Category Archives: Exhibition

Artist’s Intent Exposed~! See it here first. Where? In the cinema, the temporary home provided by exhibitors.

Free Software for Cinema Exhibitors

I have been writing some free software tools, to help cinema-exhibition to save money.

Its been a difficult time for cinema-exhibition, and tools to save money are an important aspect of dealing with the changing landscape for cinema exhibitors.

James Gardiner – CineTech Geek

Please read about the tools below, and if you find them interesting, pass this info on to those who could hopefully take advantage of these tools.  Its been a difficult time for cinema-exhibition, and tools to save money are an important aspect of dealing with the changing landscape for cinema exhibitors.

CineTech Geek ScreenCatcher
The cinema-catcher-app application has many tools. Read about them below. Click on the YouTube video links for a demo of the software at work

More info on downloading the tools can be found here:

The cinema-catcher-app application has many tools.  Read about them below.  Click on the YouTube video links for a demo of the software at work.

Feature Description Status
LMS (Library Management System) This feature includes the ability to ingest content from physical disks and USBs or from FTP servers, local or remote. Devices can be set to periodically scan and ingest any DCP found. ClairMeta is then used to Quality-Check the DCP. Finally, Email reports can be generated automatically. Oldest Assets are automatically deleted as needed. Assets can be marked to never delete. As a LMS, all content is then made available via FTP server, for Screen-DCI-Player to ingest any content in the Library. Online Video Overview: Production
Status Monitor This tool allows you to monitor all screen configured into the system. Ths can be used to monitor local or numerous remote screens Production limited functionality
Status Monitor device Control Under development and extending the status Monitor, you can take control of any DCI-Player, Sound-processor, Projector, IO-Device directly to override or manually control a screen if required Development
Schedule Monitor This screen monitors screens on a Schedule level showing a timeline for each screen and what sessions are playing at what time and when they finish/start Not Started
AutoKDM Is a tool that can monitor an IMAP access to an Email account. It will transparently read your Email, and only download Emails that contain KDMs, mark them as read, or even move them into another folder (Only if a KDM is discovered). It is best to have a dedicated Email for KDMs however, the tool can deal with utilising an Email that is also used by humans for general Email activity. The tool will download all KDMs into a data base for checking, tracking and finally ingesting into the target player. Based on configured target players, AutoKDM will ingest KDMs automatically to all target screens automatically. Reports on activity can be emailed to the Admin if required. The system incorporates KDM INFO Emails for users can easily track back to the KDM creator if problems occur. Online Video Overview: Production
KDM Alert This tool generates daily reports sent to the Staff that inform of any scheduled session that do not yet have a KDM to allow them to play. This tool ensures a cinema knowns days in advance if a KDM has failed to arrive, giving them time to react to the error. Online Video Overview: Production
Auto Discovery Based on the open source tool cinema-nmap-scripts ( It will automatically detect well known devices on the Projection network, pulling Version numbers when possible. The tool can then be used to audit your projection equipment and can automatically detect the change in any version of DCI-equipment sending/Emailing a Report when changes occur. Plans to incorporate this with an FLM tool has been discussed.) Tool Overview: NMAP tool: Production, but limited by devices supported in the cinema-nmap-scripts project
Player Audit This tool periodically downloads playout logs from the DCI-Players. This allows the creation of reports to analyise the activity on a player. This can be used to send playout reports for Advertisers or for engineers to get a detailed indication of the activity on a player. For example, you can detect if shows are playing outside of open hours, or if manual control is occurring and how often. This can be done by either an Email report containing a CSV-file, or automatically sending playout reports to a specified WEB End-point (Internet Web Address) that the data is pushed to periodically. Tool Overview: Production

Thanks, and I hope this can help other small exhibitors in the world.

James Gardiner CineTechGeek Mail: [email protected] Web: YouTube Channel:


There’s a funny thing on the internet that lets people in public service jobs know how to deal with those who are disabled – those poor disabled people who have no ability to use Braille or sign language in this case!

What to Do when You Meet a Sighted Person

“Sighted people tend to be very proud and will not ask directly for assistance. Be gentle, yet firm.”

“Calmly alert the sighted person to his or her surroundings by speaking slowly, in a normal tone of voice. There is no need to raise your voice when addressing a sighted person.”

OK;  jokes aside. We are in a service business, and we get a lot of practice dealing with people who can walk strait to the proper line without assistance, but we don’t get a lot of practice dealing with people who need different kinds of assistance.

Does that blind person get a benefit from using Closed Caption equipment? Uhm…probably not. Audio Description equipment? Yes! Probably, yes. Should you ask? Good idea. 

There are a couple good reasons to ask. One, it helps with the first basic communication point: everyone gets to know that they are being paid attention to. Two, people jump to the wrong conclusion sometimes. I may think that you are looking at your ticket to find the auditorium number, but you are looking to see if you have the right date.

When someone needs to use the Accessibility Equipment, they may think that

  • you are an expert and that
  • the equipment has been tested recently and that
  • the batteries are fully charged and that
  • the projectionist has made the playlist perfectly, including the captions and narration tracks and that
  • the accessibility hardware in the projection booth is turned on and tested

And, of course you are an expert…or want to be…but no matter how hard you study the equipment you don’t seem to get enough practice. And you are never around on SlowTuesday when the practice sessions are.

<Work in Progress – tell us your stories until we get this done…>

Tips for Working with People (clients and workmates) with Specific Needs

Follow the tips below when working with people with specific needs:

  • Use common sense. Remember a client or workmate is a person first, the specific need comes second.
  • Avoid being patronizing. Show the person the same courtesy and respect you expect to receive from others.
  • Be considerate and patient. Try to anticipate what the person’s needs might be,  without being too presumptive or obsequious. Offer assistance if needed without forcing yourself on them.
  • Be patient if he or she needs more time to communicate or accomplish a task.
  • Communicate with the person. Some people with specific needs may have an assistant or companion with them. Look at and speak directly to the person, rather than the assistant.
  • Make certain that your posted signs help the person with specific needs to find the most accessible way to get to the room where they can get the service they require.

Working with People with Limited Mobility

When working with people with mobility issues:

  • Do not push or touch a person’s wheelchair without his or her consent. People using adaptive equipment often consider the equipment as part of their personal space.
  • Ask before helping. Grabbing a person’s elbow may throw the person off balance. A person with mobility impairments might lean on a door while opening it. Quickly opening the door may cause the person to fall. 
  • Secure mats, rugs, and cords to the floor or move them out of the way. This will help prevent tripping.
  • Keep floors dry.
  • Keep ramps and wheelchair accessible doors unlocked and free of clutter.

Working with People with Speech or Hearing Impairments

When working with people with speech difficulties or who are deaf or hard of hearing:

  • Allow a person who cannot speak to write his or her request. Read the statement or request out loud.
  • Follow the person’s cues. This will help to determine whether speaking, gestures, or writing is the most effective method of communication.
  • If speaking, speak calmly, slowly, and directly to the person. Do not shout. Your facial expressions, gestures, and body movements help in understanding. Face the person at all times.
  • Rephrase, rather than repeat, sentences that the person does not understand.

Working with People Who are Blind or Visually Impaired

When working with people with speech difficulties or  who are blind or partially sighted:

  • Identify yourself as a cinema employee. Do this as soon as you come in contact with the patron. Offer your arm, rather than taking the person’s arm when assisting.  Help the person avoid obstacles in the path of travel by being specific when giving verbal directions.
  • If the person has a service animal, walk on the opposite side of the person, away from the service animal . Do not pet or interact with the service animal without the owner’s permission.
  • Describe what you are doing as you are doing it. If walking away from a person who is blind or partially sighted, let him or her know. This prevents the situation where they continue talking to no one.

NATO Announces Creation of Non-Profit The Cinema Foundation 

The National Association of Theatre Owners today announced the formation of The Cinema Foundation. The new organization—a donor-supported 501(c)(3) charitable non-profits—dedicated to promoting the essential cinema exhibition industry by developing future diverse workforces and growing moviegoing communities through research, education, and philanthropy.

The Cinema Foundation expands on NATO’s mission by adding new participants, including technology companies, food and beverage leaders, members of the creative community, and other individuals and companies that share in our vision and passion for the future of cinema.

The Cinema Foundation’s founding Board of Directors draws members from across the industry, including Jackie Brenneman (NATO), President; Tori A. Baker (Salt Lake Film Society), Vice President; Brian Schultz (Look Cinemas), Secretary; Eduardo Acuna (Cinépolis Americas), Treasurer; and Directors Adam Cassels (Cinionic); Michelle Maddalena (Dolby Laboratories); and Katherine Twells (The Coca-Cola Company).

“The future of the cinema industry is being determined right now,” said The Cinema Foundation President, Jackie Brenneman. “The Cinema Foundation is designed to bring together key industry stakeholders from business, technology, and the creative community to be the leading voice in what that future will be.”

Currently in its initial fundraising and hiring phase, the key priorities of The Cinema Foundation include:

  • Cinema Careers, Education and Diversity: Promoting the industry as a great place to work via recruitment campaigns, training programs, and opportunities for career growth.
  • Moviegoing Promotion and Creative Community Involvement: Building on NATO’s relationships with the creative community to grow audiences, promote the industry and diversify content options.
  • Center for Innovation and Technology: The Center will work to ensure the industry’s technology is future ready and meets standards that help key stakeholders including filmmakers, manufacturers and exhibitors while also avoiding costly barriers that do not enhance the theatrical experience.
  • Industry Data and Research: Data will be the key to effective industry messaging, promotion and innovation going forward and The Foundation will prioritize a data-based approach across all initiatives.
  • Industry Charities: Working with existing industry charities to expand their impact.

“I firmly believe in The Cinema Foundation and its important role in contributing to the magic of moviegoing,” said Brian Schultz of Look Cinemas. “The Foundation will create dynamic employment opportunities for the industry’s future workforce and develop programs that ensure a healthy exhibition industry that brings economic and cultural vibrancy to communities everywhere.”

Adam Cassels, of Cinionic, added, “Our industry has a long heritage of innovation, connecting a diverse ecosystem to further the cinematic experience. The Cinema Foundation creates a space to continue innovating and collaborating to meet the needs of moviegoers, the creative community, and cinema professionals across the exhibition landscape.”

To sponsor, donate, or learn more visit




Brussels: 7 February 2022 – The International Union of Cinemas (UNIC), the body representing European cinema trade associations and operators, has today released preliminary 2021 box office and admissions estimates for the territories covered by the organisation.

While the figures below are based on initial estimates, the overview provided by UNIC represents the first wide-ranging assessment of the performance of the European cinema sector in 2021. More detailed final data on the performance of each individual UNIC territory will be released later in Spring 2022. For additional information on specific territories, including periods of closure, please consult the UNIC research on the topic or reach out to [email protected].

Audiences return to the Big Screen across Europe

European cinema admissions increased by an estimated 38 per cent in 2021, with over 590 million visits across the region. Box office reached an estimated €3.7 billion, an increase of 42 per cent on the previous year. These positive results amply illustrate the industry’s resilience and the eagerness of European audiences to return to the Big Screen.

At EU level – including the UK – over 400 million tickets were sold in cinemas, worth an estimated €2.9 billion at the box office, all this when most screens across the region were shut for the first half of the year and operating for the following six months under limited occupancy and additional restrictions. 

The impact of the COVID-19 pandemic on the European cinema industry remains significant. Compared to results for Europe in 2019, a particularly successful year for the sector, 2021 admissions were still lagging 56 per cent behind, while box office was down by an estimated 57 per cent. Comparing results for the second half of 2019 with the same period in 2021, box office revenues for the territories where data is available were on average 35 per cent below pre-pandemic levels. Major territories such as France (-22 per cent for H2 2021 compared to H2 2019), the UK (-26 per cent), Russia (-29.5 per cent) or Poland (-24.3 per cent) nevertheless serve to demonstrate the strength of the sector’s recovery in recent months.

As has been the case in the past, box office was mainly driven by major international titles including Spider-Man: No Way Home, No Time to Die, F9: The Fast Saga, Venom: Let There Be Carnage and DuneSpider-Man: No Way Home in particular served as further evidence of cinemas’ capacity to attract audiences and create global events even during challenging times, with over $1.77 billion grossed at the global box office as of today – the sixth biggest result of all time.

At the same time, and as was witnessed in 2020, local titles have played a key role in the recovery process. National films’ market shares were higher than normal years across the region, most impressively in France (40.8 per cent), Czech Republic (38.3 per cent) and Denmark (37.0 per cent). The Serbian biopic Toma managed to outperform Spider-Man: No Way Home, dominating at the box office in Serbia and neighboring Bosnia and Herzegovina.

It is only with the support of local and international distributors that cinema operators will be able to confidently recover from this incomparable period of challenge. A strong and diverse film slate will be key to attracting audiences to the Big Screen.  

The broad range of support mechanisms that have been made available to the sector in Europe have also been crucial, protecting livelihoods and covering some of the significant losses incurred by industry. But now is not the time for policy makers to ease those efforts aimed at ensuring the survival of local cinemas, whatever their size and location. 

2022 will be a pivotal year for the industry. Leading industry analysts Gower Street Analytics have forecasted a tentative estimate of $7.8 billion (+75 per cent on 2021) and $33.2 billion (+55 per cent) for EMEA and global box office respectively. UNIC members are confident that the cinema industry will come back stronger from this crisis, and that we will continue to enjoy films together, on the Big Screen.


Table with tentative market performance indicators for 2021 (where available).

Notes for editors

UNIC is the European trade grouping representing cinema exhibitors and their national trade associations across 39 European territories. More information available on


UNIC members. Complementary information from Comscore, CZ (Unie Filmovych Distributoru), BG (Национален филмов център), EE (Eesti Filmi Instituut & Baltic Films Co-operation Platform), FR (Centre National du Cinéma et de l’Image Animée), GR (Ελληνικό Κέντρο Κινηματογράφου), HU (Nemzeti Média- és Hírközlési Hatóság), IE (Wide Eye Media), LV (Nacionālais kino centrs & Baltic Films Co-operation Platform), PT (Instituto do Cinema e do Audiovisual), RU (Russian Cinema Fund Analytics, Nevafilm Research), UA (Media Resources Management).


International Union of Cinemas (UNIC)[email protected]

Union Internationale des Cinémas | International Union of Cinemas | UNIC
Av. des Arts 10-11 boîte 11 | 1210 Brussels (Saint-Josse-ten-Noode) | Belgium
Twitter: @UNIC_Cinemas | Facebook: @UNIC.Cinemas

Update: Universal/AMC Deal and the future of VOD releases

Update: Cinemark, the world’s 2nd largest chain, will not go silently into the good night of marriage with VOD:

Cineworld Reacts To Universal-AMC Theatrical Window Crunching PVOD Deal: “We Do Not See Any Business Sense In This Model”

Click above to see the Deadline article. “Cineworld’s Regal is the second-biggest chain in the U.S. with 7,155 screens in 542 theaters in 42 states. Overall, Cineworld operates in 10 countries with 787 sites, counting 9,500 screens.” End Update

With a number of details not told, at least we see VOD after 17 days of an Exclusive Theatrical Run…(whatever that specifically means) and AMC gets participation with the VOD! 

Universal And AMC Strike A Major Deal That Means Big Changes Are Coming

UPDATE: As Mulan/Tenet Slips, so does AMC

UPDATE: With some rumors – still unconfirmed a week later –that Tenet could be released in other countries other than the US, we are truly in WhoThePhuqueKnows territory.

CNN has a good roundup of the movies at: The movies will return someday, and here are the ones we’re really stoked about 

EU cinemas are opening with decent results reported for local movies and archival favorites. China keeps reporting that cinemas can open, but none are reported to have opened. That leaves the US and India as the remaining big markets, and they ain’t opening. Los Angeles is the biggest and closed, New York could open but why would any group do that when they can’t get product, and product won’t come until a decent representative of the market is open. And that won’t happen until ???? …several weeks after everyone wears masks all the time that they aren’t home and stop going anywhere. End UPDATE

PausDemic has continued to twist jobs and income into dust. While their sister organizations in the UK are opening, AMC in the US is holding back with the reasoning that 1) you need the big pictures and 2) who is really going to come to the cinemas when the pandemic is starting to rage out of control again.

AMC delays US theater openings as it waits for summer blockbusters


UNIC Women’s Cinema Leadership Programme – Year 4


 Brussels: 30 June 2020 – The International Union of Cinemas (UNIC), the European cinema trade grouping, today launched the fourth edition of its Women’s Cinema Leadership Programme, a 12-month mentoring programme for women in cinema exhibition.

Following the success of the first three editions, this year’s programme will provide nine talented female cinema professionals with an exclusive opportunity to receive one-to-one career advice and networking opportunities, and to learn from an outstanding group of women executives from across the cinema landscape, each recognised for their leadership and business success.

The programme remains UNIC’s flagship initiative to address the need to encourage and empower female professionals in order for the industry to realise its full potential. Its 2020/21 edition welcomes the following key female leaders and rising female professionals from the cinema exhibition landscape, representing 18 companies across 14 territories:


Nathalie Cieutat (Les Cinémas Pathé Gaumont, France), Anne Fitzgerald (Cineplex, Canada), Norma Garcia-Muro (THX, USA), Kate Gerova (Curzon, UK), Jadranka Islamovic (Blitz-CineStar, Croatia), Grainne Peat (Event Cinema Association, UK), Kaisa Rakemaa (Finnkino, Finland), Géke Roelink (Filmhuis Den Haag, Netherlands), Bettina Schmit (KITAG CINEMAS, Switzerland).


Clarissa Bergh (Lillehammer Cinema, Norway), Rachel Bland (VUE Entertainment, UK), Monika Giełżecka (Multikino, Poland), Johanna Herfter (Comscore, Germany), Valeria Kurohtina (CINAMON, Estonia), Madelene Lorentzsson (Svenska Bio, Sweden), Laura Mancilla (Searchlight Pictures International, UK), Anna Paprocka (ODEON Cinemas Group, UK), Olivia Taylor (IMAX, Ireland).

Welcoming this latest edition of the programme, UNIC CEO Laura Houlgatte commented:

“We are delighted to welcome a new, fantastic group of mentors and mentees for this year’s edition and to see our inspiring community of women leaders grow year by year. While the past few months have been incredibly challenging, the level of interest that we have received serves to highlight just how important empowerment programmes like ours are, even more so during times of uncertainty.


We are proud of what we have achieved so far with the UNIC Women’s Cinema Leadership Programme. 


We have been working with outstanding professionals and it’s been fantastic to see so many of them recognised for their achievements. We’re also delighted to have in Grainne Peat, for the first time, a pioneering mentee becoming a mentor herself in the new edition. This is one of the main objectives of the programme – for the mentees of today to become the mentors of tomorrow. 


The discussion around equal opportunities and greater diversity in the industry must continue, and we at UNIC will keep doing our part. 


I would like to wish an empowering journey to our new cohort!”


Notes for editors

The UNIC Women’s Cinema Leadership Programme is a 12-month cross-sector, international mentoring scheme for women in cinema exhibition.

Launched in 2017, the Programme is rooted in the belief that gender-balanced leadership in cinema exhibition is imperative for business success, better governance and more equity in the industry.

More information can be found on the UNIC website here.


The International Union of Cinemas (UNIC)

The Union Internationale des Cinémas/International Union of Cinemas (UNIC) represents the interests of cinema trade associations and cinema operators covering 38 countries in Europe and neighbouring regions.

Further Enquiries

[email protected] / +32 2 880 99 39 | @UNIC_Cinemas 

Union Internationale des Cinémas | International Union of Cinemas | UNIC
Av. des Arts 10-11 boîte 11 | 1210 Brussels (Saint-Josse-ten-Noode) | Belgium
+32 2 8809939 | M +32 611203483 | 
Twitter: @UNIC_Cinemas | Facebook: @UNIC.Cinemas

California Gets Cinema Back To Work

The Exit for the PauseDemic has been eagerly awaited all over the world. French cinema is getting up again [France shakes off virus blues as cinemas, casinos set to open] and [Tous au Cinema – Les Cinémas sont oiuverts!] and California has given clues o how to do it in their huge markets. [California Proposes Guidelines for Theater Reopenings at 25 Percent Capacity]With news they could reopen as early as June 12, the rumors were that CineMark and AMC might get off the ground before the end of the month. Now it seems they are both waiting until mid-July, just ahead of the Mulan opening.

Meanwhile, production may get some momentum going: A First Glimpse at the 30-Page Hollywood Safety White Paper Being Drafted for Governors — Exclusive

Tea Leave Reading for Chinese Cinemas

Wanda Film is the group that bought AMC in the States and which then bought the studio Legendary Entertainment, the company behind blockbusters like Jurassic World and The Dark Knight, and also bought the mid-sized theatre brand Carmike, and UK’s Odeon Cinemas, and EU group UCI Cinemas – before being told by the Chinese government that they were spending too much money out of the country. They are now less than majority owner, though still in control of the board.

The primary source of income for Wanda previously was property development, which in this Age of PauseDemic has led to being a group with problems with getting rent from cinemas who are often the cornerstone of a closed or partially closed malls. 

China famously opened and closed their cinemas, and technically the cinemas can open now though none are – except the private cinemas. AMC held a news cycle by saying that they had to report that there were serious odds that they could shutter completely or go BK. Of course, most people are aware that that was a kabuki, to put pressure on creditors.

And, with that in mind, Wanda has announced that they are going to build more cinema theaters. China’s Wanda Film To Build More Cinemas Despite Heavy 2019 Losses, Coronavirus Impact 

Exhibition Is Stable – Consumer All Over

The first US studio has stopped sending InterOp DCPs to their clients in North America, after years of refining and pushing the SMPTE DCP release package. The SMPTE DCP Migration Project in the EU is not far behind. 

And new devices like LED walls – there are 3 that are DCI certified now. Samsung has made the most noise, while Sony is biding its time. And LG just got a DCI Certification last month. And, the latest generation in lasers? RGB everywhere for the price that phosphor was offered? Wow.

You’d think that with significant transitions there would be a lot of turmoil.

Exhibition Is Stable – Consumer All Over

The first US studio has stopped sending InterOp DCPs to their clients in North America, after years of refining and pushing the SMPTE DCP release package. The SMPTE DCP Migration Project in the EU is not far behind. 

And new devices like LED walls – there are 3 that are DCI certified now. Samsung has made the most noise, while Sony is biding its time. And LG just got a DCI Certification last month. And, the latest generation in lasers? RGB everywhere for the price that phosphor was offered? Wow.

You’d think that with significant transitions there would be a lot of turmoil.

Exhibition Is Stable – Consumer All Over

The first US studio has stopped sending InterOp DCPs to their clients in North America, after years of refining and pushing the SMPTE DCP release package. The SMPTE DCP Migration Project in the EU is not far behind. 

And new devices like LED walls – there are 3 that are DCI certified now. Samsung has made the most noise, while Sony is biding its time. And LG just got a DCI Certification last month. And, the latest generation in lasers? RGB everywhere for the price that phosphor was offered? Wow.

You’d think that with significant transitions there would be a lot of turmoil.

2019 Women in Cinema – Celluloid Junkie

The New York Times Review of Books today highlights “When Women Take the Baton“, an article about the challenges in one segment of entertainment that we don’t often hear about – and repeatedly the stated goal is not to be known as an excellent or expert female conductor, but rather to be an expert.

In the star-studded side of the cinema world we have learned this year about people who are objecting to disproportionate salaries and unwanted hurdles of all kinds. 

Anecdotally, on the tech side of the exhibition side of the business, the digital transition has reduced the number of projectionists and along with that a significant number of female experts who were in that group. Not a majority by any means, but all over the world it was not odd to install for and train at least one woman per facility. Of course, now, it is one projectionist per several facilities. Alas.

And so, we get to Celluloid Junkies yearly noble effort to highlight the fact that there are a lot more people of the female persuasion making it possible for movies to be shown at facilities around the world, not in the hidden corners of some tech hallway, but in the corridors of power. 

Still a long way to go, as seen by the efforts that SMPTE and AES have made to promote and assist young women (and actually young people in general to some degree in this industry nearly chock full of old-ish men) get into the STEM fields. At last night’s SMPTE meeting they even promoted an ‘A’ into that – artists with a technical event are invited to their next event promoting the STEAM – Science, Technology, Engineering, Arts, Math.

And so, Celluloid Junkie’s Top 50 Women In Global Cinema – 2019

…and the background article: Celebrating Top Women in Global Cinema for the Fourth Year

By the way, Susie Beiersdorf who was highlighted recently for the Ken Mason Inter-Society Award that she will receive at CinemaCon is also on the CJ’s Top 50 Global Women List