#cinemanext

[alconsaudio]

Final day of Kino 2019 ! Alcons is Technology Partner, with Sony Digital Cinema 4k, CinemaNext and ZweiB. Cinema As It Was Intended!  www.alcobsaudio.xxx #alconsaudio, #alcons, #proribbon, #evolutionaryaudiosolutions, #audiosystem, #sounddesign, #soundsystem, #soundengineer, #ribbonsound, #ribbonspeakers, #proaudio, #audioengineer, #loudspeakers, #Sony, #SonyDigitalCinema, #SonyDigitalCinema4k, #ZweiB, #kino2019, #CinemaNext, #Dolby, #DolbySurround, #DolbyAtmos, #moviesound, #cinemasound,#soundandcinema, #surroundsound   https://www.instagram.com/p/BwHCNhwHU-R/?utm_source=ig_tumblr_share&igshid=1c5bsyb06hvs9

[neovitae]

Ymagis revient à l'équilibre

Cela est dû au changement de mix de chiffre d'affaires du VPF vers des activités Eclair et CinemaNext moins capitalistiques et qui nécessitent de recourir à plus de ressources humaines. 'effectif est ainsi passéde 726 personnes à fin 2016 à 768 personnes au 31 décembre 2017. L'EBIT, lui s'envole à 7 ... from Google Alert - "ressources humaines" -H/F http://ift.tt/2FKmqit

[scannain]

Omniplex to upgrade to laser projectors in 24 cinemas in Ireland

#IrishCinema: Omniplex to upgrade to laser projectors in 24 cinemas in Ireland

Ymagis Group the European specialist in digital technologies for the cinema industry, today announced the signing of a large-scale agreement between its CinemaNext UK subsidiary and Omniplex Cinema Group, Ireland’s largest cinema chain.

The announcement covered the signing of an agreement for the sale and roll out of RGB+ Laser-light source upgrades and light engine clean for Barco projectors…

[letskimmyyuanfan-blog]

Will LED push out projection?

https://www.ledscreenparts.com/

Exhibitors are dabbling in a host of new technologies and applications, from direct-view LED displays to VR gaming. Tim Kridel explores why — and how – they could create opportunities for AV firms to expand into the cinema market.

On March 22, Zurich’s Arena Cinemas will become the first European theatre — and one of just a handful in the world — with a direct-view LED screen.

It’s an ironic milestone: LED technology enables the big yet affordable TVs that have cut into theatre admissions, which declined 6% over the course of 2017, according to the National Association of Theater Owners. But now LED technology could give exhibitors another tool for making and saving money.

Arena uses Samsung Electronics’ Cinema LED Screen, which is nearly 10.3 meters wide, supports 4K and has a peak brightness level of 146 foot-lamberts (fL). The world’s first Cinema LED installation was in July 2017 at Lotte Cinema World Tower in Seoul. Sony is among the other vendors developing direct-view LED displays for cinema applications.

“It is possible that our future complexes will be Cinema LED-only installations,” says Edi Stöckli, Arena Cinemas’ owner. “We will test our installation and see what other benefits we get. For the moment the price is very high, as all new technologies are at the beginning.”

“It is possible that our future complexes will be Cinema LED-only installations.”

Deploying a direct-view LED display is a lot different than replacing one projection technology with another projection technology.

For starters, LED doesn’t require a projection booth. That space could be used to generate additional revenue, such as premium seating.

Arena Cinemas converted its booth into a private lounge.

“Cinema LED is the future of the cinemas,” Stöckli says. “The digital projector was a step, but it is still a projector with all its technical limits. This technology needs much less power, less cooling and lives much longer than a projector.”

5 tons and 10 times the cost

Depending on the theatre, an LED screen might incur higher installation costs compared to projection.

“The LED screens weigh 5 tons, so you have to build a cinema a hell of a lot stronger,” says David Hancock, IHS Markit director of research and analysis for cinema and home entertainment.

“The cost of a direct-view LED screen is estimated to be up to 10 times the cost of a typical perforated screen,” says Mark Mayfield, QSC director of global cinema marketing. “But there is no projector, so that could be a wash.”

LED is a new technology not only for exhibitors, but also for the specialised integrators serving the cinema vertical? So it’s possible that LED could create an opportunity for traditional AV firms to expand into cinema.

“It’s far more common in the commercial AV world in applications like outdoor digital signage,” Mayfield says.  “On the other hand, commercial AV integrators generally have little experience in the nuances of the cinema industry. So there is likely to be some cross pollination, potentially leading to another type of technology convergence.”

LED also could enable cinemas in new locations or breathe life into struggling ones.

“Direct-view screens can create a much brighter image with significantly higher contrast ratios,” Mayfield says. “They could potentially revitalise drive-in or outdoor cinema, and even make it possible to show movies in daylight or indoors in full lighting.”

Like laser projection, LED displays also could spur more 3D ticket sales by alleviating the brightness problem that meant an underwhelming experience with older technologies. But audio has to be addressed to avoid becoming the new weak link for both 3D and 2D.

“A solid direct-view screen removes the option of placing sound sources where they create the most realistic image-to-picture localisation: placing speakers behind the screen is no longer feasible,” Mayfield says. “So we have to develop new methods and potentially, new technologies to create that sense of accurate localisation.”

“A solid direct-view screen removes the option of placing sound sources where they create the most realistic image-to-picture localization: placing speakers behind the screen is no longer feasible.”

All of these factors have some industry watchers speculating that LED will fundamentally change the types of technologies, companies and venue designs in the cinema space. “LED has the potential to be a genuine disruptor of the business,” Hancock says.

Out with the old? Not so fast Direct-view displays come on the heels of two other formats and technologies generating buzz: high frame rate (HFR) and 4K.

“HFR has not appeared to go over well with general audiences,” says Dan Cofer, Alamo Drafthouse Cinema technical director.  “I doubt we will see a huge push for that in the future. Also, there are not many releases in 4K, and it’s unclear if there is demand for it beyond the cinephile audience. We are currently looking at laser projection and direct display (such as the Sony C-LED) though mainly for premium large-format (PLF) screens at this point, as it is cost-prohibitive to retrofit existing installations.”

Meanwhile, some older formats are holding their ground.

“There has been a resurgence of interest in older formats such as 35 mm and 70 mm, and we are actively installing equipment for those formats in our theatres,” says Kimberly Sandel, manager for private and community events for Alamo Drafthouse Cinema’s Austin, Texas, market.  “Seventy millimetre was once thought to be a dying art, but now more and more blockbuster titles are being released with 70 mm prints.” Virtual reality (VR) is another question mark. So far, it’s been a niche play.

“You’re not getting VR in the cinema auditorium,” Hancock says. “It’s more of a side thing: maybe a VR pod with 10 units in the foyer. It’s designed to complement the cinema experience, [such as] with games, trailers and stuff like that. It’s not challenging the cinema.”

For instance, VR game systems in the lobby could promote films in the hope of getting players to buy a ticket.

“This can be a good tool to keep visitors in the lobby longer and generate more concessions sales,” says Till Cussmann, CinemaNext vice president.

Like many exhibitors, Alamo Drafthouse is waiting to see if and how filmmakers embrace VR.

“We have done lobby installs for VR demos during our film festival Fantastic Fest,” Sandell says. “VR is definitely growing as a medium for filmmakers, so I expect we will see more demand for it in the future.”

But other exhibitors question whether VR will ever have a place in the auditorium.

“VR is a technology for individual use,” Stöckli says. “We sell collectivity in our theatres: the togetherness of movie-goers, sharing the same emotion at the same time.” Multi-player gaming is a form of togetherness.

“Gaming is indeed a growing market for cinemas,” Cussmann says. “Organising gaming sessions or tournaments in a cinema auditorium is technically easy to do, but it needs quite a lot of marketing and organisational skills and resources that not all exhibitors have in-house. This is why third-party event agencies are getting quite often involved in those sessions.”

Meetings at the movies For years, some exhibitors rented out their auditoriums for non-film events, such as all-hands business meetings. Flat or declining ticket sales have increased interest in rentals.

“The LED screens weigh 5 tons, so you have to build a cinema a hell of a lot stronger.”

“It’s clearly a growing market,” Cussmann says. “With digital projection  and  sound  equipment, you can easily show any kind of content, from live events to recorded content: opera, ballet, sports, expos, red carpet, teleseries, etc.”

The opportunity varies based on several factors, starting with the theatre’s location. “There are relatively few that can do it: city-centre cinemas [in] big cities, business centres,” Hancock says.

Exhibitors also are competing with specialised theatres such as those in museums and other cultural attractions.  Those “institutional theatres,” as they’re sometimes called, have cachet that helps attract event organisers and attendees.

“There’s no cachet with going to an event at the mall [multiplex],” says Derek Threinen, vice president of film distribution and business development at Giant Screen Films / D3D Cinema, which specialises in the institutional market.

Sales staff is another competitive factor.

“The institutional theatres are the ones that perfected that game 20 years ago,” Threinen says. “They have a distinct advantage over the multiplex theatres with regard to having dedicated sales staff. They’re already selling these venues.”

But as the cinema rental market matured, businesses have launched to help exhibitors go after non-film opportunities.

“Companies like Fathom Events have a huge offer for alternative content and help also to market it to the right audience,” Cussmann says. “The main challenge today is to connect the right audience to the right content without having the exhibitor bearing too much risk that the auditoriums are empty and that he loses revenue compared to regular movie screenings.

So the evolution from classical cinemas towards visual entertainment centre has started and will continue to change the landscape.

“Gaming sessions, business conferences and other events are part of this change, and every decent cinema chain has today a corporate sales or event department that markets those new activities. This is not a temporary trend but will be part of the future business of a movie theatre.”

Event organisers also look at whether a theatre can support a variety of AV inputs, such as wireless mics, laptops and Skype feeds.

“The majority of current digital projector setups these days come equipped to handle most outputs,” Sandel says. “We just know when building venues to include front-of-house connections. Having state-of-the-art projection and sound equipment is really the most important part when marketing a venue even for non-film events.

“We are currently looking at laser projection and direct display though mainly for premium large-format screens at this point, as it is cost-prohibitive to retrofit existing installations.”

“Another nice addition we like to include, but cannot always accommodate, is power outlets near the seats. This is incredibly useful for day-long conferences where attendees may need to charge various devices.” Direct-view LED displays also could help cinemas go after the non-film market.

“With this new technology, auditoriums can be screening content with full ambient light on without any compromise on quality,” Cussmann says.

Shaking up the market For years many institutional theatres have offered 4D technologies, such as seats that move and bursts of scents. Now cinemas are increasingly adding 4D to spur ticket sales.

“We’re trying to get people back into the habit of going to the theatres again,” says CEO Byung-Hwan Choi, CEO of CJ 4DPLEX, whose 4DX systems are in over 400 theatres in 50 countries. “We see enhanced cinema experiences as the first big step in achieving that: to create an atmosphere that can only be available in theatres. Not to just sit back and watch a movie, but to really experience it, to be immersed in it.”

For example, CJ 4DPLEX’s ScreenX platform gives audiences a 270 degree view.

“Think about seeing a film like ‘Pirates of the Caribbean’ where you can experience scenes as if you’re surrounded by the waves and the sea,” Choi says. “It’s really something to experience, and there’s nothing like this out there on the market. We like to try and keep ahead of the curve.”

One way is by adapting technologies from other verticals, such as theme parks. If that strategy is successful, it’s another potential way for AV firms in those verticals to expand into the cinema market.

“We have developed our own 4DX VR technology that’s currently featured in theme parks and arcades around the world,” Choi says.

“The VR world is an interesting, growing industry which with we want to keep up. We’re always on the lookout for interesting collaboration projects, specifically in the gaming and alternative content field.”

More details please contact sales@ledscreenparts.com Or contact us on whatapp :+8615080604730

[agverleih]

PRESSEMITTEILUNG

Eclair Deutschland und AG Verleih schließen 3 jährigen Rahmenvertrag über E-delivery ab

Berlin (Deutschland) und Paris-Vanves (Frankreich) 17. Januar 2018/ Eclair, der Geschäftsbereich Content Services der Ymagis Gruppe (ISIN: FR0011471291, TICKER: MAGIS), hat mit der AG Verleih einen dreijährigen Rahmenvertrag über die elektronische Distribution der Filme und den Werbemittelversand der AG Verleih Mitglieder abgeschlossen.

„Wir freuen uns sehr mit dem Abschluss dieses Rahmenvertrags die AG Verleih, die aus 36 Mitgliedern besteht, bei Ihrem Bestreben, mit den preisgekrönten Filmen Ihrer Mitglieder, die kulturelle Vielfalt des Filmangebotes zu erweitern, zu unterstützen.

Wir sehen dies als Vertrauensbeweis in unsere Kompetenz und unser Engagement im Bereich E-Delivery an.“ so Georg Miros, Sales und Business Development bei Eclair.

„Als einziger Dienstleister, der über alle Distributionswege DCPs in die Kinos liefert (Breitband, Satellit, Festplatte), verfügen wir schon heute als größter Anbieter in diesem Bereich mit mehr als 3400 angeschlossenen Kinos Europaweit, davon über 450 in Deutschland und 70 in Österreich auch über die höchste Contentdichte.

Von dieser Zusammenarbeit sollen die Kinos neben dem größeren E-delivery Angebot des anspruchsvollen Films auch von Einsparungen im Logistik- und Arbeitsaufwand profitieren.“

„Auch wir freuen uns sehr über diese Kooperation zwischen Eclair Deutschland und der AG Verleih. Eclair bietet unseren inzwischen 36 Mitgliedern damit Zugriff auf eine zukunftsweisende Technologie, die insbesondere auf Seiten der Kinos akzeptiert ist, weil der Aufwand verringert wird und sich das System im täglichen Einsatz bewährt!“, so Leopold Grün, Geschäftsführer der AG Verleih. 

ÜBER DIE ECLAIR - YMAGIS GRUPPE

Eclair, 1907 gegründet, ist eines der ältesten und renommiertesten Unternehmen der Film- und Fernsehbranche. Heute ist Eclair der Geschäftsbereich Content Services der Ymagis Gruppe, dem führenden Anbieter von spezialisierten Dienstleistungen für das digitale Kino. Über die Konzerntöchter CinemaNext und Eclair bietet die Gruppe intelligente und umfassende Lösungen für Kinobetreiber, Verleiher (Spielfilme & Event-Kinos), Produzenten, Rechteinhaber, Kino-/TV-Werbenetzwerke, TV -Anbieter, VOD-Plattformbetreiber und Video Publisher. Über die Jahre hat die Ymagis Gruppe Ihr Portfolio an Dienstleistungen kontinuierlich weiterentwickelt und betreibt Niederlassungen in 25 Ländern. Das Kerngeschäft der Gruppe ist entlang drei Achsen strukturiert: CinemaNext (Kinobetreiber-Services: Vertrieb und Technik, Softwarelösungen, Kundenservice (NOC) und Beratung), Eclair (Content Services: Postproduktion, Verleih-Services Kino und digital, Lokalisierung und Zugang, Restaurierung und Archivierung) und Ymagis (Finanzierungsdienstleistungen). Die bei Euronext gehandelte Ymagis Gruppe ist in Paris (Frankreich) beheimatet und beschäftigt zur Zeit knapp 750 Mitarbeiter. Weitere Informationen finden Sie unter www.ymagis.com, www.cinemanext.com oder www.eclair.digital

ÜBER DIE AG VERLEIH

Die AG Verleih besteht seit 1999 als Zusammenschluss von derzeit 36 Verleih-Unternehmen, vom Mikro-Verleih bis zum Independent-Major. Für einen Branchenfachverband dürfte es einzigartig sein, ein Verbraucherbewusstsein hinsichtlich der Verwertungsmechanismen von Filmen zu entwickeln, mit einem Wort: gutes Kino gibt es nur im guten Kino. Man sieht, dass die AG Verleih nicht nur die eigenen Interessen vertritt, sondern stets im Blick hat, dass zur Auswertung von Filmen mindestens drei gehören: derjenige, der den Content bereitstellt (der Verleih), derjenige, der ihn der Öffentlichkeit zugänglich macht (das Kino), und schlussendlich der Kinobesucher.

Die AG Verleih steht für die Erhaltung, Erweiterung und Erneuerung des Filmangebotes im Kino. Darüber hinaus setzt sich der Verein dafür ein, die wirtschaftlichen und kulturellen Voraussetzungen für den Verleih von Filmen unabhängiger Produktionsfirmen, junger Regisseure, Dokumentarfilmen, Kurzfilmen und sehenswerten Filmen aus allen Ländern zu verbessern. Auch haben wir uns der Förderung der Kommunikation und Kooperation mit nationalen, europäischen und internationalen Institutionen und Organisationen, die ein ähnliches Ziel verfolgen, zum Ziel gesetzt. Die AG Verleih engagiert sich, wenn unfaire Marktbarrieren den Zugang unabhängiger Produktionen in die Kinos erschweren, wenn Ungerechtigkeiten im deutschen und europäischen Filmfördersystem nur die großen Unternehmen bevorzugen, wettbewerbsverzerrend wirken und damit der Entwicklung der Filmkunst schaden.

Die AG Verleih bedeutet seit 1999 kontinuierliche Arbeit zur Förderung der Filmkultur.

Ansprechpartner für die Medien:

Georg Miros, +49 (0)30 56795186 , georg.miros@eclair.digital

Leopold Grün, +49 (0)30 44 35 14 60, leopold.gruen@ag-verleih.de

Julien Bollée, +33 (0)6 64 45 00 20, julien.bollee@ymagis.com

Quelle: Eclair Deutschland und AG Verleih

[marliespoeschl]

Exhibitions

EXHIBITIONS/SCREENINGS/PERFORMANCES

SOLO AND TWO PERSON EXHIBITIONS

Pepper Perceval, Les Maintenants & Marlies Pöschl, Performance/Installation, CAC Brétigny, Brétigny-sur-Orge, FR, 2018 Games of Love and Chance, Cinema 220, in the framework of CAC Brétigny, FR, 2018 Games of Love and Chance, Mediatheque Les Muses, in the framework of CAC Brétigny, FR, 2018 COMPLEX, Donaufestival Krems, Austria, 2016 Fieldwork/Homework Galerie 5020, Salzburg, 2016 Fieldwork/Homework MUSA, Vienna, 2015 Balance des Invisibles., Studios Lenikus, Vienna, 2015 Experience Economy. Heribert Friedl and Marlies Poeschl. Salzburger Kunstverein, 2014 Parallax 1, Susanna Flock and Marlies Poeschl, Memphis, Linz, A, 2014 Yesterday will be like today, Dastan's basement, Teheran, Iran, 2013 and other stories, College St. Rimorin, Dornes (FR) in the framework of Hors les murs Parc St. Leger, Centre d’art contemporain alles das, was ich nicht kann, Galerie 5020, Salzburg, 2007

GROUP EXHIBITIONS / SCREENINGS / PERFORMANCES / LECTURES

2019 Hysterical Mining, Kunsthalle Wien, VIENNA BIENNALE FOR CHANGE Geek Picnic Krasnodar, RU Technocare, Kunstraum Niederösterreich, Vienna Shar(e)d Cinema, AG Gallery, Tehran, Iran The Slow Business of Going, Le Studio, Vienna Presentation at Schmiede,Hallein, AT Collaborative Performance by The Golden Pixel Cooperative at Altered Affairs, Symposium, IFK/Kunstuniversität Linz, Valie Export Center, Linz, AT Unlocking the clubhouse, Panel participation, Kunshtalle Wien/riot festival Transitionen, Kunstraum Super aus Wien in Düsseldorf, Antichambre hotel friends, Düsseldorf, D Weißes Licht, Fluca, Austrian Pavillon, Ploviv, BG Big screens shatter easily, Oberösterreichischer Kunstverein, Linz, AT

2018

Casting a shadow, MUMOK Kino, Museum of Modern Art Vienna, Antimatter media art festival,Victoria BC, Canada Staging Mimicry, depo, Istanbul, TR Eriazo, Screening, Neues Kino Basel, CH

suburbinale, suburban film festival, Vienna White light, screening, Metro Kino, Vienna White light, screening, Medienwerkstatt, Vienna trust us, the art of friendship, Galerie 5020, Salzburg, AT

2017

Diagonale, Festival for Austrian Film, Graz, AT Cinema Vérite, Iran Festival for Documentary film, Tehran, IR Staging Mimicry, Chronus Art Centre, Shanghai, CN When it starts to glimmer, Shoonya Art Centre, Bengalore, IND Those Days to Come, Curation of screening programme and talk, Academy of Fine Arts Vienna; On invitation by Constanze Ruhm The Frame that blinds us, Screening, Curated by Katharina Swoboda and Mare von Koningsveld, APA Gallery, Budapest

2016 Away, a project on residencies, Post- und Telegrafenamt, Vienna, Austria Putting Rehearsals to the Test curated by Sabeth Buchmann, Ilse Lafer & Constanze Ruhm, VOX Centre de l’image contemporaine, Montreal, Canada Les Incessants, Villa du Parc, Contemporary art center, Annemasse Video of the month, Das weisse haus, Vienna

2015

Frozen Frame/Turning Frame at Pincacoteca, Vienna; in co-operation with Vienna Art Week Vergessen at Brick5, Vienna XWRA Video and Media Art Festival, Artland XWRA, Ipati, Greece Open Studio Day at Sammlung Lenikus, Sammlung Lenikus, Vienna MOE Sauvignon - Best of 2014/15, MOE, Vienna Vanishing Points. Film programme curated Nathalie Koger and Marlies Poeschl from Golden Pixel Cooperative. At Studios Lenikus, Vienna and VA Space Isfahan

2014

Vanishing Points. Programme at Limited Access Festival, Teheran, Iran. Curated by Nathalie Koger and Marlies Poeschl/Golden Pixel Cooperative Vienna. Outcasting: 4th Wall Festival, Cardiff, UK Oh my truthiness, moe, Vienna. Curated by Roswitha Weingrill. Berlin Short Film Festival, Berlin, D L'École de Simili- world premiere at Edinburgh International Film Festival Truth Through the lens, Studio Two Three, Richmond, VA, USA Diploma projects exhibition, Xhibit, Academy of Fine Arts Vienna

2013 Les centres d'art font leur cinéma, Nuit Blance, Paris, FR In unserer Welt kann man aussteigen, Mumok Kino, Mumok, Museum of Modern Art, Vienna Cinemanext Filmnacht, Das Kino, Salzburg Gestern wird wie heute sein, Austrian Cultural Forum, Teheran, Iran

2012

And they installed the office in the tavern, Le Bureau/The office are meeting, Gaitee Lyrique, Paris And they installed the office in the tavern, Le Bureau/The office are meeting, 3 Schwestern, Kunstquartier Bethanien Berlin Bonnie’s Turn, Etablissement Gschwandner, Vienna

2011 You can be my double, if I can be yours, Brut, Vienna Gesellschaftsspiele/Parlour games, MIP - Museum in Progress Rollenwechsel, Espresso Kurzfilmfestival. Wien 4 + 4 days in motion Kurzfilmfestival. Prag, CZ

2010 Versuchsanordnung : Liebesgeschichten. Interdisziplinäres und interuniversitäres Projekt im offenen Raum. Gaming the system - Rank the Ranking or Fuck the Curator. Künstlerhaus Palais Thurn und Taxis, Bregenz Room with a View, The Wandering Room. Brisbane, AUS ((Spiral Jetty, Screening and Performance. Saprophyt project space, Vienna SCREENING. Hotel de France Kino, Berlin, D KinoDynamique Screening. Filmcasino Wien

2009 Welches Leben? Zwischen Beruf und Berufung/Which life? Between Calling and Career. Curator's Project Academy of Fine Arts Vienna (curated by Sabine Breitwieser) TRANSportMEDIA, Space Gallery, Bratislava, SK. Symposium Creative Cities, ORF Radiokulturhaus, Vienna.

2008 Real Presence, Belgrade, SRB Plan B, Factor 44, Antwerp, B Who are the people in your neighbourhood? Biko Gallery, New York, USA Animateka. Ljubljana, SLO Sopot Film Festival. Sopot, PL Tricky Women. Vienna film:riss. student film festival, Salzburg

2007 Knapp daneben ist auch mittendrin, Franzensbrückenstraße, Vienna Diagonale, Graz Kurzfilmfestival Münster, D Vienna Independent Shorts, Wien

2006 wir machen das schon wieder und es gibt bestimmt wen, die/der das schon vor uns gemacht hat, Galerie Andreas Huber, Vienna film:riss festival, Salzburg