CYPRESS, CA - Christie, the leader in digital cinema projection technologies, is pleased to confirm full production, shipping and installation of the latest generation of 4K-ready DLP Cinema projectors, the Christie Solaria series, beginning with the Christie CP2220. The Christie CP2220 digital cinema projector features Texas Instruments' (TI) (NYSE: TXN) next generation Series 2 DLP Cinema technology. Shipments began early January to North and South America, Europe and Asia and are now installed and showing feature films worldwide, including Australia, Canada, Korea and the United States. With orders arriving daily, Christie continues its lead in digital cinema deployment resulting in 70% of all digital cinema installations worldwide since the introduction of DLP Cinema projectors - which Christie was also the first to market.

Designed to meet all Digital Cinema Initiatives (DCI) specifications, the Christie Solaria is fully upgradeable to 4K digital cinema and features Christie Brilliant3D technology, providing the ultimate, most realistic 3D experience with the lowest cost of operation.

"Our manufacturing facilities are in full production ensuring that we keep pace with this overwhelming demand for the new Christie Series 2 projectors," said Craig Sholder, Vice President of Entertainment Solutions at Christie. "With the spectacular success of 3D movies like Avatar, exhibitors realize that digital cinema is no longer an option, it is a strategic imperative. The Solaria Series is the most practical, cost-effective solution today, based on time-tested, highly reliable DLP Cinema technology."

Manager Vince Butler of CLACO Equipment and Service Inc. (a specialist in new cinema installations, upgrades, and maintenance of both the projection booth and auditoriums) observed, "In order to remain competitive, exhibitors have to be proactive when deciding which projector to buy today, and upgradeability to the right 4K technology is important. The main advantage of Christie DLP 4K vs. LCOS 4K is its light output capabilities. The DLP chip can handle the heat build-up better. LCOS technology does not allow for extreme heat to be dissipated, and this can affect the light output in larger venues."

Integrity Entertainment Systems, LLC, an authorized digital-cinema reseller for Christie, placed hundreds of orders for the new Solaria Series 2 projector, which it will install throughout the United States. Integrity president Gary Engvold wanted to provide his customers with the largest selection of 2K and 4K cinema projectors on the market. He also wanted to ensure that his customers' technology investment is future-proof.

"Some of our customers specifically requested Christie's next generation of cinema projectors because they offer a 4K upgrade option," remarked Engvold. "It's inevitable that 4K is the future of cinema, but I truly believe that Christie DLP Cinema projectors are the best choice for our industry because they produce more light with less energy. In fact, the energy and lamp savings from using Christie versus the LCOS technology over a ten year period is huge. It's almost enough to pay for the projector itself."

Engvold added: "You can tell Christie put a lot of thought into this new product. In addition to offering a 4K upgrade option, they also made a lot of other improvements to the new Series 2 platform. The units are much easier to service and simpler to operate. For me it's a ‘no-brainer:' Christie really did listen to what their customers wanted and needed. The Solaria line is the only way to go."

"It's all about choice," said Craig Sholder. "With Christie Series 2 projectors, exhibitors can choose from the widest range of components, including external or integrated media blocks, to complete their systems. They can also create a top-of-the-line 3D solution using any of the leading 3D technologies on the market. Christie is committed to supporting its customers and protecting their technology investment."

In addition to the Christie CP2220, the new Solaria Series of 4K-ready digital cinema projectors also includes the Christie CP2210 and the Christie CP2230.

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Total tweets for February 19th Openers

Shutter Island had a very strong Monday with 1,830 tweets. Continuing with the comparisons I drew on Sunday, The Wolfman got 969 tweets on its Monday before release, Daybreakers got 830 and Legion got 612. This is doing very well but based on the tweets it seems as though horror and thriller fanboys alike are flocking to its side on Twitter which will raise its ratio. Based on these Monday numbers it would seem as though 10,000 to 12,000 tweets will be in order by end of day Thursday. Even with a raised ratio estimate this huge number no doubt points to a > $10 million opening day.

Check back tomorrow to see the Tuesday numbers and more comparisons. Follow @AlexBOXOFFICE on Twitter for additional updates.

Twitter tracking history. (For 2009's ratio history please check here.)

The ratio is the number of tweets per $1 million of Friday Box Office gross. A film with 1,000 tweets and a $10 million Friday would therefore have a ratio of 100. In general, films that appeal to very young or older audiences have lower ratios since those audiences are not big users of Twitter. By comparison, films that appeal to younger audiences (18-35) have much higher ratios since those audiences are much more active users of Twitter.

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Ede, Holland - The CineMec Complex in Holland is a state-of-the-art Cineplex which doubles as a conference center. Housed in a contemporary building with striking architecture, the award-winning enterprise, owned by Gerben Kuipers, is located in Ede, just 50 minutes from Amsterdam.

During the summer of 2009, the operation made its boldest statement yet with the opening of the new 3D CineMec XL - the largest 3D screen in Holland - with 20,000 watts (RMS) of purpose-designed QSC cinema surround sound helping to build the atmosphere.

The auditorium can host over 1,000 visitors and some seats can be lifted to the ceiling to convert the cinema into a multi-purpose hall for concerts, congresses or similar events.

Dutch-based specialists, FTT Filmtronics B.V. (FTT), based their audio specification around a matched system from QSC Audio, using no fewer than 44 loudspeakers.

This includes a combination of their SR-46 4 x 6.5-inch two-way surround loud speakers, SB-7218 dual 18-inch subwoofer, SC-444 four-way (4 x 15-inch) screen channel speakers. These loudspeakers are powered by ten QSC DCA2422 and four QSC DCA1222 two-channel digital cinema amplifiers, controlled through an advanced DCM30 processor.

The DCM30 processor provides signal processing and monitor functions in a single integrated system, optimizing loudspeaker performance and covering cinema systems ranging from three to five screen channels, 5.1 and 7.1 systems. DCMs are also compatible with all cinema processor formats including Dolby Digital Surround-EX and DTS-ES.

Thomas Ruettgers, General Manager of FTT's head office, Film Ton Technik in Germany, says: "There are quite a number of special features that have to be taken into account when implementing such an extraordinary project. QSC products are perfectly designed to meet all these special requirements - that is why we decided to install their audio systems at CineMec in Ede."

Danny Pickett, Key Accounts Manager with QSC Audio Products LLC, stated that it had been a pleasure to work with FTT to satisfy the client's unique needs. Danny states, "Working in this exciting space has really paid off for all involved - especially for the audiences."

With a seating capacity for 1,050 people, 160m2 (20m x 8.10m) of silver screen and two Christie digital projectors, CineMec XL has immediately established itself as the leading digital 3D cinema in Holland.

Having also been the first company in Holland to "go digital" in 2003, CineMec today has no less than eight modern digital theaters.

It is also proving to be an important venue for hosting key conferences for national corporations - offering facilities ranging from live satellite transmissions in high definition format on the big screen to infinite digital sound and image potential for audio-visual presentations. In fact, part of the ICTA (International Cinema Technology Association) seminar took place there in the summer of 2009.

CineMec XL kicked off the summer 2009 season with a specially-constructed 3D program - including 'U2 3D' to coincide with the band's concert in Amsterdam Arena on July 20-21. It is using its new 3D system, with passive 3D glasses (each eye served by its own projector, each equipped with a circular polarization system). This means that both the left and the right eye receive only the images provided by its respective projector.

The demand for 3D films in Holland is increasing rapidly they say, and spread over a seven week period, CineMec registered 3,836 visitors to the film Bolt in 2D as opposed to 5,168 to the 3D version of the same film. This developing worldwide trend was confirmed during the 2009 International Cannes Film Festival, when the latest 3D animation film Up from Pixar opened the festival to positive press reviews.

 

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For the first time since week one of 2010, there will be less than two openers this upcoming week as only Shutter Island debuts.

Shutter Island had a very impressive week on Twitter as it accounted for 3,594 tweets. It was no doubt helped by its Super Bowl Ad which was very well received. In terms of comparisons, The Wolfman got 1,429 tweets its week before release, Daybreakers got 1,733 and Legion got 1,223. It's difficult to tell how much of its buzz was chatter about its Super Bowl commercial as compared to organic growth of desire to see the film but regardless there is significant buzz. Thrillers generally see a ratio of ~1,000+ but the Scorsese name should help to draw an older audience. I'd expect a ratio here in the range of 600-700 at this early stage. Based on these tweets and ratio expectation it would seem as though it is set for $10 million+ on its first Friday.

Check back Monday night for analysis of the Monday tweet totals. Follow @AlexBOXOFFICE on Twitter for additional updates.

Twitter tracking history. (For 2009's ratio history please check here.)

The ratio is the number of tweets per $1 million of Friday Box Office gross. A film with 1,000 tweets and a $10 million Friday would therefore have a ratio of 100. In general, films that appeal to very young or older audiences have lower ratios since those audiences are not big users of Twitter. By comparison, films that appeal to younger audiences (18-35) have much higher ratios since those audiences are much more active users of Twitter.

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The weekend of love turned out to be the weekend of dollars as the Box Office exploded on Friday. Percy Jackson and the Olympians: The Lightning Thief opened up with an impressive $9.78 million on Friday, giving it a ratio of 2,018. This was very close to my prediction of $8 million as the Where The Wild Things comparison I used proved to be very applicable. Chalk up another win for Twitter tracking as many in the industry didn't think the film had this much in it. It is in line to gross $44.5 million over the four day weekend.

upcoming021210.jpgValentine's Day proved the be the cream of the crop on Friday as it wrapped its arms around $14.63 million, the biggest Friday of any opener this year so far. This gave it a ratio of 919, very close to Dear John's 884 last week. I had estimated a $11 million Friday which proved to be too conservative. It is on course to make a very impressive $58 million by Monday.

The Wolfman also was very strong with $9.85 million Friday, and a ratio of 670. This opening was quite a bit stronger than my prediction of $7 million and it appears to be set for a $32.5 million weekend.

Check back tomorrow for a preview of the lone upcoming weekend's wide release film: Shutter Island. Follow @AlexBOXOFFICE on Twitter for additional updates.

Twitter tracking history. (For 2009's ratio history please check here.)

The ratio is the number of tweets per $1 million of Friday Box Office gross. A film with 1,000 tweets and a $10 million Friday would therefore have a ratio of 100. In general, films that appeal to very young or older audiences have lower ratios since those audiences are not big users of Twitter. By comparison, films that appeal to younger audiences (18-35) have much higher ratios since those audiences are much more active users of Twitter.

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