Technologies in-cinema-2016

Researched and compiled by: Mike Fuchsman3/9/2018 9:27 PM

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Advertising on cinema screens is highly lucrative for brands because of the large and affluent
demographic of the audience and undivided attention from viewers leading to a higher message recall
rate compared to television advertising. In addition, national theater chains offer advertisers the ability
to display their ads on a nation-wide basis or locally in a particular region.
In the U.S., three of the four largest cinema chains (Regal, AMC and Cinemark) formed National
CineMedia (NCM) to handle their in-theater advertising in 2005, the result of a merger between
National Cinema Network (est. 1985) and Regal CineMedia (est. 2002).
Forward

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Table of Contents
Page No.
• History: Notable Technology Advances in Cinema 4 - 6
• Exhibitor Revenue Streams 7 - 8
• Exhibitor Operators M&A Strategies 9
• 2015 Top 40 Exhibitors by Screen Counts 10
• DCI 3D Playback Projection Standard + Stereoscopic Systems 11 - 12
• Projection Challenges Affecting Pre-Show Quality Visual Playback 13
• High Dynamic Range (HDR) Laser Projection 14
• History: Notable Sound Technologies in Cinema 15 - 16
• Immersive Sound Solutions 17 - 22
• Audio Calibration 23 - 24
• Founding Member Premium Screens 25 - 35
• CinemaBarco Technologies 36
• 4D Technologies 37 - 42
• US Cinema Advertising Companies & Significant Chief Executives 43 - 45
• Interactivity Development Companies 46 - 47
• Mobile Movie Ticketing and Entertainment Apps 48 - 53
• Top Audio Recognition Apps 54
• How Beacons can take the Cinema Experience to the next level – by Devika Girish 55 - 58
• Media Buying: What is Programmatic Buying and Real-Time Bidding? 59
• Media Buying: What is a DMP and DSP? 60
• Media Buying/Selling Software Resources 61
• Theater of the Future 62 – 65
• Potential Threats to Movie-Going Audiences 67
Appendix - Latest in A/V Production Technologies
• Hardware Configurations for Editing 69
• Professional Video Editing Software 70
• Relevant Audio Production Software 71
• DCI Compliant JPEG-2000 Encoders 72
• NCM A/V Playback File Specifications 73
• Relevant A/V File Types and Extensions 74
• Color Subsampling Explained 75
Videos
3D Immersive Sound
• Barco Auro-3D 11.1 18
• Dolby Atmos 20
Premium Large Format Theaters
• Dolby Cinema | AMC Prime 32
• Cinemark XD 33
• Regal RPX 34
• IMAX 35
4D Technologies
• CJ 4DPlex – 4DX 38
• Buttkicker 39
• MediaMation – X4D 40
• D-Box 41
Movie Buffs - Good to Know Page No.
• Movie Trailer Prod. Co’s 80
• Visual Effects Academy Awards 81 - 85
• Best Picture Academy Awards 86 - 90
All topics addressed in this document relate to “in-cinema” solutions
Research compiled by: Mike Fuchsman, SVP
Latest DCI Compliant
Digital Cinema Projectors
Page No.
• Christie 76
• Barco 77
• NEC 78
• Sony 79

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Table of Contents
1889
Kinetoscope
invented by Edison
and Dickson
introduced basic
approach to future
cinema projection.
1895
First Commercial
Exhibition
of a projected
motion picture to a
paying public.
1912-1924
Studios Arise
Universal Pictures
becomes first major
studio.
1927
Synchronized
Dialogue
Al Jolson in
The Jazz Singer ignites
industry demand for
“talkies.”
1935
Technicolor
Introduced
3-color process
leading to
distribution of the
first color film
Silent pictures dominate the
1920s
History: Notable Technology Advances in Cinema

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1949
Licensing
Warner Bros. licenses
characters to
children’s clothing
makers.
1991
CGI Visual Effects
- Terminator 2
released heralding
the age of stunning
CGI visual effects.
1995
Toy Story
- the first feature-
length, fully
computer animated
film produced and
released by Pixar.
1952
Cinerama | 3D
- widescreen display,
and Bwana Devil
releases in anaglyph
3D.
1960
Smell-O-Vision
- synchronized smells
were sent through
tubes to theater
seats.
1976
Surround Sound
- Dolby system
allowing four
channels of sound to
be encoded down to
two, then played back
in four channels at
the cinema.

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1999
Digital Capture and
Projection
- Star Wars: Episode I
had mixed footage
shot on film and shot
digitally and was
released digitally to
four theaters -two in
LA and two in NY.
2010
Polarized 3D
Advertising
- NCM launches
first nationwide 3D
advertising
campaign
highlighting the
wonder of
Samsung’s new 3D
LED TV.
Now at a Theater Near You
High Frame Rates
High Dynamic Range
4K, Dolby Atmos sound, 4D
and more!

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The death of the movie theatre has been predicted for decades. First it was television, then cable, then VHS, then the DVR, then
Netflix and Redbox, and then On-Demand programming. There have been a couple of case studies on revenues from VOD
versus theatrical release all resulting in favorable results for the theatrical box office release v. VOD. “The Interview” generated
$31m on VOD versus the projected $100MM at the box office. Another was “Scouts Guide to the Zombie Apocalypse” and
“Paranormal Activity: The Ghost Dimension” which both failed to meet revenue targets. The biggest bang for the buck for
studios is theatrical release where 2x – 4x at home revenue can be generated by simply having to purchase multiple tickets
versus one at home. With this and competitive forces at play, exhibition will continually raise the bar on the movie-going
experience in order to protect its investments.
Ticket sales - the longer a feature runs, theaters keep a higher percentage of revenues from ticket sales. A theater might
keep 10% or less of a feature’s ticket sales opening weekend, but by the fourth week that percentage might be up to 25%, and
by the 10th week as much as 50% or more. 2015 averaged the highest ticket price of all time at $8.34. 2016 YTD has seen a
4.3% increase, reaching $8.70.
Concessions - popcorn reportedly makes 90 cents on the dollar, so a popcorn bag priced at $4 likely cost 40 cents. Soda
products offer even greater margins but are hard to define because beverage producers and the theater circuits negotiate
exclusive, mutually beneficial deals. Regardless, concessions provide the bulk of a theater’s profits. The Top 5 exhibitors have
shown a consistent increase in concessions per patron 2013 – 3.7%, 2014 – 6.5% and 2015 - 9% totaling $4.28 per person.
Luxury VIP seating and feature upcharges are where customers pay extra for the best seats in the theater and for viewing
a film in 3D or in an auditorium equipped with immersive sound and projection equipment. Exhibitors are also adding night-club
seating options with in-theater fine dining, QSR styled menus, alcoholic beverages, as well as lobby bars and lounges. These
initiatives have been highly successful with AMC reporting a 77+% revenue increase and Regal reporting a 40% increase.
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Current Exhibitor Revenue Streams

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On-screen advertising plays in most US theaters before the feature presentation begins. Engaged, captive audience +
seats all facing a big screen = excellent advertising revenue stream. Digital signage advertising in theater lobbies is also a
trending revenue stream.
Alternative Content, also known as Event Cinema has become a sizeable revenue stream. Theatre, ballet, sport,
exhibitions, TV specials and documentaries are now established forms of Event Cinema.
MoviePass subscription plans are growing and allow subscribers to see a film a day for a monthly fee. 75% of
subscribers are 18 to 34 and tend to spend significantly more on concessions. AMC is currently the only major exhibitor to test
the program but MoviePass touts over 3,700 theaters on more than 33,000 screens are in their network.
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Current Exhibitor Revenue Streams

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Theater operators are in need of ways to further increase revenues and scale, and the most effective way of doing so
is through acquisition. Because the largest exhibitors must continue to grow, and small exhibitors don’t have the
capital to compete with the large exhibitor’s spending on theater upgrades and new concepts, M&A’s will continue to
dominate the landscape. AMC has seen an increase in attendance of 60+% in theatres with recliners that were
converted before January 1, 2016. Dine-in theatres have seen a +4% attendance growth. While AMC Prime is
generating 63% more revenue per ticket than its traditional auditoriums.
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2015 - The Top 5 North American Exhibitors by screen
count, account for 56.5% of the total box office, with
the top 4 accounting for 50.3%:
1. Regal Entertainment Group – 7,361
2. AMC – 5,426
3. Cinemark – 4,518
4. Carmike Cinemas – 2,895
5. Cineplex – 1,655
Exhibitor Operator M&A Strategies

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1 Regal 7,361 21 Cobb Theatres 235
2 AMC 5,426 22 Wehrenberg Theatres 210
3 Cinemark 4,518 23 Regency Theatres, Inc. 196
4 Carmike 2,938 24 Larry Miller Megaplex Theatres 178
5 Cineplex 1,655 25 Marquee Cinemas 173
6 Marcus 681 26 Pacific Theatres/Arclight 171
7 Harkins 446 27 Phoenix Big Cinemas 169
8 Southern 445 28 Alamo Drafthouse Cinemas 140
9 B&B Theatres 409 29 Celebration! Cinema 155
10 Showcase/National Amusements 409 30 MJR Theatres 153
11 Bow Tie Cinemas 388 31 Cinema Entertainment Corp. 151
12 Landmark Cinemas 278 32 Coming Attractions Theatres 151
13 Malco Theaters 348 33 Neighborhood Cinemas Group 147
14 Georgia Theatres 326 34 United Entertainment Corp. 143
15 Frank Theatres 282 35 Cinema Guzzo 142
16 Landmark Theatres 278 36 Santikos 129
17 Goodrich Quality Theatres 277 37 Galaxy Theatres 126
18 Premiere Cinema Corp 254 38 Your Neighborhood Theatres 125
19 Studio Movie Grill 240 39 Flagship Cinemas 112
20 Reading Cinemas USA 236 40 Allen Theatres 107
List based on Box Office Pro Magazine List of Top Exhibitors by Screens - 2015
NCM Affiliate
Screenvision Affiliate
Spotlight Affiliate
Canadian Exhibitor
2015 Top 40 Exhibitors by Screen Counts

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* As of November 2015
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Most widely used in 26,500 auditoriums, approx. 1200 exhibitors, 72 countries. Circularly
polarized light technology is used with disposable glasses and a Zscreen polarizer that is
placed in front of the projector lens. Slight flickering is noticeable and overall brightness
is compromised due to the polarizer.
Wavelength multiplex visualization technology using dichroic filters in the lenses of the
glasses. An additional RGB color wheel is added to the original RGB color wheel that
transmits colors and light at different wavelengths. Expensive glasses. Dolby 3D works
with conventional projection systems. Technology does not flicker.
3D Playback in Cinema

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DCI, LLC Recommended Practice on "Projection - 3D Peak White Luminance“ July 16th, 2015
Laser light technology offers wider color gamut, higher contrast ratios and lumens output (+/- 60,000) with scalable
options, 14fL light levels for stereoscopic presentations as opposed to conventional 3D light levels greater than 4.5fL.
Laser light projector installs have yet to take-off because of the high cost to replace digital projectors, especially since
exhibitors just recently upgraded their systems to digital, but laser projection is the future of digital cinema projection.
For 3D features utilizing legacy lamp technology, the peak white luminance should be 7fL ± 2fL measured at the
center of the screen through all filters and lenses.
Given the increased light level capabilities of 3D RGB laser illuminated projectors and multi-projector installations,
peak white luminance for such projection systems should 14fL ± 2fL measured at the center of the screen through all
filters and lenses.
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3D Playback in Cinema
LEGACY LAMP 4.5FL LEGACY LAMP 7.0FL LASER ILLUMINATED 14.0FL
This is an approximation of what the pure
color white would project looking like with
a projector bulb powered at 4.5 foot
lamberts
(not pure with a visible grayish hue)
lamberts
(almost pure but has a very slight grayish hue)
lamberts
(pure is vivid white)

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There are anomalies in the cinema that cause colors to appear slightly altered from screen-to-screen, and
theater-to-theater. Similar to broadcast television, each of our 20,000+ screens are unique. Each projector
contains a Xenon lamp which delivers a “fairly” constant brightness, but as a lamp ages, brightness and
contrast values degrade causing individual variances from screen-to-screen. Other variables that affect
brightness and color level consistencies from screen-to-screen include the distance the projected image is
thrown from the booth to the screen, the screen size and screen characteristics such as silver screens versus
white screens, and the amount of ambient light reflecting on the screen during preshow seating times which
differs in every auditorium.
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Projection Consistency Challenges

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Dolby Cinema: Dolby Vision HDR - runs on
two Christie 6P 4K laser projectors with a
contrast ratio claiming to be 1,000,000:1.
Most cinemas today are barely 2,000:1.
Instead of one DLP chip, there are multiple
DLP chips, designed in a way to minimize
light loss so that all of the good light goes
straight to the screen. That means
completely crisp, clear projection with
unprecedented color depth. The blacks
looks completely black.
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HDR - offers a wider range between the whitest whites and the blackest blacks. “High dynamic
range is a combination of features including contrast," said Barco Escape CEO Todd Hoddick. "The
big push will be contrast. It's the most noticeable and impactful component of HDR.” Audiences
will notice that there is so much more detail in the darker areas of each frame.
Barco - a new option to the DP4K-60L flagship line offers a contrast ratio of
6000:1, double the contrast of its high-brightness version of its top-of-the-line
system. It almost quadruples the contrast offered by 4K lamp projectors while
still reaching brightness levels up to 40k lumens. According to Barco vp cinema
Stijn Henderickx, any of Barco's flagship, laser phosphor or xenon projectors
with Barco's Alchemy media processor are capable of showing a film up to 120
fps in 2k — or in 3D at 60 fps per eye, which totals 120 frames. And they are
also capable of handling 60 fps in 4k — or in 3D at 30 fps per eye, which totals
60 frames.
High Dynamic Range (HDR) | High Contrast Laser
Projection

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1921 1926 1940 1953 1974
Photokinema Movietone® Vitaphone Fantasound CinemaScope® Sensurround
Sound recorded on a disc similar
to a phonograph record and
played in tandem with the movie.
One of the first sound-on-film
systems, guaranteeing sync of
sound and picture. Used on News
Reels thru 1939.
Used on The Jazz Singer, it was
the last successful system to
record sound on discs for
playback on a separate
phonograph.
The grandfather of surround
sound, created for Fantasia; a
three channel soundtrack was
printed on an optical track of film
and played on a separate system
from the picture. Speakers were
put around the theater, but only
played this way in 13 theatres
because it was so expensive.
Instead of separate optical tracks,
four tracks of magnetic sound
printed on the left and right film
strip edges, with one in between
the picture and the perforations
for center and another for
surround. Cinemascope placed
sound playback wherever the
sound was coming from on the
screen. The picture played in
anamorphic widescreen format.
Developed by Cerwin-Vega to
enhance the audio experience,
highly amplified low-frequency
bass rumbles shook theaters, in
some cases, rattling tiles off the
ceiling for depicting earth
tremors, bomber formations, etc.
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T h e M o n o E r a
History: Notable Sound Technologies in Cinema

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1975 1978 1983 1991 1993 2010 2012
Dolby Stereo
Dolby Stereo
70mm
THX Dolby Digital DTS® SDDS¯
Dolby
Surround 7.1
Barco® Auro
11.1
Dolby Atmos
Four channels of
sound was encoded
down to two channels
to record on film,
then decoded back to
four channels for
stereo/quadrophonic
in the limited optical
channel space on film
stock.
Applying Dolby noise
reduction techniques
to the six magnetic
soundtracks on 70mm
film print allowed for
the first full 5.1
surround sound.
A set of quality
standards
implemented to
ensure accurate
playback of audio in
theaters.
An ingenious use of
space, provided a 5.1
digital soundtrack and
an analog backup
placed on film.
The soundtrack was
not placed on the
film, but rather on a
separate CD-ROM.
Sony Dynamic Digital
Sound allowed for as
many as eight
channels of sound,
but few soundtracks
made use of the
technology.
Added two separate
surround channels in
the back of the
theater due to the
transition to digital
cinema
Adds a layer of five
height channels to
traditional 5.1 to feel
more immersive
Creates a 3D sound
experience by
precisely placing and
moving individual
sounds anywhere in
the theater.
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T h e S t e r e o E r a T h e M u l t i c h a n n e l E r a T h e O b j e c t - B a s e d E r a
History: Notable Sound Technologies in Cinema

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System: Channels Notes
Barco AURO-11.1 (3D)
Cobb, Pacific, Cinemark, Edwards,
AMC, Carmike, Marcus, Century,
Starplex, Regal, Santikos
11.1, 13.1
Uses a unique speaker layout, based on three axes (width,
depth and height) to reproduce true-to-life sound without
the need for more expensive solutions requiring high channel
counts and more amplification.
Dolby ATMOS
Cinemark XD, Regal RPX, AMC Prime,
AMC ETX
128 discrete
channels with up to
64 speaker feeds
Allows filmmakers to easily arrange sounds anywhere in the
movie theatre. In addition to playing back a 5.1 or 7.1 mix
using loudspeakers grouped into arrays, the Dolby Atmos
system can also give each loudspeaker its own unique feed
based on its exact location.
Barco Iosono and DTS:X have been removed due to their inconsequential number of US theater installations
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Immersive Sound in Cinema (Object-Based)

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• Each system has its own concept of how to attain immersive sound
• Each has challenges when installing into a given space to obtain the desired effect
• Aiming is critical, and is very dependent on the room
• Dubbing stages and exhibition theaters have different requirements for coverage
• More speakers equals more details; more details equals more issues.
WEAKNESS: MIX ONCE, PLAY EVERYWHERE
• Result = audio does not sound how the client or sound studio intended it to
• Making a soundtrack sound consistent in multiple venues is a big challenge
• Cinema sound is inconsistent between mixing stages; between mixing stages and an individual exhibition
theater; between all of the different movie exhibitors and their theaters throughout the US
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The audio reference level for
cinema SPL measurements is
• -20 dBFS on a digital PPM meter
(“0VU”) (mix stage)
• “7” or “0” level on a cinema processor
(exhibition theater)
Audio calibration method in theater
Wideband pink noise is injected into the system at
reference level, one speaker at a time. The gain to
each speaker is adjusted for SPL measurements as
follows:
• 85 dBC SPL for each screen speaker
• 82 dBC SPL for each surround array
• Approximately 91 dBC for the subwoofer
Audio Calibration in Cinema

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Screen speakers produce most of the sound and are hidden
behind the screen.
• Are often multiple boxes of cone speakers and horns
that are capable of handling extremely loud volume
levels and a wide frequency range
Surround speakers are generally used for ambience and
panned sound effects.
• Multiple surround speakers are used per surround
channel for coverage
• Frequency response is flat compared to screen speakers
Subwoofer speakers are generally used for low frequency
effects, music, and occasional voice effects.
SYSTEM SETUP AND CALIBRATION variables that affect
cinema audio quality.
• Cinema system and acoustical design
• Physical installation
• Coverage angles
• Calibrating crossovers
• Surround delay
• Subwoofer/screen time alignment
• Electroacoustic calibration
• SPL calibration
High Power Cinema
ScreenArray SpeakersWall Mounted
Multi-channel Surround Speaker
Cinema Subwoofer
Speaker
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Audio Calibration in Cinema

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AMC
AMC Prime® features Dolby Cinema, combining Dolby Vision™ laser projection and Dolby Atmos® sound, as well as AMC Prime power reclining seats
with seat transducers that vibrate with the action on screen.
AMC intends to expand to 50 operating Dolby Cinema at AMC Prime locations by December 2018 in additional cities, including San Francisco, Las Vegas,
Philadelphia, Miami, Boston, Denver, and Seattle, and up to 100 Dolby Cinema at AMC Prime locations by December 2024.
AMC ETX the original premium experience operating in 10 US locations – features Dolby Atmos audio.
Cinemark Cinemark XD features an oversized, wall-to-wall and ceiling-to-floor screen, plush seating, a custom JBL sound system featuring crisp, clear digital
sound, and the brightest digital images delivered by a Doremi server and a Barco digital projector.
Cinemark's luxury offerings also include a handful of auditoriums equipped with CinemaBarco, which include Barco's Escape system. Escape presents
films in a surround-viewing experience, with images projected across three separate screens in a single auditorium to create a sort of triptych cinematic
canvas.
Regal
Regal Premium Experience (RPX) features a 60-foot screen, dual 30K lumen digital projectors, a 7.1 sound system, a Dolby Atmos sound system or
an Auro 11.1 sound system and leather seats with headrests. Both digital 2D and RealD 3D films can be screened.
IMAX
AMC has largest
percentage at 43% of
US marketshare.
IMAX is proprietary software, theater architecture and high technology equipment in more than 1,008 theatres in 66 countries.
Audyssey MultEQ XT32 Audio - Every listening room has unique acoustical problems that affect the overall sound quality. Audyssey MultEQ® XT32 uses
information from multiple measurements to identify and remove these problems and enable optimal playback. Clear, accurate, natural sound – With
Audyssey MultEQ XT32, dialog becomes focused and intelligible, musical balance is restored, sound effects become precisely localized, and the surround
soundstage is made seamless and enveloping.
Powered by Barco Projectors - the exclusive, worldwide projection technology partner for IMAX® theaters. Barco’s digital cinema projectors are
specifically designed to deliver the highest possible brightness on screen.
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Premium Large Format Theaters*

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Barco Laser Projection
According to recent independent and exhibitor surveys, moviegoers give the highest image-quality scores to Flagship
Laser-illuminated screens. They also say that this premium experience will entice them to visit the cinema more
frequently, and that they would be willing to pay a higher ticket price for the laser-projected movie. A unique laser
phosphor retrofit module allows exhibitors who already own a Barco cinema projector to easily replace the lamp house
with a laser phosphor module.
Barco Escape
Barco Escape is helping to reestablish the cinema as a unique entertainment destination, delivering fresh content in a
compelling way that makes going to the movies, once again, a spectacular social event. This multiscreen, panoramic
movie format treats audiences to a movie experience that envelops them in the action, whether in a feature film,
alternative content, or branding campaign messages.
Barco Lobby Experience
Is an innovative digital display system that envelops the moviegoer by transforming the ordinary cinema lobby into an
immersive storytelling environment. Animated box office, concessions and menu boards, animated movie posters, and
dynamic, custom multiscreen movie trailer presentations combine to create an engaging, revenue-generating
entertainment center that brings the entire cinema to life.
AuroMax®
This innovative sound-rendering technology, powered by Barco Audio Technologies (formerly IOSONO) and Auro
Technologies, combines the best characteristics of object-based technology with the Auro 11.1 by Barco immersive sound
format.
CinemaBarco Technologies

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CJ 4DPlex
7083 Hollywood Blvd
Los Angeles, CA 90028
(323) 297-8200
4DX
Every 4DX auditorium has motion chairs and environmental effects such as wind, bubbles, and
scent that work in perfect sync with the action on screen.
4DX motion chairs are equipped with three base movements of heave (move up and down),
roll (move left and right) and pitch (tilt backward and forward) which can create an endless
expanse of possible combinations to mimic such actions as flying and driving. 4DX editors, "i-
Studio“ develop an Effects Script that is introduced into the DCP package.
Regal LA Live, Marcus Theaters
Gurnee Mills Cinema
The Guitammer Company
6117 Maxtown Road
Westerville, Ohio 43082
Tel. 1-614-898-9370
ButtKicker
ButtKicker technology uses patented low frequency linear audio transducers that are powerful,
and virtually indestructible. They are similar to loudspeakers, but instead of moving a cone,
and transferring sound waves through the air, they attach to seats, floors, platforms, etc, and
send low frequency sound directly into the listener's body, reproducing the "feeling" of many
natural and man-made sounds, such as earthquakes, thunderstorms, rocket launches, etc.
AMC Prime locations
MediaMation, Inc.
387 Maple Ave.
Torrance, CA
90503
(310) 320-0696
MX4D®
Showcase MX4D® Motion EFX Theatre is a total immersive environment where you “feel” the
action on the screen from the built-in motion and effects in seats around you. MX4D® theatre
seats move in sync with the movie action and special EFX generators in the cinema, allowing
you to “feel” the movie’s motion, jolts, pokes, wind, water, and even scents.
National Amusements’ Showcase
Cinemas - MX4D only at Revere
(Boston), Santa Rosa
Entertainment Group - The Plaza
Stadium 14 (Oxnard, CA)
D-Box Technologies
2172 de la Province
Longueuil, QC
J4G 1R7
Canada
1-888-442-3269
MFX
A Canadian company, in several U.S. theaters, including three Chicago-area locations and at
Mall of America, near Minneapolis. The seats sway, vibrate and jostle, but doen't provide the
added sensory effects, such as wind gusts, water sprays and scents, that create 4-D. Overall,
the motion is more subtle.
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4D Technology Cinema Installations

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1 Better LLC, est. 2004
1000+ screens, 31 states
124 Osseo Avenue North
St. Cloud, MN 56303
320-230-9140
On-screen advertising company that provides local ad content; featuring full-
motion video, music and voice-over.
BeforeTheMovie, Inc., est. 2008
700+ screens, 90 locations, 30 states
1499 Oliver Road
2nd Floor
Fairfield, CA 94534
703.425.7469
National, regional and local cinema advertising placement and production.
Full service company including HD video production, motion graphics,
national and local cinema ad placement and lobby promotions.
Cinema Scene Marketing, est. 2005
Lobby advertising. Screenvision
is Cinema Scene’s in-theater partner
9200 Indian Creek
Parkway, Suite 200
Overland Park, KS 66210
913.825.0574
Cinema Scene Marketing is an industry leader in bringing promotional
campaigns and digital signage solutions to the US exhibition market. Cinema
Scene manages the TrailerVision™ Digital Lobby Network, a dynamic mix of
vertical lobby displays and video walls.
CineSpots, Inc. , est. 2005
California mostly, small footprint
14041 Saratoga Avenue
Saratoga, CA 95070
408.406.3859
Cinespots creates and delivers digital pre-show to movie theaters in our
network. Our pre-show consists of local and national ads, alternative
entertainment, trivia and policy and is distributed via DCI compliant,
proprietary technology, Simply Cinema.
NCM, est. 2005
(NCN, est. 1985, RCM, est. 2002)
20,000+ screens, 1,600 theaters, 49 states
122 East 42nd Street
Suite 511
New York, NY 10168
212.931.8100
National CineMedia (NCM) is America’s Movie Network. As the #1 weekend
network in the U.S., NCM helps brands get in front of the movies via
FirstLook, it’s preshow entertainment program.
BEFORE MOVIE
THE
US Cinema Advertising Companies

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On the Wall, est. 2001
Western states, small footprint 15060 Ventura Boulevard,
Ste. 350
Sherman Oaks, CA 91403
888.668.4355
On-screen advertising and entertainment.
Pecan Pie Productions, est. 2003
Small footprint 3288 21st St, Ste 239
San Francisco, CA 94110
888-990-8777
PPP is a full-service advertising and production company with customers
nationwide. They have been the go-to resource for independent theater
owners looking to earn more money from their screens, and for surrounding
communities wanting to advertise onscreen for well over a decade. They
handle all design, production, and delivery of studio-quality ads and in-
theatre items (pre-show trivia, lobby signage, etc).
Screenvision, est. 1990
14,300 screens, 2300+ locations, 50 states
1411 Broadway, 33rd Floor
New York, NY 10018
212.497.0403
National, regional and local cinema advertising throughout US. On-Screen:
High impact digital via their “Front and Center” preshow program, rolling
stock commercials, 35mm slides. Lobby: Signage, promotions, coupons,
concession.
Spotlight Cinema Networks, est. 2010
200+ locations, Landmark Theaters, Angelicka Film Center,
Laemmie Theaters, Cineoplois Luxury Cinemas, CineBistro
1437 7th Street, #250
Santa Monica, CA 90401
310.309.5768
Sells on-screen advertising; Largest exhibitor/marketer of independent film.

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Table of Contents
Significant Historical Chief Executives in Cinema Advertising:
• Robert (Bob) Martin
• National Cinema Network (1985)
• Movie Tunes
• Unique Screen Media
• Cinema Advertising Council (Founding Member)
• Cinedigm
• Schult
• Chuck Battey
• National Cinema Network
• Bill McGlamery
• Cinema Screen Media – Atlanta, GA
• AccessIT
• Alex Gorovitz
• Century Media Network
• Cinecomm Digital Cinema
• American Cinema Advertising
• Kevin Romano
• Pro Motion Slides, Inc.
• CineComm Digital Cinema
• Cinema Scene Digital Media
• Kurt Hall
• Regal CineMedia
• National CineMedia
• Travis Reid
• Screenvision (owned by Shamrock Capital)
• Matthew Kearney
• Screenvision (owned by ITV plc and Thompson)
• Don Vassel
• Screenvision (1990 – owned by Thompson)
• Cinema Screen Media
• Stuart Halperin
• MovieTickets.com
• Hollywood.com (Co-founder)
• Stuart Harnell
• Cinema Concepts (Founder, Owner)

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Audience Entertainment, in partnership with Barco, will launch an interactive cinema advertising global network
for moviegoers using a new technology called iD-Interactive Dimension.
Timeplay is a mobile device platform that delivers interactive, multiplayer experiences in cinema that provides a
targeted portal for offer delivery and e-commerce.
Tangibal Media offers gestural interactive experiences in theaters with a floor projection system called “Playground”,
which allows users to interact with games and others interactive experiences through body movements. Developed in
association with Pearl & Dean for theaters in the UK and Norway, they also offer a 3D technology called “uPlay” that
allows users to interact with on-screen effects and games.
Mass Hysteria Entertainment introduced a system called “”SideFlick” that will enable audiences to interact with
films and other content on their smartphones.
WallFour Studios developed an interactive laser game called “Renga” that was introduced into movie theaters in
connection with special events.
Barco has launched “Escape”, a configuration that uses a digital cinema screen in front of an audience with two more
screens on the sides of the theater to create one wrap-around image offering audiences a more immersive experience.
Fraunhofer Institute for Integrated Circuits has developed a 360-degree camera system used to shoot the final
of the FIFA World Cup in Brazil. Footage will be shown in a special 360-degree OmniCam theater.
Avatron Development USA is creating special venues, comprised of high-tech attractions that could begin arriving
in cities by 2017. They will include a theater where a 3D movie is projected onto a 360-degree
dome-shaped screen and real-time facial replacement would be used to project audience members
into the action.
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Interactivity Development Companies in Cinema

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EDU motion, with four US offices, offers AMBIENT INTERACTIVE CINEMA. a true movie that interacts with the
audience, by making everybody active to determine where and how the story plot flows. The movie characters look
at the audience, ask for advice or help and wait for them to decide what to do, by getting individual clicks from an
Audience Response System. AMBIENT INTERACTIVE CINEMA combines the emotional power of cinema with the
engagement of social interaction, to generate vivid group experiences. The aim is to generate a common feeling and
excitement around a new product or concept; or to turn company/product information into a context-related and
ready-to-use decisional guidance, by applying principles and guidelines directly to real life situations and case
histories, in a highly immersive context.
Rev4Media is bringing Programmatic Advertising to the Movies. Rev4Media will license and implement AOL's
private marketplace tools to enable the first-ever programmatic selling of digital ads for movie theaters. The
technical nature of the system opens the door to audience interactivity, demographic data, targeted calls to action,
and live data--things we are used to seeing in programmatic. We don't need to depend on video ads alone, we can
take advantage of the platform to show interactive applications on the big screen that change in response to
audience participation, time of day, movie, etc. Leveraging a programmatic platform frees up an ad sales team to
nurture their relationships by adding new ad products (interactivity, targeted calls to action, retargeting data), while
leaving room for the small brands and advertisers they have not had the time to call on. Some systems take a movie
rating into account to build a pre-show and select ads that are appropriate. We go far beyond this to add data points
like movie name, genre, keywords and connected audience size to buy against. We know a movie's release date
months in advance, so brands have the opportunity to create an advertising experience that is more relevant to the
audience, increasing traditional metrics like brand/message recall and the moviegoers enjoyment of the experience
in general. Our solution is low cost, future proof, and delivers many more benefits than simply showing an ad on the
screen. As advertisers become more data savvy with their campaign spending, we are positioned to provide the
metrics they will need to make better decisions and have more impact.
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Interactivity Development Companies in Cinema

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Cinime uses audio watermarking and image recognition technology to enable users to unlock brand
and film-related content on their phones. During the interactive quiz, cinemagoers are invited to
answer a series of questions displayed on the silver screen, questions that are tailored to different
audiences and movies. If they get two or more questions correct, they can redeem a PlayStation-
sponsored prize after the movie or during their next visit.
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Timeplay delivers interactive, multiplayer experiences in cinema that provides a targeted
portal for offer delivery and e-commerce.
FirstLook and Shazam - elements of NCM’s FirstLook pre-show are Shazamable for moviegoers
looking to further explore and engage with the pre-show content before the trailers and feature film
begin.
Mobile Apps Used in Cinema for Interactivity

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CineLife, an app developed in partnership with the Art House Convergence, is designed
for art house theatres and their audiences providing information on showtimes,
trailers, special events for film enthusiasts who wish to attend Q&A’s with producers
and directors, special screenings, and film festivals. CineLife also allows users to
purchase tickets directly from an iPhone from any theatre that uses major online
ticketing services.
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With the explosive growth of mobile and the potential for advertising / targeting, exhibitors are seeking ways to
increase the number of tickets purchased online. Only 13% of movie tickets are purchased online whereas a majority
of the tickets sold for other live events are routinely sold online. In addition to advertising value, tickets sold online or
through mobile apps provide exhibitors with a wealth of data that can then be used to help enhance offerings by
catering to targeted individuals. Companies can enhance the experience for moviegoers while increasing revenues for
exhibitors. – North American Cinema Exhibitor Report 2016
Atom Tickets is a newcomer to the space and may be an ideal candidate for M&A activity.

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The Movietickets.com app allows you to purchase tickets directly from your phone if your theater
allows it. You can also browse showtimes by movie title and theater. When you browse a movie, you
are able to watch the trailer, view the poster, write a review, and find some general knowledge
about said movie.
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Fandango allows you to purchase your tickets right from your phone (if available at your theater).
You can browse showtimes by movie or theater, rate movies, and even create a wish list of movies
that you want to see. Fandango will then notify you when they start playing at a theater near you.
Mobile Movie Entertainment Apps

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Regal Mobile App - you can browse by theaters or by movie title, watch trailers, view
photos from the movie, purchase tickets, and even view your purchase history. If you are
part of the Regal Crown Club, you can sync or activate your account through the app.
AMC Theaters - in addition to buying and picking out your seats, you can also see what’s
playing in theaters near you as well as watching the trailers for those movies.
Cinemark Theatres app - you can find theatres in your area which uses the GPS on your
phone. You can also find showtimes for different movies at that theater, and even buy
tickets.

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Movie Night Out lets you search for showtimes by title or theater, see what others have to say
about the movie, invite friends, check in to the movie, and rate the movie. This app has a
feature called "Plan My Night." where you tell the app what kind of night you are having such
as a family night or date night. It can also recommend an activity that pairs perfectly with
your night such as restaurant ideas or live music events. If you are indecisive or feel like taking
a chance, you can always hit the "Surprise Me" button and the app will automatically choose
your movie and activity for the night.
IMDb is for getting information about movies, and is also a go-to app for
showtimes. You can use it to buy tickets when you’re ready to go to the
theater, as well as research films that are yet to come out.
Flixster - has a ton of features. On top of getting movie showtimes, you can connect to social
networks to share reviews, connect to the Rotten Tomatoes movie review website, watch
trailers, rate movies, and even connect to Yelp for nearby restaurants.
Moviefone - you can find movie times as well as where they are playing, you can buy your
tickets straight from the app, and it supports most of the big theater groups including AMC,
MJR, Emagine and others.

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Table of Contents
Advertisers are using audio recognition technologies on their smartphones to interact with movie theater audiences. In
movie theaters, pre-show ads can include the ability to pair with Smartphone Apps to deliver more information or content.
The Tone Knows – Spotlight Cinema Networks, sends a silent tone to movie-goers
smartphones when an advertisers ad or trailer runs during the pre-show. The tone can send
messages instantly or wait until the movie is over. The silent tones are only sent to those
who have opted in by downloading and installing Spotlight’s “CineLife” app.
SoundHound – Screenvision, uses in-house built, “Sound2Sound Search Science” listening
technology that is similar to Shazam’s fingerprinting.
Shazam – NCM, uses “listening” technology to recognize a digital fingerprint encoded into
the a/v file and then matched against Shazam’s database.
Top Audio Recognition Smartphone Apps/Technology

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Table of Contents
by Devika Girish
1. Build loyalty programs - any given day, your movie theatre can have a one-time moviegoer who doesn’t know his/her way around
the theatre, or a passionate fan. And the best way to get the one-time visitor to opt into a membership program or to continue to
delight your passionate fan is to send geo-located, personalized messages directly to each of them. These messages could vary from
special offers, to notifications targeted directly to them, based on their location in the theatre. This can be achieved by integrating
your mobile app with your loyalty management system.
2. Reach out to a specific demographic - while blockbuster movies carry general audience appeal, they represent a relatively small
fraction of the films that are released each year. In fact, one of the biggest challenges faced by the film studios and entertainment
brands today, is their ability to effectively engage with targeted audience to promote films with a more narrowly defined audience.
And in this challenge, one of the factors that plays a critical role, is optimization of marketing budget. This is where beacons come
into the picture.
These proximity detection devices allow entertainment marketers to implement highly personalized marketing strategies that can
cater to the needs and preferences of a highly niche audience. These traits about an audience can be studied based on their movie
feedbacks, previous ticket purchases, trailers viewed and more. Thus, when it comes to maximizing the efficiency of the marketing
budget around a movie, beacons are the best way forward.
3. Seat finding - it is quite common for moviegoers to lose their way while trying to locate their screens and seats. And the difficulty
level only goes higher if a moviegoer arrives late for the show. Though Wi-Fi has helped many a business solve the problem of
finding items in a store, unfortunately, this indoor location technology fails to work well in spaces where internet availability is not
assured. This is where beacons come into the picture.
How Beacons can take the Cinema Experience to the
Next Level

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Table of Contents
By installing beacons at critical locations inside the theater, fans can easily be guided to their seats. The precise mapping
capabilities of the Bluetooth transmitters mean that moviegoers can be directed to their seats quickly. This solution does not rely
on people having an internet connection, the only thing they need is a smartphone and the app of the cinemas they are visiting.
You can even leverage beacons to promote last-minute sales by reaching out to moviegoers at the exact time and place that they’re
most likely to want to pay for a ticket.
4. Drive mobile ticket sales among mall shoppers - according to a recent study, mall shoppers are five times more likely to go to
the movies than the average person, and when people view a movie trailer, they are three times more likely to go to see that
movie. Given this, beacons offer cinemas the great opportunity to send visitors prompts about campaigns they can opt-in to
receive. The mobile content could include a movie trailer or some other exclusive content as well as an automatic calendar
reminder, which will prompt them to purchase tickets on the opening day of the film.
5. Provide feedback
Beacons can also be used to offer movie-goers an easy way to offer feedback on a film after the screening is over and they exit the
venue.
6. Sell merchandise
Beacons also come with the potential to help cinemas create additional revenue via mobile-based sales of merchandise.
For example, you can use beacons to alert moviegoers about arrival of bobble heads, accessories etc., they can directly buy on
their phone and pick up from the theatre’s pro shop. You could even provide them with the option of collecting merchandise right
at the their seats.
Next Level

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1. UK’s Odeon Cinemas uses beacons to expand pre-show experience - Odeon Cinemas leveraged beacons to make the pre-show
a larger and more fulfilling part of the whole cinema experience. As a part of this plan, Odeon used beacons to allow
moviegoers to scan film posters with their mobile devices to see movie trailers and receive reminders when those films are
released in the cinema. Besides this, the Cinime app also pushed ticket discounts on certain films, and helped moviegoers find
the refreshments that they wanted to purchase while going in to watch the movie they have chosen. However, the best
advantage offered by beacons is that it gives Odeon the opportunity to gain more insights on the people visiting its cinemas.
According to commercial director Andy Edge, around a third of its customers, or 2.5 million people, have already signed up to
its loyalty scheme and a third have agreed to CRM. Given that, beacons can help them gain insights on visitor behavior in
theatres, by keeping track of average dwell time in the foyer etc. Adding on to that, beacons can also provide them with
theatre wide heat maps that can help entertainment marketers identify visitor movements within the cinemas, take note of the
hotspots and bottlenecks in theatre and use that data to make informed decisions on layout.
2. NBCUniversal leverages beacons to drive ticket sales among mall shoppers - In February last year, NBCUniversal leveraged
beacons and Wi-Fi to target mall shoppers with a campaign to drive awareness and ultimately sales for its upcoming film,
“Endless Love”. As a part of this mall program, NBCUniversal leveraged a beacon network which had these proximity detection
devices positioned throughout the common areas of shopping malls such as entrances, anchor stores, escalators and other
high-traffic, and high dwell-time areas. The campaign, allowed mall shoppers to opt-in to receive a combination of premium
digital downloads including the movie trailer and a calendar function that allowed moviegoers to opt-in to be reminded to
purchase tickets on the opening day of the film.
Next Level

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“Programmatic” ad buying typically refers to the use of software to purchase digital advertising, as opposed to the
traditional process that involves RFPs, human negotiations and manual insertion orders. For the publisher, the
technology allows him or her to sell their inventory in advance at a fixed price. Human input will still be required to help
optimize campaigns and formulate sophisticated customized campaigns and general ad strategies; however, fewer
humans will be required at the transactional level with new programmatic technologies.
“Real-Time Bidding” (RTD) refers to the buying and selling of online ad impressions through real-time auctions. The
winning bidder’s ad is then loaded into the webpage nearly instantly; the whole process takes just milliseconds to
complete. Thanks to real-time bidding, ad buyers no longer need to work directly with publishers or ad networks to
negotiate ad prices and to traffic ads. Using exchanges gives buyers access to a huge range of inventory across a wide
range of sites where he or she can cherry-pick the impressions they deem most valuable to them.
At the moment, it’s mainly online ads that are traded programmatically, but increasingly media companies and agencies
are exploring ways to sell “traditional” media this way, including TV spots and out-of-home ads.
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What is “Programmatic Buying”

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A “data management platform” (DMP) is a piece of software that sucks up, sorts and houses information, and spits it
out in a way that’s useful for marketers, publishers and other businesses. DMPs can help tie campaign activity and
audience data together in one, centralized location and use it to help optimize future media buys and ad creative.
Agencies, publishers and marketers all use DMPs.
Vendors that sell DMP technology to the digital media world currently include Adobe, Krux, Lotame, Aggregate
Knowledge, BlueKai, CoreAudience, Knotice, nPario and X+1.
A “demand-side platform” (DSP) is a piece of software used to purchase advertising in an automated fashion. DSPs are
most often used by advertisers and agencies to help them buy display, video, mobile and search ads. The advantage of a
DSP over a traditional Ad Network is the ability to buy, serve and track ads using one central tool, and to optimize
campaigns more easily as a result. Ad networks typically mark up the media they sell, too, whereas DSPs charge a simple
fee for facilitating a transaction.
DSPs now frequently work directly with advertiser clients, effectively replacing agencies when it comes to buying media.
Clients report that they still look to agencies for strategy and consultancy but are beginning to look to other third parties,
including DSPs, to help them actually purchase their ads.
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What is a D “?” P?

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Is owned by Comcast. Data used in the STRATA system includes historical box office trends,
individual theater attendance and box office projections for specific movies. Using
demographic data and ratings methodology from Nielsen, the system creates a TV - like
rating that can be compared to TV programs.
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SmartPlus
(Donovan Data Systems | Mediabank)
Media Buying / Selling Software Resources

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Table of Contents
Movie Marketing / Big Data Analytics Companies

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• Video On-Demand (Netflix, Amazon, etc.)
• “Screening Room” offering same day theater and home releases for $50
• Shrinking movie release windows
• Poor movie schedules and on-screen product
• Outpricing
• Expanding young families who don’t have the time to visit theaters
• Aging adults who can’t drive, have hearing loss, or anxious about crowds
• Virtual Reality - Oculus Rift/Samsung Gear VR ($100)
• Poorly managed theaters
• In-theater catastrophe or “potential of”
• Disruptive audience attendees
• On-screen advertising
• Too many trailers
• Weather
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Potential Threats & Disruptions in Movie-Going

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APPENDIX
Table of Contents

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Package: Avid Media Composer Adobe Premiere Pro Apple Final Cut Pro X
Version v.8 v.12 v.10.1.3
Street Price ~$1000 + Annual Support $50/month (CC Suite) $300
Platform Windows, Mac Windows, Mac Mac
Review "Best Editor for broadcast” "Most versatile “ "Threatened species “
Render Time
Sluggish when not rendering Avid native format
(DNxHD).
Screaming with Mercury Playback Engine GPU Crappy
Interface Files Families
.omf, .aaf, .mxf, .ale, .r3d, .edl, .afe, .avx, .avv, .avc,
.avb, .avs, .stl
.omf, .asf, .avi, .dv, .flv, .m1v, .m2t, .m4v, .mov, . mp4,
.mpeg, .mts, .mxf, .r3d, .sfw, .vob, .wmv
ProRes, avchd, dv, dvcpro, h.264, hdv, iframe, mojpeg,
mprg, r3d, xavc, xdcm, aac, aiff, bwf,caf, mp3, mp4,
wav, bmp, gif, png, psd, 3gp, avi, mts, mxf, tga, tiff,
Color Grading
10-bit; Look Up Tables (LUTs) speed process / Can
merge multiple color corections
16-bit, usually truncated to 10-bit; Look Up Tables
(LUTs) pre-sets
10-bit with cool tools: Auto-analysis, Match-Color and
Masks
Plug-In Ecosystem
Blackmagic, Boris, DigitalFilm, NewBlue, FilmLight,
GenArts, proDAD, (more)
58 Developers and counting… FxPlug 3 (Apple); a young environment
UHD+Stereoscopic 3D 2K / 4K / 5K / FrameFlexHD 2k/4K/ 5K+ (incl. RED raw) no
3rd party I/O
AJA, Blackmagic, Bluefish, Matrox, MOTU, (future via
"Avid Open I/O…)
AJA, Blackmagic, Matrox, GoPro (future via Mercury
Transmit protocol), some RED...
Camera as I/O: Blackmagic, Sony Cannon, ARRI, Sony
Noteables: Sony Vegas Pro - $400, Magix Video Pro - $400, Edius Pro - $700, Lightworks - $280, HitFilm - $380
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Video Editing Software for Post-Production

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Package: AVID ProTools Steinberg Nuendo
Version 12 7.0
Street Price $900 $1100 - $1800
Platform Mac OS X, Windows (32-bit, 64-bit) Mac OS X, Windows (32-bit, 64-bit)
Review
Prosumer, High End/Studio Production. Best for recording,
mixing, mastering, and stability.
Prosumer, High/End/Studio Production. Best for
songwriting, composing, MIDI capabilities, batch export,
advanced multitrack audio-to-picture editing
Render Time Up to 7.1 surround sound, Dolby Atmos Up to 13.1
Plug-In Ecosystem ASIO, AVID AAX, VST ASIO, VST
Noteable:
• Apple Logic ProX - $200
• Adobe Audition - $20/mo.
• Steinberg Cubase - $550
• Magix Sequoia - $2,975
• Cakewalk Sonar - $400
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Sound Production Software for Post-Production

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Projector Name Packages
Doremi CineAsset, Rapid and Rapid-2X
Qube Cinema
QubeMaster Pro, QubeMaster Xport,
QubeMaster Xpress
Quvis Wraptor
DVS Clipster
Fraunhofer IIS Easy DCP Creator Family
DCI Compliant JPEG-2000 Encoding Solutions
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Name File extension(s) Container Video coding format(s) Audio coding format(s) Notes
AVI .avi AVI any any Uses RIFF
QuickTime .mov, .qt Quicktime Many AAC, MP3, others
Windows Media Video .wmv ASF
Windows Media Video, Windows
Media Video Screen, Windows Media
Video Image
Windows Media Audio
Raw video format .yuv Supports all resolutions, sampling structures, and fps
MPEG-4 Part 14 (MP4)
.mp4, .m4p
(w/DRM), .m4v, .mov
MPEG-4 Part 12
H.264, MPEG-4 Part 2, MPEG-2, MPEG-
1
AAC, MP3, others
MPEG-2
.mpg, .mpeg,
.m2v, .ts, .trp
Program &
Transport Streams
H.262 AAC, MP3, MPEG-2 Part 3, others
HVEC H.265 (High Efficiency Video
Coding)
.h265
MPEG Transport
Stream
H.265
Successor to H.264/MPEG-4. Developed for 4K
streaming, but can support 8K. Double the compression
ratio of H.264 with same quality output
3GPP .3gp MPEG-4 Part 12 MPEG-4 Part 2, H.263, H.264
AMR-NB, AMR-WB, AMR-WB+, AAC-LC, HE-AAC v1
or Enhanced aacPlus (HE-AAC v2)
Common video format for cell phones
3GPP2 .3g2 MPEG-4 Part 12 MPEG-4 Part 2, H.263, H.264
AMR-NB, AMR-WB, AMR-WB+, AAC-LC, HE-AAC v1
or Enhanced aacPlus (HE-AAC v2),
EVRCVocoder|SMV]] or VMR-WB
Common video format for cell phones
Material Exchange Format (MXF) .mxf MXF
JPEG-2000 (JP2)
.jp2, .jpx, .jpxb, .jpm,
.mjp2, .mj2s, .jpc
RGB, CIE XYZ 12-bit color, 2.6 gamma,
wavelet based lossy compression
PCM, discrete audio
XML playlist and essence files also packaged in
container. Can save in lossless and lossy formats,.DCI
spec for picture encoding of Digital Cinema Packages.
Flash Video (FLV)
.flv, .f4v, .f4p,
.f4a, .f4b
Audio, video,
text, data
Adobe Flash Platform, VP6, Sorenson
Spark, Screen video, Screen video 2,
H.264
SWF, F4V, MP3, ADPCM, AAC. others Adobe Flash Platform
WAVeform Audio Format .wav WAV Uncompressed PCM, lossless Uses variant of RIFF, developed by Microsoft/IBM
Audio Interchange File Format (AIFF) .aif, .aiff AIFF Uncompressed PCM, lossless Co-developed by Apple
Advanced Audio Coding (AAC)
.m4a, .m4b, .m4p,
.m4v, .m4r, .3gp,
.mp4, .aac
MPEG-4 Part 14 MPEG-2, MPEG-4
Successor of MP3. Developed by Bell Labs, Fraunhofer
Institute, Dolby Labs, Sony and Nokia
MP3 .mp3
Compressed, lossy, MPEG-1, MPEG-2 Audio Layer
III
Common audio format for audio streaming. Designed by
Moving Pictures Experts Group
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Relevant A/V File Formats & Extensions

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Color Bits Per
Channel
Chroma Sub-
Sampling
Color Profile Color Depth Equation
Shades of
value per
channel
Equation
Total # of colors in
spectrum
8-bits 4:2:0 RGB | YUV (YCbCr) 24-bit true color 8+8+8 256 R(256)*G(256)*B(256) 16,777,216
10-bits 4:2:2 RGB | YUV (YCbCr) 30-bit deep color 10+10+10 1024 R(1024)*G(1024)*B(1024) 1,073,741,824
12-bits 4:4:4 RGB | YUV (YCbCr) 36-bit deep color 12+12+12 4096 R(4096)*G(4096)*B(4096) 68,719,476,736
16-bits 4:4:4:4 RGB+Alpha | YUV+A 48-bit deep color 12+12+12+12 4096 R(4096)*G(4096)*B(4096)*A(4096) 281,474,976,710,656
Adobe Processing Color Options
8-bit 256 0 - 255 16,777,216
16-bit 32,768 0 – 32,768 Tons
32-bit Almost infinite High Dynamic Range Color Mega Tons
Chroma Sub-sampling Explanation
J 4
Tells us how many pixels wide the reference block for our sampling pattern
will be – usually 4 pixels wide.
A 2 Tells us how many pixels in the top row get chroma samples (Cr,Cb)
B 2 Tells us how many pixels in the bottom row get chroma samples
Y
equals luminance component (determines how light or dark the
pixel should be)
UV
equals two chrominance components (determines which color
the pixel should be)
RGB
Red, Green, Blue color channels with values from 0-255 for
each channel totaling 16,777,216 colors in the spectrum
CIE XYZ
Tristimulus values defining Y as luminance and XZ planes
containing all possible chromaticities at that luminance
The higher color bit depth, the higher the color precision. Most consumer cameras (sub $30K)
shoot 8-bit color. Higher end cameras use 10-bit. Digital cinema cameras use 12-bit (RED ONE, ARRI).
4 (1) (2) (3) (4)
2
2
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Color Subsampling

Technologies in-cinema-2016

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