The Digital Cinema Summit (DCS), presented by Integrated Systems Europe in conjunction with Digital Cinema Report, will tomorrow highlight how advances in digital cinema technology are transforming not just how movie theatres around the world operate, but the kinds of content they can offer to their customers.
Taking place at the Hotel Akura from 2pm-6pm on Wednesday 13th February, the discussion will see top digital cinema technology experts from around the world will ponder those changes and the new developments on the horizon.
Some 18 speakers, including IHS Markit’s David Hancock, MediaMation’s Emily Ng and Barco’s Goran Stojmenovik, will consider:
Are movies still the focus of the cineplex?
Moviegoers today can play online games in the lobby or simply lounge there with coffee or a drink in a comfortable chair. Theatres today also feature full restaurants; some have bowling alleys and karaoke bars. Once inside the auditorium they can now enjoy (endure?) seats that more resemble an amusement park than a cinema. What place, if any, do serious feature films have in 21st Century movie theatres?
Streaming and its impact on movie theatres
There was an effort last year to bring at least 30 percent EU-originated content to Netflix and Amazon. What is the status of that effort and how will it affect filmmakers and cinemas in Europe? What are the BBC and CST doing in this regard? A bigger question, how should theatre owners respond? Meanwhile, companies such as Barcelona’s Bel Air Cinema now offer first-run movies to homeowners willing to pay several thousand dollars per title for the privilege. These homes have personal theatres with the latest technology that costs hundreds of thousands of dollars. What is the future of that market and how will it impact mainstream cinema?
Cinema advertising and event cinema
Driven by technology, event cinema continues to grow and it’s especially strong and diverse in Europe. Exhibitors are now offering gaming and eSports in cinemas, where the experience is ten times bigger than anything available in the home. What does this mean for theatre owners, for Hollywood and, for consumers?