The Big Picture

The competition for entertainment dollars is a constant challenge, especially for emerging theatre chains. Finding locations with a high discretionary income and offering a unique experience enables them to compete against larger, more established chains. Flix Brewhouse, for one, is not shy about letting customers boast about the good times they have at their theatres. To achieve its social media goals and grow its customer rewards program, The Circle, the exhibitor turned to Social Flash Media.

As is widely known, Dolby Atmos immersive sound technology debuted in June 2012 with the release of Disney-Pixar’s hit film Brave. Two years later Dolby introduced its premium large format theatre concept Dolby Cinema, which incorporates Dolby Atmos sound with Dolby Vision high dynamic range images, luxury seating and other custom design features. This month, another Disney-Pixar movie, Toy Story 4, opened in Dolby Cinemas across the globe, one of several high profile films set for release this year. I recently spoke with Dolby’s Michael Archer, vice president, worldwide cinema sales, and Jed Harmsen, vice president, cinema and content solutions about the Dolby Atmos experience and where the technology goes from here.

In the global business of motion picture exhibition the importance of the Digital Cinema Initiative can’t be overstated. It’s entirely possible that the digital cinema transition would not have happened without DCI. What was true more than a decade ago is true today: technology that doesn’t get its seal of approval can’t be used to distribute or show a Hollywood movie. But times have changed and so have the demands of the marketplace. Fifteen years ago, it made perfect sense to have the DCI – a de facto arm of the major Hollywood studios – dictate what technology was favored over another because the studios were funding the transition. However, as the virtual print fee agreements fade into history, manufacturers and exhibitors are on their own financially. Which leaves us with this: everyone agrees that cinema standards are important. The question, in 2019 is, who gets to decide?

The final roster of speakers has been set for the first Digital Cinema Summit. These top digital cinema technology authorities from around the world will address a range of issues facing professionals in all phases of the motion picture industry. The half-day event takes place February 6 at the Okura Hotel in Amsterdam the Netherlands. Nick Dager, Editor & Publisher of Digital Cinema Report created the Summit in conjunction with Integrated Systems Europe. The theme is Transforming the Moviegoing Experience; its purpose is to give digital cinema technology center stage.