager at CGR Events.

Developed by Eclair, EclairLive is an innovative solution entirely dedicated to the screening of live events in cinemas across Europe via satellite and streaming. Acting on behalf of alternative content distributors, it allows the screening of more than 100 events every year. It uses its network – the largest in Europe with 1,400 connected cinemas (8,000 screens) – equipped with professional receivers that can be managed and operated remotely, and installed directly in projection booths.

The post Eclair Announces Successful Live-Event Screening at Vitrolles Theater with EclairLive appeared first on BoxOffice Pro.



from BoxOffice Pro

Weekend Forecast: ‘Avengers: Infinity War’

Summer 2018 officially begins for the film industry this weekend as Disney and Marvel unleash their long and much anticipated Avengers: Infinity War.

As we’ve discussed in previous weeks, the film has consistently been tracking for a massive debut thanks to the promise of serving as a semi-finale to the first ten years of MCU titles and uniting every significant character that has been introduced (and is still alive) over the course of the previous eighteen films. You can check out our original, in-depth analysis of the film’s potential here.

The last piece of the puzzle to determining the film’s box office potential arrived in largely positive fashion this week as the mega-sequel boasts an 87 percent Rotten Tomatoes score as of this publishing. There’s no mistaking that as yet another encouraging sign for a crowd-pleasing Marvel tentpole. In fairness, though, many who have seen the film have opined that it does beg for next year’s untitled Avengers 4 as an immediate follow-up.

For those remaining spoiler free, that translates to Infinity War not acting as a standalone film in the way that Marvel’s leggiest releases have, which is a very important factor to consider in extrapolating this one’s staying power at the box office. 2016’s Civil War serves as a fresh reminder that any sort of dramatic cliffhanger might limit repeat viewings from families and casual viewers — particularly kids — if the heft of the film’s character fates proves too heavy.

On the numbers side, tracking has lost some of the ground it had leading over Black Panther at the comparable point, although that’s not unexpected since this is a more traditional sequel (as traditional as it gets for Marvel, anyway) with higher demand for presales. Infinity still leads that film by a fair margin in general metrics, though.

On social media, Infinity War encountered a brief lull last weekend before picking up momentum again this week as reviews piled in. It currently stands ahead of PantherLast Jedi, and Age of Ultron in that regard.

All of this being said, any analysis is focusing on minutia at this point as the film has a strong chance to become the first non-Star Wars film to open with a $100 million first day of release. The film is a guaranteed success in virtually every capacity. For reference, Disney’s official expectation for the weekend is in the $210 million+ range.

Final Boxoffice Pre-Release Tracking for Avengers: Infinity War

Domestic Opening Weekend: $225 million – $255 million
Domestic Total Gross: $550 million – $625 million

Top 10 Weekend Comparisons

Boxoffice forecasts this weekend’s top ten films will account for approximately $278 million. That would represent the third biggest aggregate weekend of all-time (second only to the first two weekends of Star Wars: The Force Awakens) and mark a 244 percent increase from the same weekend last year, which earned $80.8 million one week before the debut of Guardians of the Galaxy Vol. 2.

Weekend Forecast

Film Distributor 3-Day Weekend Forecast Projected Domestic Total through Sunday, April 29 % Change from Last Wknd
Avengers: Infinity War Disney / Marvel $235,000,000 $235,000,000 NEW
A Quiet Place Paramount $9,900,000 $147,400,000 -53%
I Feel Pretty STX $9,000,000 $30,500,000 -44%
Rampage Warner Bros. / New Line $6,600,000 $77,700,000 -67%
Super Troopers 2 Fox Searchlight $3,800,000 $22,600,000 -75%
Blockers Universal $3,400,000 $53,800,000 -50%
Ready Player One Warner Bros. $3,100,000 $131,500,000 -59%
Blumhouse’s Truth or Dare Universal $2,800,000 $35,000,000 -64%
Black Panther Disney / Marvel $2,600,000 $685,900,000 -47%
Isle of Dogs Fox Searchlight $1,900,000 $27,500,000 -45%

The post Weekend Forecast: ‘Avengers: Infinity War’ appeared first on BoxOffice Pro.



from BoxOffice Pro

GDC Selected by One of India’s Leading Circuits to Supply Ushio Lamps for Three Years

PRESS RELEASE


LAS VEGAS, April 26, 2018 — GDC Technology Limited, a leading global provider of digital cinema solutions, today announced it has signed a three-year agreement with INOX Leisure Ltd (INOX Cinemas), one of India’s leading multiplex chain to supply Ushio lamps. The agreement, which became effective in January 2018, covers supplying Ushio lamps for all INOX screens through 2020. INOX selected Ushio, one of the largest suppliers of specialty and general illumination lamps in the world for the company’s continued technology innovations and wide range of reliable products. GDC, an authorized dealer for Ushio in India, will work closely with INOX to help select the best lamps to ensure bright and precise images are projected onto the cinema screen.

INOX cinemas have redefined movie experiences. They are best known for their state-of-the-art facilities in terms of modern projection and acoustic systems, distinct architecture and aesthetics, plush micro-adjustable leather recliners, gourmet meal choices curated by Masterchef Vicky Ratnani, bespoke staff uniforms by celebrity designer- Arjun Khanna, hassle free ticketing and most importantly high service standards upheld by a young and vibrant operations team.

Alok Tandon, CEO INOX Leisure Ltd says, “INOX has changed the way cinema is consumed across the country with its 7-star offerings. We believe in giving the best in terms of projection, audio and service. Comfort and Luxury is at the core and all our partnerships are basis considering all these factors. We have used and been completely satisfied with the quality of Ushio lamps for several years. This agreement solidifies our trust in the Ushio and GDC brands. We selected Ushio lamps for the entire INOX circuit for the unparalleled quality and continual innovations to ensure our audiences see the best image possible.”

“Inox is a valued partner to GDC, said Dr. Man-Nang Chong, founder, chairman and CEO of GDC Technology Limited. By selecting Ushio lamps, Inox Cinemas will be able to project bright, vibrant images that meet the industry standard, ensuring their audiences enjoy the best possible visual experience.”

The post GDC Selected by One of India’s Leading Circuits to Supply Ushio Lamps for Three Years appeared first on BoxOffice Pro.



from BoxOffice Pro

GDC Introduces GoGoCinema at CinemaCon 2018

PRESS RELEASE


LAS VEGAS, April 26, 2018 — GDC Technology Limited, a leading global provider of digital cinema solutions, announced today at CinemaCon 2018 the formation of GoGoCinemaTM, the company’s first-ever venture into the consumer marketplace. GoGoCinema is the brainchild of Dr. Man-Nang Chong, founder and CEO of GDC Technology Limited. Dr. Chong, an avid moviegoer, first envisioned GoGoCinema in 2012.  The concept looked like a great idea on paper, but the technology did not exist to address the supply and demand challenges facing the theatrical distribution and exhibition industry. Utilizing its nearly 20 years of experience, GDC finally was able to bring the concept to life when they developed and launched Cinema Automation CA2.0 (CA2.0), a game-changing, disruptive technology in 2017. Given CA2.0 helped solve the technical issues by providing comprehensive automated management of content storage and playback, show scheduling, the timing was right to form GoGoCinema, a platform to support crowd-sourced screenings where movie lovers can choose from a library of 1,000 movies or more, and decide when and where they would like to watch their chosen movies.

Benefits of GoGoCinema

  • For consumers: The GoGoCinema platform allows moviegoers to select the movie, the cinema and the time of their choice. Moviegoers can select the movie by accessing a user-friendly and socially driven interface. The GDC CA2.0 solution has the capability of offering moviegoers a wider selection of content than any other platform.
  • For exhibitors and content distributors: GoGoCinema is unique in its ability to help generate revenue at every stage of a movie title’s life cycle. Furthermore, the entire backend architecture is automated ensuring minimal or no human intervention. The GoGoCinema platform is designed to generate hugely untapped revenues for all stakeholders in theatrical exhibition and distribution.

“I am most passionate about seeing a movie on the big screen at a cinema, said Dr. Man-Nang Chong, founder and CEO of GDC Technology Limited. GoGoCinema is designed for the true movie lovers in the world with the same passion; it facilitates moviegoers to see movie of their choice in a big screen, at their preferred time and venue. GoGoCinema company is hiring for thinking-outside-the-box officers to help build a healthier and financially rewarding cinemas worldwide. Send me your resume.”

The GoGoCinema platform is launched at CinemaCon 2018 and it is getting ready to launch its service for theatres installed with Cinema Automation CA2.0 at a number of sites in various countries over the course in Q3 2018.

The post GDC Introduces GoGoCinema at CinemaCon 2018 appeared first on BoxOffice Pro.



from BoxOffice Pro

GDC Technology Installs the First Fully Automated Cinema in China

PRESS RELEASE


LAS VEGAS, April 26, 2018 GDC Technology Limited, a leading global provider of digital cinema solutions, announced today China Film Cinema Da Guang Road in Nanjing, has become the first cinema in China to operate the projection booth with no human intervention by using its Cinema Automation 2.0 (CA2.0), which is designed to fully automated workflow.  The multiplex has been running for three months with zero incident reported, providing significant increase in operation efficiency.  The daily operation of the 7-plex is taking full advantage of the key features of CA2.0, including a centralized server to live-stream selected DCP (from a library of hundreds of titles) to each and every auditorium, automatic-rendering of show playlists (that include pre-show screen advertisements and movie trailers), intelligent management of power supplies and screening quality.

GDC and the cinema operator are proud to witness an era of fully automated cinema operation unveiling in one of China Film Cinema’s key properties. The China Film Cinema Da Guang Road in Nanjing is also connected to China’s largest network operations center – CFGDC Digital Cinema Co. Ltd. (CFGDC).  Headquartered in Beijing, CFGDC is a joint venture setup by China Film Group and GDC Technology.

 

Reshaping the future of cinema

First deployed in June 2017 in Asia, CA2.0 has continually increased efficiency and quality while significantly reduces operating cost. The automated solution supports the ubiquitous SX-3000 and SX-4000 IMB and the new 6th generation SR-1000 IMB with built-in CineCache™.  In addition, CA2.0 has the capability of storing up to 1,000 movies, offering near-unlimited show schedule programming options.  CA2.0 has already been deployed and proven with 20 multiplexes with SR-1000, SX-3000 and SX-4000 IMB in China, Hong Kong, India, Malaysia, Singapore and US.

The post GDC Technology Installs the First Fully Automated Cinema in China appeared first on BoxOffice Pro.



from BoxOffice Pro

OVERSEAS: ‘Avengers: Infinity War’ Takes $39M Wednesday Debut

Avengers: Infinity War opened in 21 overseas markets on Wednesday, grossing a cumulative $39 million in its first day of release. Disney reports the film is pacing ahead of all other Marvel Cinematic Universe titles in most markets, with comprehensive results and comps to come on Sunday’s box office briefing.

The film will expand to additional top overseas markets today–including Brazil, Germany, and the United Kingdom–with 72% of the global market scheduled throughout the weekend.

Highlights from Wednesday’s global roll-out, provided by Disney, are included below:

  • Australia: Opening day is the 2nd highest opening day in industry history, behind only Star Wars: A Force Awakens, with a strong 77% market share.
    • $6.7 Million
  • South Korea: Opening day is the highest opening day in industry history in admissions with an outstanding 95% market share.
    • $6.5 Million
  • France: Opening day is the highest April opening day of all-time as well as the highest MCU opening day of all-time.
    • $3.9 Million
  • Italy: Opening day is the 3rd highest opening day in industry history and highest superhero and Disney opening day of all-time.
    • $3.9 Million
  • Philippines: Opening day is the highest opening day in industry history with an outstanding 97% market share.
    • $2.7 Million
  • Thailand: Opening day is the highest opening day in industry history.
    • $1.8 Million
  • Indonesia: Opening day is the highest opening day in industry history with an outstanding 96% market share.
    • $1.8 Million
  • Taiwan: Opening day is the 2nd highest opening Wednesday in industry history and highest MCU opening day of all-time with an outstanding 94% market share.
    • $1.8 Million
  • Malaysia: Opening day is the highest opening day in industry history with an outstanding 93% 4market share.
    • $1.5 Million
  • Hong Kong: Opening day is the highest opening day in industry history with an outstanding 94% market share.
    • $1.4 Million
  • Vietnam: Opening day is the highest opening day in industry history with a strong 73% market share.
    • $1.3 Million
  • New Zealand: Opening day is the 2nd highest opening day in industry history, behind only Star Wars: A Force Awakens.
  • Rest Of Europe: 2nd highest opening day in industry history in the Netherlands.  Biggest superhero opening day of all-time in Denmark, Finland, Norway, Portugal and Sweden.  Extremely strong market shares including Norway (92%), Finland (89%), Sweden (88%), Denmark (85%), Switzerland (80%), Netherlands (77%), Belgium (75%), Italy (73%), Portugal (65%) and France (55%).

 

 

The post OVERSEAS: ‘Avengers: Infinity War’ Takes $39M Wednesday Debut appeared first on BoxOffice Pro.



from BoxOffice Pro

CJ 4DPLEX Announces New Deal with Silverbird Cinemas to Bring First 4DX Theatre to Nigeria

PRESS RELEASE


Seoul, South Korea – April 25, 2018 – CJ 4DPLEX Announced today at CinemaCon 2018, as the convention wraps up, a new partnership with Silverbird Cinemas, which will bring the first 4DX site to Nigeria. The 4DX theatre will be located at the exhibitor’s Ikeja location – the highest-grossing cinema in West Africa. The second 4DX site will be opened in Abuja, the capital city of Nigeria.

The leader in the Nigerian leisure and entertainment industry, Silverbird has 10 locations across Nigeria, Liberia and Ghana, and is known for bringing innovation to the region.  It currently holds 60 percent market share in Nigeria. 

“We are extremely pleased to announce our new partnership with Silverbird Cinemas as a very successful CinemaCon closes. Silverbird is known for its innovation and we are grateful to be recognized by them, and excited to bring 4DX to moviegoers in West Africa,” said Byung-Hwan Choi, CEO of CJ 4DPLEX.

Added Jared Murray-Bruce, executive director of Silverbird Group, “We are truly excited to be bringing 4DX to Nigeria and be the first to do so in West Africa. At Silverbird Cinemas, we have earned the reputation of creating & sustaining a fun and exciting movie-going experience with customers and our partnership with CJ 4DPLEX ensures we not only continue to do just that but we keep evolving and take that experience to the next level.” 

The post CJ 4DPLEX Announces New Deal with Silverbird Cinemas to Bring First 4DX Theatre to Nigeria appeared first on BoxOffice Pro.



from BoxOffice Pro

CinemaCon 2018: NAC Bert Nathan Memorial Award

The Bert Nathan Memorial Award is given to an individual each year by the National Association of Concessionaires (NAC) to recognize leadership and significant accomplishment in cinema concessions. Brian Biehn, this year’s recipient, has been a member of NAC since 2004 and has served as the chair of the Regional Vice President and Education committees. In 2014 Biehn began his tenure as an at-large member to the NAC board of directors. Biehn began working with exhibitors in the concessions space in 1994, selling Vogel Popcorn and introducing the Orville Redenbacher brand to cinemas for Conagra Brands. In 2004, Biehn joined FUNacho—an endeavor that led to the introduction of the PretzelHaus Bakery concept. Boxoffice spoke with Biehn about his career so far and what the future holds for the concessions business at the cinema. 

When did you first begin working with exhibition through your role in concessions?

I started in the concessions/theater trade back in 1994 with Conagra. I was on the bulk popcorn side with Vogel Popcorn, responsible for sales. Conagra went through a centralization, merged, and created the Conagra snack foods company, and Orville Redenbacher came under our umbrella. I was part of our team that was able to introduce branding Orville Redenbacher in theaters. That was an exciting project to work on, as that was such a high-quality brand and made perfect sense to launch in the theater channel.

What were some of your first impressions of working with exhibition? 

You know, the fun thing for me about the job is that I love the movies. It’s an industry that’s a little bit of a throwback, in that it’s a people-driven and relationship-driven business, by and large. That’s what makes it so fun and interesting and fulfilling. So it’s a neat business to go into. You never don’t like going to work or talking about the movies.

How did you come into your current role?

I became friends with Mike Grause, who owns FUNacho. We struck up a great friendship. He was in the theater business, as I was. I ended up going to work with him at FUNacho back in 2005. Mike and I founded PretzelHaus in 2008.

Where did the PretzelHaus concept originate?

We had a longtime theater customer approach us and say, “Hey, can you make a better pretzel than we have today, specifically in regards to transaction time, lower spoilage, and help free up freezer space?” We accepted the challenge, and with the help of a gentleman who would become a business partner (a third-generation certified master baker, trained in Germany) we were fortunate to develop our shelf-stable pretzel. Our product allows our customers to not have to use their valuable freezer space for pretzels. It also benefits theaters that don’t have freezers to now offer their moviegoers a soft pretzel. Spoilage is dramatically reduced or even eliminated as theaters don’t have to throw out unused prepared pretzels.

What are some of the most important details exhibitors can master to make sure their concessions area is as effective as possible when it comes to sales?

People eat with their eyes. I mean, we use all our senses for food. One of the keys is what we see. So we developed, in conjunction with another customer, a pretzel display box. Most of our customers use that. It’s a window box. Theaters charge, let’s be honest, a premium price for products. So people want to get a perceived high-quality product value with that. Our bakery box is a great display piece and upsells the product. I don’t have quantifiable data on that, but we had a customer tell us it provides a nice percent increase. I’m paying X amount for a pretzel, and now I’m getting this in a nice display box so it looks bakery fresh. People want a warm comfort snack food. Obviously, popcorn and Coke or Pepsi are the huge margin and go-to for a long time. People added candy. Then they added nachos and pretzels. What we were able to do is provide a comfort snack. We weren’t reinventing the wheel. You can get pretzels at other concession venues like stadiums, arenas, things like that—but not all theaters were carrying them. They didn’t have a lot of freezer space or kitchens, so they couldn’t offer pretzels. Many of our theaters that are now buying our product either didn’t have freezers or didn’t have enough freezer space. They were able to bring in our products and offer an incremental item that they weren’t able to before. It keeps expanding. I think theaters continue to look for new items that are tried and true. They want to grow that; they want incremental sales without cannibalizing what they have.

Which products and innovations that you’ve been associated with throughout your career stand out most?

I’ve already mentioned a couple: branding Orville [Redenbacher popcorn] in many high-quality circuits and developing and selling a shelf-stable pretzel. Our shelf-stable pretzel is fun to sell because it’s different; it’s unique. Our customers love it. One of our pretzel flavors is cinnamon and we also offer an icing cup, and together they taste like a cinnamon roll. We also just recently launched a shelf-stable chili pouch with 30 percent meat for hot dogs and nachos that has been received very well.

As far as the theaters themselves, I think personally what I’ve seen—which, looking back on it seemed very simple—were the combos. Combos were already in fast food, but now when you walk into a movie theater it’s standard that they have combos. I’m sure if you asked the theater chains, those are high volume and speed up transaction time too: “I’ll take a No. 1” or “I’ll take a No. 3.”

Another thing I’ve seen that I think has been revolutionary is where you walk up [to the counter] and now they funnel you through the kiosk or the gondolas. People are picking candy or pop or a snack on their way up to the concession stand. I know that that’s been pretty big for theaters as well.

The other thing is the variety of food. I mean, chicken fingers and hot foods outside of traditional concession foods. That’s all new. And alcohol. Those two things are very new, very different for the theater industry.

What do you think is necessary for concessionaires to be able to address contemporary audience tastes? Is it a situation of getting the staples right, or about ushering in a new kind of product line?

I think it’s to keep it simple. When people go to a movie theater, they go to be entertained. They go to indulge and have a great time. I’ve seen people try to do salads and a lot of different things. If people go, they want popcorn, they want pretzels, they want nachos, they want a piece of pizza. Overall, when people go to the movie theater, they’re not really concerned about the calories. The only time I drink soft drinks is at a movie theater. I get a snack and I don’t care about the calories. I’m getting away, I’m getting entertained, I’m going to a movie.

The only thing that goes against what I’m saying is gluten-free. That is a big deal today. People want gluten-free options, no question. I see it all the time. I get asked all the time. I think that is here to stay, because more and more kids, especially, have issues with gluten and food allergies. I do think that is not really a trend; I think that is a growing national situation.

That being said, I think that’s different than the average contemporary consumer coming in. I think people still want the staples of the concessions industry. People smarter than me are doing the dine-in; it sounds like that’s going well. That’s a piece to it. But as far as traditional concessions, I think it’s just presenting the best product and keeping it as clear as you can on the menu board. People eat with their eyes. They’re going to find something with their eyes, whether it’s the menu board or the display and merchandising of the products.

I think the more things you have, the more of a challenge it becomes for the guests to pick what they want, which means they take more time, which means your transaction times change. People want a good snack when they get in there. I know it’s a captive audience, but you want people coming back and buying it again. So you want to offer a very good-tasting high-quality product, and people are going to keep buying it.

The post CinemaCon 2018: NAC Bert Nathan Memorial Award appeared first on BoxOffice Pro.



from BoxOffice Pro

Wednesday, April 25, 2018

4DX is Coming to Saudi Arabia Through Partnership with Cinemacity

PRESS RELEASE

_________________________________

Seoul, South Korea – April 25, 2018 – CJ 4DPLEX (www.cj4dx.com) has signed a new partnership with Cinemacity, the leading cinema exhibitor in Saudi Arabia, further extending the reach of 4DX in Middle East. Through this deal, three 4DX locations will open in the country’s capital city, Riyadh, and other major Saudi cities by the end of this year.

Al Qasr Mall will be our first Multiplex in Riyadh, featuring 19 screens. It is expected to mark an average of 750,000 admissions during our first year of operation catering to individuals from all walks of life that enjoy luxurious and quality entertainment.

Cinemacity’s parent company, Xclusive Cinemas SAL Holding, will operate 116 screens by the end of 2018 in five countries including Jordan, Lebanon, Syria, the UAE, and soon, in the Kingdom of Saudi Arabia.

“Here at Cinemacity, we strive to be at the forefront of entertainment excellence, providing our guests with a top tier cinema-going experience on all fronts. We are proud to partner with 4DX and provide patrons with 4DX’s state-of-the-art immersive entertainment systems that will distinguish us in the market, and add to our brand as a whole,” said Karim Atassi, Vice President of Business Development of Cinemacity.

“With this upcoming debut in Saudi Arabia and further expansion in this region with Cinemacity, we will reach to the Saudi’s untapped market and lead cinema revolution in progressing immersive cinema into the future,” said Byung Hwan Choi, CEO of CJ 4DPLEX.

The post 4DX is Coming to Saudi Arabia Through Partnership with Cinemacity appeared first on BoxOffice Pro.



from BoxOffice Pro

Cinionic Demonstrating VR Gaming Domes for Cinema Lobbies

PRESS RELEASE

____________________________________

CinemaCon, Las Vegas, Nevada, April 25, 2018 – At this year’s CinemaCon, Cinionic, the Barco cinema joint venture, will demonstrate an innovative all-in-one solution for virtual reality (VR) gaming for cinema lobbies and location-based entertainment venues. What’s new and different? It doesn’t require the use of a head-mounted display (HMD), which many users feel can be “isolating.”

Reducing “isolation” factor to make VR a truly social experience
With its patent-pending solution for multi-player interactive VR Domes that don’t rely on HMD equipment, Cinionic empowers exhibitors, and gaming and movie studios to provide a highly inclusive and social one-of-a-kind experience that can attract new audiences to Virtual Reality, in particular groups and families.

Leveraging the huge portfolio of existing VR Games
The Family VR solution delivers an immersive stereoscopic projection environment and supports real-time gesture interaction for up to six players. At CinemaCon, the platform compatibility with mainstream VR Games is being demonstrated by enabling visitors playing together the phenomenally famous Fruit Ninja® VR game by Halfbrick Studios, thanks to a collaboration with Secret Location, a VR content creator and distributor for emerging platforms.

“We’re thrilled to collaborate with Secret Location to demonstrate this new Family VR solution with Halfbrick Studio’s iconic IP Fruit Ninja® at CinemaCon. By eliminating the need for Head-Mounted Displays (HDR), we’re turning VR experiences into a very social experience that many in the location-based entertainment industry have been asking for.” Wim Buyens, CEO of Cinionic

VR in the cinema: a growing industry
According to projections by Greenlight Insights, location-based entertainment is anticipated to become a $1 billion market by the end of 2018, comprising seven percent of the virtual reality industry with growth projected up to $12 billion by 2023. 1

The perfect entertainment vehicle for studio VR content delivery
An increasing number of Hollywood studios are embracing VR to provide moviegoers new ways to engage with their blockbuster movie content as well as create new revenue streams. Cinionic, along with its technology and content studio partners, is developing a turnkey solution that delivers inclusive, social VR entertainment purpose-built for cinema lobbies.

Learn more at CinemaCon
Explore our AR & VR Lobby Experiences at CinemaCon at Caesars Palace in Las Vegas, April 23-26.

________________________________________

1 As published in the Hollywood Reporter https://ift.tt/2IxxYGE

The post Cinionic Demonstrating VR Gaming Domes for Cinema Lobbies appeared first on BoxOffice Pro.



from BoxOffice Pro

National CineMedia Welcomes Pecan Pie Productions to its National Theater Network

PRESS RELEASE

___________________________________

CENTENNIAL, Colo. – (April 25, 2018) – National CineMedia (NCM), America’s Movie Network, has signed an affiliate partnership agreement for national advertising with Pecan Pie Productions, welcoming nearly 300 theaters nationwide with approximately 8 million attendees to its national theater network.

Pecan Pie Productions is the latest affiliate partner to become a part of the largest cinema advertising network in the U.S. In the past year, NCM has also welcomed 76 theaters with 540 screens and approximately 18 million attendees from top regional and local exhibitors including Bow Tie Cinemas; Cinergy Entertainment Group, Inc.; Evergreen Desi Enterprises, Inc.; Golden Ticket Cinemas; Infinity Theatres; Legacy Theatres; Main Street Theatres; Megaplex Theatres; MJR Digital Cinemas; Venue Cinemas; and Windom State Theatre to its national theater network. NCM’s network currently includes over 20,800 screens in over 1,650 theaters in 187 Designated Market Areas® (all of the top 50).

“We’re thrilled to be working with Pecan Pie Productions to provide national advertising for its great network of independent theaters across the country,” said Senior Vice President, Affiliate Partnerships and Local & Digital Sales, Stacie Tursi. “The addition of new theaters in a wide geographic variety of smaller markets will be especially appealing to NCM’s national brand partners, who value broad national reach and high audience engagement.”

“As a leading partner for independent theaters across America, Pecan Pie Productions is pleased to be expanding our reach with today’s partnership with NCM,” said Kevin LaKritz, President and CEO of Pecan Pie Productions. “We have been impressed with NCM’s leadership team, strategic approach, and their shared belief that local communities matter. We look forward to a long-term partnership with NCM, and to increasing our value to our customers nationwide.”

The post National CineMedia Welcomes Pecan Pie Productions to its National Theater Network appeared first on BoxOffice Pro.



from BoxOffice Pro

CinemaNext to Install Samsung 3D Onyx Screen at Cineplexx Vienna

PRESS RELEASE

___________________________________

Vienna (Austria) and Seoul (South Korea) – 25 April 2018 / CinemaNext, the European specialist in cinema exhibitor services (Ymagis Group, ISIN: FR0011471291, TICKER: MAGIS, PME-PEA, TECH 40), today announced the signing of an agreement with Austrian cinema circuit Cineplexx (Constantin Film-Holding GmbH) for the installation of a Samsung 3D Onyx CinemaLED at the Cineplexx Wienerberg in Vienna. It will be the first Samsung Onyx CinemaLED deployed by CinemaNext.

“After the successful deployment of the next-generation sound systems at select Cineplexx cinemas and the opening of our 50th cinema site in Parndorf this past March, we are thrilled to once again partner with CinemaNext on our first Samsung CinemaLED Screen. With an emphasis on our pioneering work in terms of new technologies, we are able to set another milestone in Austria. Cineplexx Wienerberg will be the newest flagship within the company by featuring the first Samsung CinemaLED Screen not only in Austria but in the European Union,” comments Christian Langhammer, Owner and Managing Director of Austria’s Constantin Film Group. “It’s a unique opportunity to introduce a next-generation and ground-breaking image technology to moviegoers and offer them exceptional image quality in a comfortable environment. We continue to invest in enhancing the cinematic experience with what unquestionably constitutes a game-changer for our industry.”

“Cineplexx’s Samsung 3D Onyx CinemaLED will boast a screen 10,24m (33.6ft) in width and 5,4m (17.7ft) in height with all visuals shining at ultra-sharp 4K resolution (4,906 x 2,160) coupled with state-of-the-art 7.1 audio technologies from Harman’s JBL Professional Brand,” explains Christof Federle, CinemaNext Regional Manager & Managing Director of CinemaNext Austria. “We expect to complete this project in mid-July in close collaboration with our colleagues in Valencia (Spain), who are in charge of building and assembling the LED complex structure. Featuring nearly 9 million pixels, Samsung’s 3D Onyx CinemaLED delivers exceptional visual quality, technical performance and reliability.”

First introduced in July 2017, Samsung Cinema Screen is a Digital Cinema Initiatives (DCI*)-certified cinema display, which amplifies on-screen content through HDR and EclairColor HDR picture quality. It features 4K images with peak brightness levels nearly 10 times greater (146fL) than the common cinema standard (14fL). The resulting high contrast showcases bright colors, pristine whites and deep blacks. Unlike standard 3D cinemas, the Samsung CinemaLED screen provides consistent picture quality across an entire theater, ensuring a uniform, immersive viewing experience for viewers in every seat.

“Samsung is thrilled to open Austria’s first cinema auditorium with 3D Onyx CinemaLED in cooperation with Constantin Film-Holding,” says Sunghan Kim, President of Samsung Electronics Austria GmbH. “With that, the Viennese are among the most innovative cinemagoers, and we hope that we will soon be able to introduce this unique cinematic experience to a greater audience throughout Austria.” .”

The post CinemaNext to Install Samsung 3D Onyx Screen at Cineplexx Vienna appeared first on BoxOffice Pro.



from BoxOffice Pro

Vox Cinemas’ First Saudi Arabian Theater to Use Harkness’ Clarus XC Screens

PRESS RELEASE

___________________________________

CINEMACON, LAS VEGAS, , USA, APRIL 25TH 2018 Harkness Screens, the world’s leading screen technology company and thought-leaders in on-screen brightness, has partnered with Vox Cinemas to provide its premium 3D and 2D Clarus XC screen technology to support the opening of the new 4-screen Riyadh Park, Vox Cinemas first site in Saudi Arabia.

Clarus XC technology has been specially selected by Vox Cinemas for its ability to provide breath-taking presentations in 3D and 2D with outstanding uniformity, contrast and 3D depth.

“We’ve worked with Vox Cinemas for many years supplying our entire range of screen surfaces to support their growth,” explains Tony Dilley, VP Sales, EMEA at Harkness Screens. “Vox Cinemas have always invested in the very best equipment available to provide movie-goers with an unforgettable experience and we’re delighted to partner with Vox to bring a premium experience to the first movie-goers in over 35 years, in Saudi Arabia.

Designed to work with all passive 3D systems, Clarus XC screens create visibly deeper 3D content which draws in the audience creating a more captivating viewing experience.  A whiter look under projection mean that colours look visibly richer and more accurate both in 2D and 3D resulting in a more defined, sharper and crisper picture. 

Mark Smith, Technical Director at Vox Cinemas, said, “When it comes to showcasing content as the film-maker intended in 2D but particularly in 3D, there’s no doubting that Clarus XC adds a level of sharpness, clarity and depth, that makes for a high quality immersive experience.”

The fourth generation d-smooth coating technology at the heart of Clarus XC has specific properties more commonly seen in white screens.  This technology enables Clarus XC screens to benefit from significantly improved light distribution compared to traditional 3D silver screens.  Through this, visible hot-spotting is reduced and uniformity is greatly increased, making compliance with 2D industry standards more easily achievable.

For more information on Clarus XC visit https://ift.tt/1g0FsRF

The post Vox Cinemas’ First Saudi Arabian Theater to Use Harkness’ Clarus XC Screens appeared first on BoxOffice Pro.



from BoxOffice Pro

Texas’ Star Cinema Grill To Install 30 Sony 4K Laser Projectors

PRESS RELEASE

_____________________________________

“We wanted to be first to market in Houston with laser projectors,” said Jason Ostrow, Vice President of Star Cinema Grill.  With the installation of 30 Sony 4K laser digital cinema projectors over three locations, starting with College Station, Texas, Star Cinema Grill is accomplishing their goal.

“Houston is becoming a very competitive market, not only with traditional theaters but also dine-in theaters now,” he said. “We need to make sure that with any dine-in theater we open going forward, we’re doing whatever we can to differentiate ourselves. This gives us a true competitive advantage.”

A Sony 4K customer since 2012, Star Cinema Grill are familiar with the benefits a projection upgrade can bring.

“When we first went from film to digital many years ago, we immediately saw we were delivering a much more consistent presentation, no scratches, nothing out of frame,” Ostrow said. “There was a noticeable difference, from the guest perspective and on the business side. We didn’t have to have projectionists dealing with brain wraps and interlocks, and prints getting thrown off platters, everything that used to happen with thirty-fives. Digital created a much better experience for everybody, and now even more so with laser technology.”

The importance of that experience is heightened now as exhibitors are competing to attract consumers who have more high-quality entertainment options available to them.

“In the dine-in world, the technology side hasn’t been as important because we had the advantage of just offering a different experience than traditional theaters,” Ostrow said. “But now that more and more dine-in theaters are opening, we can’t rely on that to be the only differentiator anymore. That’s why we do whatever we can to always stay ahead of the curve, and these laser projectors are a next step in that evolution.”

The College Station location will be outfitted with nine laser projectors, with the rest planned for Richmond and Spring, Texas, facilities through the first half of 2019.

Ostrow sees a combination of benefits resulting from this technology upgrade, from increased traffic and a better overall customer experience to real quantifiable cost savings.

“From a business and operation standpoint, we hope for ease of use and not having to maintain the bulbs,” he said. “From the guest experience side, this roll-out will result in better picture quality, which leads to a better guest experience, which makes people choose our facility over a competing dine-in facility that doesn’t have this technology.”

The Star Cinema Grill team is confident the new projectors will make as much of a difference behind the scenes as they will in the auditoriums.

“What’s attractive about the Sony systems is they are all-in-one installations,” said John Walsh, Vice President, Star Cinema Grill. “With other brands, you need a different server, and other separate components. With the Sony systems, everything is the same at every location. They’re built in a way that they’re easy to operate, so our theater teams can focus on taking care of the guests and not worrying about the projectors.”

Maintaining that customer focus has been a key theme for Star Cinema Grill throughout its seven-year relationship with Sony. “We’re comfortable with the technology, it’s been reliable for us,” he said. “All brands have their unique characteristics, but one of the main reasons we went with Sony, is our long-term relationship with their team.”

Star Cinema Grill is a privately held Houston-based company, focused on growth through new construction as well as acquisitions and new brand development. Star Cinema Grill has become Houston’s largest dine-in theater group with seven locations in addition to other brands including District Theatres and Hollywood Palms Cinema.  The chain is continuously updating its portfolio through remodels and new store openings.  Star Cinema Grill has grown aggressively over the past two years and plans to continue their expansion throughout the greater Houston area, as well as other markets including Dallas, Austin, San Antonio and Chicago.  Learn more at www.starcinemagrill.net.

The post Texas’ Star Cinema Grill To Install 30 Sony 4K Laser Projectors appeared first on BoxOffice Pro.



from BoxOffice Pro

GDC Completes Integration of TMS-2000 Management System with Screenvision Pre-Show

PRESS RELEASE

_______________________________________

LAS VEGAS, April 25, 2018 — GDC Technology Limited, a leading global provider of digital cinema solutions, announced today the completed integration of its TMS-2000 Theatre Management System (TMS-2000) with the Screenvision Media preshow. The integration enables automated ingestion and programming of ad content directly from Screenvision Media’s server to GDC’s new Cinema Automation CA2.0 and its TMS-2000, the second most deployed theatre management system solution globally. The integration provides Screenvision Media’s network of exhibitors with preshow trimming functionality to maximize time available for preshow advertising between every show.

“This is a major milestone for Screenvision Media as many of our customers have deployed GDC’s robust theatre management system. The integration of GDC with our preshow delivery provides the U.S. market with alternatives when creating a fully integrated cinema workflow,” said Mike Henry, SVP of Information Technology at Screenvision Media.

“We’ve enjoyed a long history with GDC and are looking forward to working with their technical and sales teams to continually improve the Screenvision Media preshow experience at GDC sites. This successful integration allows the GDC footprint with their TMS to have full functionality of ratings targets, feature targets and preshow trimming capabilities,” said Darryl Schaffer, Executive Vice President, Operations and Exhibitor Relations of Screenvision Media.

The TMS-2000’s robust capabilities include integrated screen monitoring, with playback and equipment status displayed from a single access point; an enhanced Content Manager, which enables centralized management of content and KDM; a smarter Show Scheduler, which gives alerts regarding missing CPL or invalid KDM; and Smart Restore, a function that makes server replacement easy and instant. Meanwhile, Quality Manager is an optional module that brings users excellent value in ensuring the right level of projector brightness, crisp color and crystal-clear audio. In addition, a newly developed mobile app extends theatre management to mobile platforms for complete ease of use.

The newest features include:

Template System – automatic generation of show playlist based on POS show title, show times and screen’s capability
Automated Pre-Show – a template to insert advertisement and trailer automatically according to given rules
Automatic KDM Ingestion – via USB key

“Since the launch of the TMS-2000 at CineAsia 2014, the list of U.S. exhibitors who solely rely upon it to provide simple and efficient centralized management has grown exponentially. Accordingly, integrating with leading provider, like Screenvision Media, makes perfect sense for GDC. GDC TMS installations are now able to ‘switch on’ automated preshow integration with Screenvision Media. The compliance of ad playlist delivery is now in place for nearly 1,000 screens with GDC products and Screenvision Media,” said Annie Wang, executive vice president of GDC Technology (USA) LLC.

The post GDC Completes Integration of TMS-2000 Management System with Screenvision Pre-Show appeared first on BoxOffice Pro.



from BoxOffice Pro

First ScreenX System Installed at New B&B Flagship Theater Location in Liberty, Missouri to Become Largest in the World

PRESS RELEASE

Seoul, South Korea and Los Angeles, CA (April XX, 2018) – CJ 4DPLEX, the world’s leading 4D cinema company, and B&B Theatres, the seventh largest exhibitor in the United States, have partnered to bring four ScreenX screens to the cinema operator’s locations.

B&B Theatres operates approximately 400 screens at 50 locations across Kansas, Florida, Iowa, Missouri, Mississippi, Oklahoma and Texas.

Before the opening of these theatres with B&B, ScreenX has three locations in operation in the U.S. in Los Angeles and Las Vegas, and more than 135 total screens globally.B&B Theatres will install the largest ScreenX system in the world in one of the two Premium Large Format (PLF) GRAND SCREENS in Liberty, a screen that will be over four stories tall and seven stories wide. The screens with B&B Theatres are set to be the first in the U.S. outside of the American west coast.

Speaking of the implementation of this groundbreaking technology, B&B Theatres President Bob Bagby said, “Our guests will be blown away by the immersive experience of ScreenX!  I can’t wait to showcase this in our new flagship theatre in my hometown of Liberty”.

And speaking about the collaborative effort, B&B Theatres Vice President of Finance Mike Hagan commented, “The ScreenX team was easy to work with throughout the whole process, and they have helped us create an experience in Liberty that is second-to-none.  We look forward to a mutually beneficial relationship for years to come.”

ScreenX is the world’s first multi-projection theatre technology, created in 2012 by CJ CGV, part of CJ Group, to enhance the movie environment by allowing moviegoers to go beyond the frame of the traditional movie screen. It utilizes a proprietary system to expand images of feature films and pre-show advertising to the left and right walls of the theatre, creating an immersive, panoramic, 270-degree experience. 

“ScreenX coupled with our B&B Grand Screen will create the most immersive movie-going experience imaginable. This breaks barriers into a new realm of cinema presentation and we are so excited to be the largest ScreenX system in the world said Executive Vice President Brock Bagby.

B&B Theatres is a perfect partner for us to bring our ScreenX technology to more places in the U.S.,” said Byung Hwan Choi, CEO of CJ 4DPLEX. “We strive to be in every state and every city, and working with excellent partners like B&B Theatres is how we will complete our dream.”

 

The post First ScreenX System Installed at New B&B Flagship Theater Location in Liberty, Missouri to Become Largest in the World appeared first on BoxOffice Pro.



from BoxOffice Pro

CJ CGV CEO Lays Out Cultureplex Concept as the Key to Growth of Cinema Business

PRESS RELEASE


Las Vegas, NV – April 24, 2018 On stage at CinemaCon 2018, the CEO of CJ CGV, Jung Seo, delivered a clear outline to how the fifth largest exhibitor in the world is being proactive to counter industry wide challenges – through the company’s concept of “Cultureplex.”

Delving into more detail, Mr. Seo said, “Several years ago we decided to re-define ourselves from being a multiplex to being a ‘Cultureplex.’ For us, being a ’Cultureplex’ means to be a cultural playground, where people can gather to experience all different types of culture from film, music, performances, games, food, drinks and so on.”

To satisfy moviegoers’ desire for a variety of options, CGV is striving to provide a platform for its customers that goes beyond just watching a movie. Elaborating on how CGV is not just a place to watch movies, Mr. Seo said, “If that’s how we define ourselves, then we will constantly be under the threat of being replaced by other channels for watching movies or other forms of entertainment. But rather, the value of CGV is to provide our customers the most attractive ’place’ in which to have a communal social experience.”

Some of the concepts that can be found at CGV locations around the world include Cine de Chef, a dinner and a movie experience; Cine Shop, a store in collaboration with movie studios; La Masion, a theatre lounge with movie-themed cocktails; Tempur Cinema, the world’s first theater equipped with reclining  bedsthat make customers feel like they are watching at home; Sky Box, giving moviegoers an opera house balcony feel; V-Busters, the company’s in-lobby game zone with virtual reality (VR); and Open Studio, a recording studio; among others.  Most recently, 4DX with ScreenX, the latest innovation in cinema technology combining motion chairs and environmental effects with a 270-degree panoramic viewing experience, was launched and is being demoed for the first time in the U.S. at the CJ 4DPLEX CinemaCon space in Roman Ballroom II.

CJ CGV is committed to the concept of “Cultureplex” and is assessing all of its locations to see how “Cultureplex” can best be implemented. For example, the company’s first multiplex in South Korea, CGV Gangbyeon, which opened in 1998, had three million visitors in the first year, paving the way for Korea to become one of the biggest film markets in the world. Now almost 20 years later, attendance has dropped to 1.2 million visitors per year, which mirrors the industry around the world. Mr. Seo spoke on stage about how this location is now getting a major facelift with all of the upgrades having “Cultureplex” in mind.

The CinemaCon presentation by Jung Seo, CJ CGV comes as the exhibitor currently attracting more than 100 million visitors a year in South Korea alone, with the country’s visitors averaging 4.3 movies per year.

The post CJ CGV CEO Lays Out Cultureplex Concept as the Key to Growth of Cinema Business appeared first on BoxOffice Pro.



from BoxOffice Pro

GDC Wins Global Tender Proposal to Provide Digital Cinema Servers to CJ CGV

PRESS RELEASE


LAS VEGAS, 24 April 2018 — GDC Technology Limited, a leading global provider of digital cinema solutions, announced today it has won a solicited tender proposal to be CJ CGV’s exclusive provider of digital cinema servers for the next two years. CJ CGV, an affiliates under the CJ Group, operates the largest number of screens and cinemas in Korea. The agreement involves the deployment of GDC digital cinema servers in all CJ CGV cinemas in Korea, China, Vietnam, Myanmar, Indonesia and the United States.

CJ CGV introduced the first multiplex in Korea and is known for introducing new innovations to provide the best possible moviegoing experience at all its cinemas. CJ CGV has always strived to offer moviegoers outstanding customer services, value and enjoyment based on its continuous evolution. This agreement provides CJ CGV with powerful GDC digital cinema servers and best-in-class cinema solutions to fully digitize and automate cinema management through machine intelligence. GDC products will ensure CJ CGV will keep its vision of ‘Evolving beyond Movies’ and maintain number one in diverse customer satisfaction surveys.

“We’re delighted to build on our partnership and expand our presence with CJ CGV,” said Dr. Man-Nang Chong, founder, chairman and CEO of GDC Technology Limited. “CJ CGV has been a valued partner for years. This agreement will strength our partnership for many more.”

The post GDC Wins Global Tender Proposal to Provide Digital Cinema Servers to CJ CGV appeared first on BoxOffice Pro.



from BoxOffice Pro

Cinionic Fuels Major Global Expansion of CJ CGV Cinemas with Barco projection

NEC Display Solutions Announces Prototype with 3D Live

PRESS RELEASE


CHICAGO, April 24, 2018  NEC Display Solutions of America, Inc., a leading provider of commercial display and projector solutions, today announced a collaboration effort with 3D technology innovator 3D Live that combines the company’s expertise in 3D technology with NEC Display’s industry expertise. Together they are evaluating next-generation 3D display solutions that incorporate direct view LED (dvLED) and passive 3D technology. This technology could be another option for the entertainment industry and cinemas who want to deliver the ultimate immersive experience through alternative technologies.  

“As a leader and innovator in digital projection technology for cinemas, we look forward to working closely with 3D Live on new technology for our markets,” said Todd Bouman, President and CEO of NEC Display Solutions.  “While we believe digital projectors will continue to be prominent in the industry and a core focus of development for NEC Display, we are also looking at new innovative solutions.”

3D Live is an industry leader in immersive 3D technology and specializes in developing 3D LED panels, VR/AR and mixed reality experiences, with an extensive portfolio of projects, including concerts, performances and demonstrations. 3D Live technology creates virtual environments that surround performers on stage and immerse the audience.

“We are excited to showcase this high resolution prototype with a global display company as renowned as NEC Display,” said Nathan Huber, CEO and co-founder of 3D Live. “NEC is an ideal partner and shares our vision of working towards the next generation of out-of-home 3D display systems.”

NEC Display Solutions has extensive experience in delivering cutting edge digital cinema projectors and solutions like dvLED panels for the entertainment industry. The 3D Live partnership enables yet another complete customer-centric solution and solidifies NEC Display’s position as a market leader for digital signage and display solutions.

NEC Display Solutions digital cinema projectors – as well as NEC’s large-screen display solutions, such as menu boards and digital movie posters – will be featured at CinemaCon 2018, taking place this week through April 26 at Caesars Palace Las Vegas, in Milano Suite 4 and 8.

For more information please visit www.necdisplay.com/digital-cinema.

The post NEC Display Solutions Announces Prototype with 3D Live appeared first on BoxOffice Pro.



from BoxOffice Pro