CineExpo: The Third Degree3-D

The full version of this excellent Hollywood Reporter Article is at:

CineExpo: The Third DegreeCineExpo: The Third Degree3-D, cinema exhibition’s killer application, goes global

By Alex Ben Block

June 19, 2009, 12:50 PM ET

There were naysayers, he recalls, who warned it was too soon to go all-digital. They argued theatrical trailers and some movies weren’t available in digital, which could cost them if a hot ticket came along that was available only on celluloid.

“It really was a good test to understand the staffing, training, the technical, how many films are available in digital, how many trailers can you get in digital and so on,” de Quervain says. “We had reported at last year’s (Cinema Expo International) that trailers …

In rapid succession during the past year, major movie distributors including Disney, Fox, Sony and Warner Bros. have begun making most trailers and movies available in digital …

So far, conversion of analog screens to digital in developed countries worldwide hasn’t happened as quickly…

As in the U.S., conversion to all digital presentation won’t occur until financing sources open, and that depends on the global credit crisis. …

The U.K., where booming boxoffice is up more than 16% for the first quarter, is a good example. …

That didn’t mean the end of all digital, though. “The focus in the recent past has been on installation of digital 3-D screens,” …

Disney alone, which will be showing “Up” in Amsterdam in 3-D, will offer 17 new 3-D movies during the next couple years,…

Exhibitors have taken notice. “Every multiplex in the U.K. will have a 3-D screen by Christmas,” …

Dowley notes digital eliminates the cost to ship the cans of celluloid, makes it easier to offer advertisers last-minute content …

It’s not just happening in the U.K. or Western Europe. Across developing Eastern Europe, Russia, India and China …

“We see 3-D worldwide grossing two and a half times the 2-D screens,” Disney’s Marcoly says. …

Imax CEO Richard Gelfond calls Europe “a key territory for us,” …

An Imax theater opened two years ago in Hong Kong is producing “excellent results,” …

“When we open a new movie, Imax is huge,” says Vallone, who worked for UA …

Vallone says 3-D is also very popular, with 80% of patrons choosing 3-D over 2-D for DreamWorks’ “Monsters vs. Aliens” when given a choice.

The boxoffice has remained strong in Hong Kong despite the credit crunch, …

Surprisingly, Vallone says the rampant piracy in Hong Kong seems to have cooled. …

It’s not enforcement which has turned it around, Vallone says. People got tired of being cheated by street vendors….

Globally the big concern has shifted to Internet piracy of movies, MPAA chairman and CEO Dan Glickman says….

The MPAA released the 2009 Priority Watch List of countries where piracy is a particular problem — …

Glickman notes that one additional benefit of 3-D is that it’s hard to pirate.

Glickman praises a bill supported by France’s President Nicolas Sarkozy, which is working its way toward …

Around the world movie ticket sales have held up surprisingly well in the face of the global economic downturn, …

“I think we’ve proven we’re recession resistant,” de Quervain says, “but I don’t think we’re recession proof. …

Links referenced within this article
http://www.hollywoodreporter.com/hr/content_display/news/e3i5bc95dcbd3315867454360ef9ecc2ed3
CineExpo honorees
http://www.hollywoodreporter.com/hr/content_display/news/e3id499f8aa1018de837d7fae5508d35e23
CineExpo events
http://www.hollywoodreporter.com/hr/content_display/news/e3id499f8aa1018de837100febc4a167ff1

  Find this article at:
http://www.hollywoodreporter.com/hr/content_display/film/news/e3id499f8aa1018de8356755d7d6a3943f2

Smart Carmike Move Brings MJ Event Live


Theatre   City   State
CARMIKE 15   COLUMBUS   GA
CROSS RD 16   CONYERS   GA
WYNNSONG 11   SAVANNAH   GA
WYNNSONG 16   MOBILE   AL
CARMIKE 9   DYERSBURG   TN
THOROUGHBRED 20   FRANKLIN   TN
CARMIKE 14   JOHNSON CITY   TN
WYNNSONG 16   KNOXVILLE   TN
ROYAL PALM 20   BRADENTON   FL
CARMIKE 10   ROANOKE   VA
CARMIKE 10   ASHEVILLE   NC
CARMIKE 16   JACKSONVILLE   NC
UNIV 8   WARRENSBURG   MO
SETH CHILDS 12   MANHATTAN   KS
CARMIKE 20   EDINBURG   TX
CARMIKE 16   EL PASO   TX
CARMIKE 14   TYLER   TX
CHAPEL HILLS 15   COLORADO SPRINGS   CO
CARMIKE 10   FORT COLLINS   CO
WYNNSONG 12   PROVO   UT
CARMIKE 10   STILLWATER   OK
MKT FAIR 15   FAYETTEVILLE   NC
WYNNSONG 10   BILLINGS   MT
CARMIKE 10   MISSOULA   MT
WYNNSONG 16   JOHNSTON   IA
OAKDALE 20   OAKDALE   MN
BEVERLY 18   CHAMPAIGN   IL
MARKET SQUARE 10   DEKALB   IL
         

Those interested in attending the free live broadcast should arrive at the theatre approximately one hour before the memorial service. Attendance will be limited to the capacity of each auditorium.

As of today, the following are confirmed as among the participants in the Michael Jackson memorial service:

          Mariah Carey
          Brooke Shields
          Stevie Wonder
          Magic Johnson
          Lionel Richie
          Usher
          Kobe Bryant
          Berry Gordy
          Jennifer Hudson
          Martin Luther King III
          Bernice A. King
          John Mayer
          Smokey Robinson
          Rev. Al Sharpton

Visit www.carmike.com for the complete list of all theatres and ticket availability.

About Carmike Cinemas

Carmike Cinemas, Inc. is a U.S. leader in digital cinema and 3D cinema deployments and one of the nation’s largest motion picture exhibitors. As of March 31, 2009, Carmike had 249 theatres with 2,288 screens in 35 states. Carmike’s digital cinema footprint reaches 2,154 screens, including 193 theatres with 500 screens that are also equipped for 3D. Carmike’s focus for its theatre locations is small to mid-sized communities with populations of fewer than 100,000.

 

Jaffoni & Collins – Investor Relations
Robert Rinderman or Ratula Roy
212-835-8500
[email protected]
or
Carmike Cinemas
Dale Hurst, Director of Marketing
706-576-3464

3 Gb/s SDI and optical fiber SDI scopes-Blackmagic

Parade Display

Parade Display for Colorists

When color correcting video, nothing beats the real time RGB parade waveform view. You can see the color balance in blacks, mids and whites, so it’s easy to balance colors and get your images looking perfect. RGB Parade is also perfect for checking for illegal colors because any video that drops below the black line, or above the 100% line is an illegal RGB color. Parade can also be switched to component so you can align equipment and decks. Waveform Display for Alignments

When adjusting video levels or matching black background levels when keying, the waveform display is ideal for this task! Waveform view has a setting that’s luminance only or composite. Composite video is synthesized from the SDI input, and is a much better view for aligning traditional equipment such as decks. Thousands of editors know and understand composite waveform monitors, so even though UltraScope is all digital, the synthesized composite waveform makes life a lot easier! Component Vectorscope View

A vectorscope is the only way to see what color you have. When color correcting video, sometimes you need to know color has been removed or nulled out for accurate white balance, and vectorscope view is perfect. Sometimes when color correcting you also need to apply a tint, and vectorscope lets you see exactly how much tint you’re adding, and what color it is. Sometimes monitors cannot be trusted, but a vectorscope always shows the colors you have! Of course aligning hue on decks is always easy with vectorscope view! Histogram for Location Shoots

Almost all video need to be color corrected at some point in the post production process, and so you never want to clip video whites or blacks when on a live shoot. If you clip the blacks and whites, you loose all detail later in post production when you try to adjust blacks up or whites down. Histogram view lets you see where the pixels are in your video, and how they are distributed from black to white. You can see if video is clipping, and then it’s easy to adjust the camera to keep all black and white detail in the image. Later in post production you then have the full contrast range of video for easy color correction that lets you keep all details no matter how extreme the color grade is! Audio view for Monitoring Levels

Keep track of your audio levels at all times with 8 channels of audio metering, plus a stereo phase meter. The stereo phase meter plots left and right audio, as an XY scope display so you know exactly what your audio is at all times. Audio scope lets you see mono audio, as you see a vertical line, or when you have stereo audio you will see the scope puff out in all directions! Audio problems are easily seen such as clipping, and out of phase audio can be seen as a left or right leaning display. If you don’t get a perfect vertical waveform, then you know you audio channel balance is out! No audio problem can hide from audio scopes! Picture View with VITC Timecode

The picture view lets you keep track of the video input so you always know what’s going on and what video input is connected into your Blackmagic UltraScope. Input video is selected from either the optical fiber SDI or regular SDI inputs, and the video standard is automatically detected and displayed above the video image. VITC timecode and RP188 HD timecode is also detected and read into a timecode counter on the top right of the video image.

High end post production and television engineers have known for decades the benefit of using waveform monitoring not just for engineering, but operationally in color correction and editing workflow. From color correction to matching black levels when keying and overlaying video, only waveform monitoring lets you keep track of what’s going on, and helps you eliminate illegal colors, and other problems that could cause your work to be rejected by broadcasters.

Of course, waveform monitoring is the best way to impress your clients and let them know that you’re keeping on top of quality in your work! Full PR write-up on BlackMagic Site: Blackmagic Design: Blackmagic UltraScope

UltraScope; waveform functionality on PCI Express card

UltraScope offers waveform functionality on PCI Express card

Plugging the Ultrascope PCI Express card into any compatible Windows PC in combination with a 24in monitor gives access to six live HD or SD scope views simultaneously. With 3Gb/s SDI, and 3Gb/s optical fiber SDI connections, UltraScope is a highly engineered, broadcast-quality set of scopes that can auto-detect SD, HD and 3Gb/s SDI inputs.

Ultrascope brings together the six, which include a parade display for colorists, waveform display for alignment, component vectorscope view, histogram for location shoots, audio view for level monitoring and picture view with VITC time code.

World’s first non-commercial national digital cinema roll-out

 

World’s first non-commercial national digital cinema roll-out – June 26, 2009

“This is a great undertaking for a small country”, said Jorgen Stensland, Director of Consultants at Film & Kino. “Under these agreements, Disney, Fox, Paramount, Universal, and Warner have committed to deliver wide releases to Norwegian digital cinemas. The deal also covers our own mobile cinema in rural areas. Film & Kino’s goal of delivering quality film all over this country is secured in the future by these agreements. We are happy that Norwegians will be able to experience the perfect quality of a DCI-compliant digital exhibition, which will also give our audiences the opportunity to see the new generation of 3D films that are underway. We look forward to working together with the studios to make this happen.”

The agreements will help facilitate the financing of the conversion to digital cinema. The costs will be shared between distributors, cinemas and Film & Kino.

“A success like this is the result of a great team effort. We want to thank our team members for their unflagging commercial, technical and legal support during these negotiations”, said Roar Svartberg, Acting Director of Film & Kino.

Roger Pollock, Paramount Pictures’ Executive Vice President, International Distribution & Operations, said “Digital distribution and the growth of 3-D cinema is the future of our industry, enabling films to be seen in the highest quality and most dynamic ways possible. Film & Kino is aggressively stepping forward to place Norway at the forefront of this technology, providing their audiences with the very best movie-viewing experience available. This is an important step in Europe’s roll out to digital conversion and will hopefully serve as an influential example across the region.”

Julian Levin, Executive Vice President, Digital Exhibition, Twentieth Century Fox commented “We are delighted to have closed a deployment agreement with Film & Kino. This important deal is the first of its kind covering the conversion from 35mm film to DCI compliant digital projection for the entire country. The transition to a digital projection platform will additionally provide the foundation for 3D exhibition capability, exhibition of alternative content and improved flexibility in distribution and exhibition operations. The ultimate beneficiary of the transition will be the movie going audience. We look forward to working with our colleagues at Film & Kino during the transition and providing Fox’s movies, in 2D and 3D, to Film & Kino digital projection system deployments.”

Duncan Clark, Executive VP, International Distribution, Universal Pictures International, said: “We’re pleased to be working with Film & Kino to help the Norwegian cinema industry transition to digital cinema via our UIP territorial office in Norway. Clearly the growth of 3-D cinema and digital distribution is the future of our business and this complete rollout of digital to Norway’s cinemas, which has the backing of the Norwegian government, is an important step. Norway is the latest country to become part of the extensive conversion to digital that is being rolled out to cinemas in Europe. By supplying our movies digitally, we hope audiences in Norway as early as later this year, will soon be able to experience the highest quality cinema experience via the best digital technology available.”

Commenting on the announcement, Jason Brenek, senior vice president, Worldwide Digital Cinema and Cinema Programming, Walt Disney Studios Motion Pictures, said, “Digital cinema is taking a giant leap forward in Norway thanks to the tremendous efforts of Film & Kino. This is a bold and exciting move to transform all of Norway’s theaters to state-of-the-art DCI-compliant equipment and give moviegoers the best possible theatrical experience. Disney remains committed to digital cinema and digital 3D, and will continue to work with Film & Kino to bring the future of exhibition to moviegoers in a timely and cost effective manner. Our lineup of upcoming films includes a wide variety of titles that showcase this latest digital technology, including many films presented in Disney Digital 3D™.”

“Veronika Kwan-Rubinek, President, International Distribution, from Warner Brothers said, “Warner Bros. is excited about this unique partnership with Film & Kino, the first-ever deployment model that aims to digitize an entire country. This holistic transition to DCI compliant digital projection systems firmly establishes Norway as a leader in technological innovation and ensures the continued growth of this robust theatrical market.”

174 Digital Screens in Poland, by XDC

<p ><em> June 26, 2009<br>The Letter of Intent signed between Multikino and XDC includes the roll out of DCI-compliant projection systems co-financed by the Virtual Print Fee (VPF) model, represented by XDC. Multikino and XDC plan to sign final deployment agreement within 3 months. Rollout is scheduled to begin in Fall 2009, with an initial commitment of 100 screens throughout the year 2010. The whole installation process is to be completed by 2011.<p > Piotr Zygo, CEO of Multikino stated “Entering in VPF deal with XDC we improve our competitive advantage in term of quality of films and capability of screening 2D and 3D content, as well as we open space for alternative content and leverage our advertising tools. Those factors should generate new streams of Multikino’s revenue in the future.<p > Serge Plasch, XDC’s Chief Executive Officer said: “It’s a real pleasure to announce our fourth major VPF deal in Europe. Multikino is the leading exhibitor in Poland. We are convinced to build a fruitful cooperation with them on many aspects: exhibition services, distribution, alternative content and advertising. XDC is probably the only company in Europe able to provide smart solutions for each of these revenue segments.”<p > Under the terms of the agreement, which is to be finalized within the next three months, XDC will exclusively install DCI-compliant digital projection systems: 174 2K Cinema projectors and XDC’s CineStore® Solo G3 D-Cinema servers. XDC will also implement a fully integrated and networked solution in each of the 20 complexes, thanks to its advanced Theatre Management System and Central Library, the XDC’s CineStore® Plaza.<p > Digital Cinema Polska will carry out the installations and maintenance, as well as the frontline helpdesk.

 

Manipulating Light On A Chip For Quantum Technologies

Read the full Science Daily Article at: Manipulating Light On A Chip For Quantum Technologies

“This precise manipulation is a very exciting development for fundamental science as well as for future quantum technologies.” said Prof Jeremy O’Brien, Director of the Centre for Quantum Photonics, who led the research.

The team reports its results in the June issue of Nature Photonics, a sister journal of the science journal Nature, …

Quantum technologies with photons

Quantum technologies aim to exploit the unique properties of quantum mechanics, …

For example a quantum computer relies on the fact that quantum particles, such as photons, can exist in a “superposition” …

Photons are an excellent choice for quantum technologies because they are relatively noise-free;…

Making two photons “talk” to each other to generate the all-important entangled states is much harder, …

Last year, the Centre for Quantum Photonics at Bristol showed how such interactions between photons could be realised…

Photons are also required to “talk” to each other to realise the ultra-precise measurements …

Manipulating photons on a silicon chip

“Despite these impressive advances, the ability to manipulate photons on a chip has been missing,” …

The team coupled photons into and out of the chip, fabricated at CIP Technologies, using optical fibres. …

The researchers proved that one of the strangest phenomena of the quantum world, namely “quantum entanglement”, …

This on-chip entanglement has important applications in quantum metrology and the team demonstrated an ultra-precise measurement in this way.

“As well as quantum computing and quantum metrology, on-chip photonic quantum circuits …

“The really exciting thing about this result is that it will enable the development of…

A commentary on the work that appeared in the same issue [Nature Photonics 3, 317 (2009)] …

The other co-author of the Nature Photonics paper is Dr André Stefanov,…

The work was funded by the Engineering and Physical Sciences Research Council (EPSRC), …

read the full Science Daily Article at: Manipulating Light On A Chip For Quantum Technologies

ScienceDaily (June 10, 2009)

See also: Matter & Energy

 

Computers & Math

Reference

Urgent Adobe PDF Reader Alert – UPDATE NOW

This week, Adobe announced a new Security Update and said that they were going to go on a cycle of releasing upgrades on a 3 month cycle, similar to the dates that Microsoft uses for their monthly security patches.

Adobe reiterated that users must look to anti-virus programs for protection.

What are the problems and what does it mean to you?

Obviously, it is common to receive pdf files. What isn’t well understood is that withing the file there can be executable code. That would be fine if it were only multimedia files. But hackers have figured out how to put trojans and viruses into the pdf…which can execute as you read.

These trojans might do nothing obvious, but they could sit in the background collecting data? They might hang out until they decide that circumstances are ripe for spreading onto your network.

SOLUTION: Stop reading this article and upgrade every single copy of Reader on every computer you can get your hands on.

Click here to<a href=”http://www.adobe.com/support/security/bulletins/apsb09-03.html” > download the Adobe update</a>.

Muscles Matter: Schubin on 3D at mobilizedtv

Mark Schubin on Mobile 3D: Muscles Matter

Mark Schubin is a multiple Emmy-Award-winning SMPTE Fellow who has worked professionally in television since 1967.

This article is edited below; whole segments are left out…there is also a Part 1 on the MobilizedTV site.
Read the entire article at: Mobile 3D: Muscles Matter | Mobilizedtv

Unrelated to psychics or psychobabble, psychophysics is the science of psychological responses to physical stimuli.  An example of a physical stimulus is the picture on a mobile-phone screen.  An example of a psychological response is liking the picture enough to want to pay for it.

Psychophysics has already played a role in mobile TV.  Handheld at a typical viewing distance, …  So, when Fox delivered a mobile-TV version of the popular series 24, each “mobisode” had a very short duration (initially one minute, later increased to three), with louder sound effects, more close-ups, bigger bullet holes, and more blood.

Mobile 3-D will likely face the same issues … .  But there are two other major considerations. One is called the “vergence-accommodation disparity” or sometimes the convergence-accommodation disparity.  …  The single accommodation distance and the varying convergence distances of stereoscopic 3-D create a perceptual disparity.  The muscles moving the eyes report one depth to the brain; those focusing the lenses report another.

At the 2009 SMPTE Digital Cinema Summit, University of California Professor Martin S. Banks described experiments he had performed concerning that perceptual disagreement.  “This is really the first evidence that a vergence-accommodation conflict can cause fatigue and discomfort.”

It’s not an entirely new discovery.  Writing in The American Journal of Physiological Optics, Leonard Troland said, … to modify the normal coordination of the ocular reflexes of accommodation and convergence.”  That was in July 1926.

DreamWorks head (and 3-D fan) Jeffrey Katzenberg, speaking at the International Broadcasting Convention in September 2008, said the last thing 3-D should do is “make your audience hurl.”  …

Banks suggested to the Digital Cinema Summit that the conflict might be reduced by increasing a viewer’s “zone of comfort.”  …

In 1895, the Lumiere brothers presented the first cinema audience with motion pictures of a train arriving at a station.  They were silent, black-&-white, jittery, and showed the train moving at an angle, but that was enough, according to a contemporary report, to cause an audience member to jump up in fear until the last car had passed through the frame.

In 1919, Thomas Edison staged a “tone test” at a concert hall, defying members of the audience to tell the difference between a live opera singer and a phonograph recording of her voice.  A reporter for the Pittsburgh Post wrote that he couldn’t.

Today, we might laugh at the idea that the Lumiere and Edison audiences couldn’t tell playback from reality, but that’s only because …

Consider seasickness.  First-time sailors tend to suffer from it, but those who’ve spent long periods on boats get over it.  Muscles, too, can be trained.  …

So it’s possible that viewer training will get around the convergence-accommodation 3-D problem even on mobile screens.  A short 3-D piece, followed by a recovery period, and then …

Unfortunately, eye-fatigue and nausea are only one of the perceptual issues associated with 3-D mobile TV.  There’s also, for example, the infinity-interpupillary problem.

Read the entire article at: Mobile 3D: Muscles Matter | Mobilizedtv

Crown Settlement re: Assistive Listening – 1991

SETTLEMENT AGREEMENT BETWEEN THE UNITED STATES OF AMERICA AND CROWN THEATERS re: assistive listening systems in theaters

Settlement Agreement Department of Justice Press Releases

alt1991

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SETTLEMENT

 

DEPARTMENT OF JUSTICE COMPLAINT NUMBER 202-14-34

 

 

DEFINITIONS

1. The definitions of the following terms, which are not defined elsewhere, shall apply to this settlement agreement only:

A. “Alteration,” when used with respect to an audio-amplification system in a motion picture theater auditorium, means the replacement of speakers and/or other components that are made a part of the facility’s physical structure by the use of electrical wiring or other means.

B. “Assistive Listening System” means the equipment that augments a motion picture theater’s audio-amplification system for persons with hearing impairments. It includes a “transmitter,” “receivers,” and either headsets or “neck loop coupling devices.”

C. “Auditorium” means a room within a “theater” that has seats and a screen and is used for the exhibition of motion pictures.

D. “Multi-Screen Cinema Complex” means a single facility containing more than one “auditorium.”

E. “Neck Loop Coupling Device” means a device attached to a “receiver” that is worn around the neck of a person with a hearing impairment (as opposed to a headset) and allows the signal emitted from a “transmitter” to be received directly through certain types of hearing aids.

F. “Receiver” means the component of an “assistive listening system” which a person with a hearing impairment uses (either with or without a hearing aid) to receive signals, usually in the form of “FM” radio or infra-red waves, emitted from a “transmitter.”

G. “Theater” means the facility in which one or more “auditoriums” are located, or may refer to an “auditorium” that is not located within a “multi-screen cinema complex.”

H. “Transmitter” means the component of an “assistive listening system” that converts sound from an audio-amplification system into either “FM” or infra-red waves and transmits these signals to individual “receivers” used by persons with hearing impairments.

 

SUBJECTS OF THE AGREEMENT

2. The subjects of this settlement agreement are:

A. the acquisition, of additional receivers for assistive listening systems for the existing, altered, and newly-constructed motion picture theater auditoriums in the United States owned and/or operated by Crown Theaters and;

B. the maintenance and promotion of the use of assistive listening systems by Crown Theaters.

 

BACKGROUND

3. This matter was initiated by a complaint filed with the United States Department of Justice (“the Department”). The complaint alleged that the Crown Cine Theater located in Danbury, Connecticut, owned and operated by Crown Theaters in South Norwalk, Connecticut, was in violation of title III of the Americans with Disabilities Act (“ADA” or “the Act”), 42 U.S.C. § 12181-12189, and the Department of Justice title III implementing regulation, 28 C.F.R. Pt. 36, because it does not have enough assistive listening systems to provide effective communication to persons with hearing impairments. The Department investigated the complaint pursuant to 42 U.S.C. § 12188(b).

4. The Crown Cine Theater in Danbury, Connecticut has three screens with a total of 1,074 seats. The theater is equipped with a permanently installed assistive listening systems with a total of fifteen receivers. The Crown Cine Theater advertises the availability of the assistive listening system in newspaper advertisements and at the box office.

5. The Crown Cine Theater in Danbury, Connecticut was constructed before the effective date of title III of the ADA, (January 26, 1992).

6. The parties have decided to resolve this matter as set forth below without adjudication of this dispute. This agreement is for settlement purposes only. It does not constitute an admission of guilt or an admission by Crown Theaters that it engaged in any acts or practices, including the acts or practices described above, that constitute a violation of the ADA.

 

THE PARTIES

7. The parties to this agreement are the United States of America and Crown Theaters.

AGREEMENT

8. Crown Theaters is a public accommodation and is thus subject to the requirements of title III of the ADA, because it owns and/or operates motion picture theaters. 42 U.S.C. § 12182(7)(C); 28 C.F.R. § 36.104.

9. Crown Theaters has an obligation to provide auxiliary aids and services necessary for effective communication, including assistive listening systems, in all of its existing motion picture auditoriums, provided that doing so would not fundamentally alter the nature of the goods or services being provided and would not result in an undue burden (i.e., significant difficulty or cost). 42 U.S.C. § 12182(b)(2)(A)(3); 28 C.F.R. § 36.303(a) and (c).

10. Providing assistive listening systems does not fundamentally alter the nature of the goods and services offered in a motion picture theater, and providing additional receivers at this time in accordance with the terms of this agreement will not result in an undue burden for Crown Theaters.

 

Acquisition of Receivers

11. Crown Theaters agrees that by August 30, 1999, it will:

A. provide 27 receivers for the assistive listening systems at Crown Cine Theater (equal in number to at least two percent of its 1,074 seats). Because Crown theaters has 15, only 12 more are required in all motion picture theater auditoriums where alterations have not been made to an audio-amplification system since January 26, 1992;

B. ensure that at least one of the receivers in each auditorium shall have a neck loop coupling device, for a total of three.

12. By August 30, 1999, Crown Theaters will submit to the Department a report indicating those auditoriums at which receivers for assistive listening systems have been provided in accordance with the provisions of paragraph 12.

13. The provisions of paragraph 12 do not affect Crown Theaters’ obligation to provide receivers equal in number to at least four percent of available seats in all newly- constructed auditoriums. See Standards § 4.1.3(19)(b).

 

Employee Training and Customer Service

14. Crown Theaters shall take all steps necessary, which may include providing staff training, to ensure that appropriate staff at all theaters:

A. are informed of the availability of assistive listening systems;

B. know where receivers are located on the premises, so that requests for them can be honored promptly; and

C. are familiar with how the assistive listening systems operate, so that they are able to provide basic instruction to customers who are unfamiliar with them, respond to customer questions or complaints, including inquiries by telephone, and conduct testing as required by paragraph 18(A).

 

Maintenance

15. Crown Theaters agrees that within six months of the effective date of this agreement it will take the following steps to ensure that assistive listening systems are maintained in proper working order at all theaters:

A. implement a plan according to which theaters will be required to test all receivers and transmitters at least once every month, and immediately test any receiver and/or transmitter about which a customer complaint is received;

B. establish a formal requirement that appropriate staff keep records of such testing and, whenever necessary, report any problems with equipment to the Chief Operating Officer;

C. establish procedures requiring that, by the next business day when repair facilities are open after the need for repair or replacement of assistive listening systems is discovered, actions will be initiated to ensure that repairs are made or new equipment will be obtained as soon as is practicable.

16. Within six months of the effective date of this agreement, Crown Theaters will establish policies requiring all theaters that become inaccessible for more than 48 hours because of assistive listening systems that are in need of replacement or repair to provide the following information through their pre-recorded telephone messages:

A. that assistive listening systems are not functioning at the theater;

B. the estimated date by which repair or replacement of assistive listening systems will be completed.

17. Also within six month of the effective date of this agreement, Crown Theaters will establish a policy requiring all of its theaters to issue free movie passes to a future showing of any film at any Crown Theater, along with a full refund of any money actually paid and a written or verbal apology, to any person with a hearing impairment and his or her companion(s), who cannot attend a particular showing of a film because an assistive listening is not in proper working order, if there was no notice of said fact included in the theater’s prerecorded telephone message.

Promotion, Outreach, and Advertising

18. In addition to its current practice of providing information concerning the availability of assistive listening systems as part of printed advertisements for its theaters, Crown Theater agrees to take the following actions in order to advertise the availability and promote the use of assistive listening systems at its theaters:

A. within six months of the effective date of this agreement, install signage complying with §§ 4.1.3(19)(b) and 4.30 of the Standards for Accessible Design at any theater that currently has no such signage;

B. beginning six months from the effective date of this agreement, include information about the availability of assistive listening systems in each theater’s pre-recorded -telephone announcements;

 

ENFORCEMENT

19. The Attorney General is authorized, pursuant to 42 U.S.C. § 12188(b)(1)(B), to bring a civil action enforcing the ADA in any situation where a pattern or practice of discrimination is believed to exist or a matter of general public importance is raised. In consideration of the terms of this agreement set forth above, the Attorney General agrees to refrain from taking more formal enforcement action in this matter during the pendency of this agreement, as long as Crown Theaters complies with all terms of this agreement.

20. The Department of Justice may review compliance with this Agreement at any time. If the Department of Justice believes that this Agreement or any requirement thereof has been violated, it may institute a civil action in Federal district court to enforce this Agreement or the requirements of Title III, following written notice to Crown Theater of possible violation and a period of 10 days in which Crown Theater has the opportunity to cure the alleged violations.

21. Failure by the Department of Justice to enforce this entire Agreement or any provision thereof with respect to any deadline or any other provision herein shall not be construed as a waiver of the Department of Justice’s right to enforce other deadlines and provisions of this Agreement.

 

PUBLIC AGREEMENT

22. This agreement is a public document. A copy of this agreement or any information contained herein may be made available to any person by Crown Theaters or the Department upon request.

 

EFFECTIVE DATE/TERMINATION DATE

23. The effective date of the Agreement is the date of the last signature below.

 

SCOPE OF AGREEMENT

24. This Agreement constitutes the entire agreement between the parties on the matters raised herein, and no other statement, promise or agreement, either written or oral, made by either party or agents of either party, that is not contained in this written Agreement, will be enforceable under its provisions.

25. This Agreement is limited to the facts set forth herein and does not purport to remedy any other potential violations of the ADA or any other Federal Law. This Agreement does not affect Crown Theater’s continuing responsibility to comply with all aspects of title III of the ADA.

26. The signer of this documents for Crown Theaters represents that he or she is authorized to bind Crown Theater to this Agreement.

 

FOR THE UNITED STATES:

 

BILL LANN LEE
Acting Assistant Attorney General
Civil Rights Division

 

Date: BY: JOHN L. WODATCH, Chief
Allison Nichol, Deputy Chief
Susan B. Reilly, Supervising Attorney
Celeste A. Simmons, Investigator
Disability Rights Section
Civil Rights Division
U.S. Department of Justice
P.O. Box 66738
Washington, D.C. 20035-6738
(202) 307-0663

 

FOR CROWN THEATERS

MILTON DALY Date:

Senior Executive Vice President &

Chief Operating Officer

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last revised February 5, 2001

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