5 technologies that will mark (or not) the future of movie theaters

Movie theaters are, in themselves, an experience. But at the same time that solution manufacturers invite consumers to an entire technological race in their homes, large exhibitors are considering alternatives that seek to invite spectators to experience a collective and totally groundbreaking event in front of the big screen.

In the midst of industrial redefinition in terms of distribution business models, the rooms address a period in which technology is presented as a ally. It is nothing new: throughout the history of cinema, technical innovations (whether it was the implementation of sound, Cinerama, 3D o immersive audio, to cite a few examples) have tried to resolve uncertainties con more or less luck.

Currently, the consolidation of streaming services (in 2021 the 57% of Spaniards watched series or movies on VOD platforms according to the latest report Digital Society in Spain from Telefónica), the unpredictability that accompanies a post-COVID world and a notable rise in prices, leads the industry to propose and market new technological solutions to fight against eternal fear of empty rooms.

Some will succeed. Others will be forgotten. But it is worth taking a look to discover certain technologies that, inevitably, are already conditioning the production and post-production phase of large blockbusters.

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1. iBeacon: technological experience before entering the room

A trend that an important part of the industry defends is to make “going to the movies” a new concept. Gurus, integrators and executives defend that movie going experience and attend a moment of collective contemplation where the lights go out and the world pauses, by itself, is not sufficient. As confirmed with major sporting events, the way forward is to invite the spectator to get to the room earlier and provide an expanded experience. This is confirmed to Panorama Audiovisual Toni Island, commercial director of Cinesa: “Our goal is to make this experience unique and exclusive from the moment they decide to buy the ticket until they walk out the door after watching the film. And this means betting strongly on technology and innovation as key points of this differential experience.”

In this sense, technologies such as iBeacon and similar, a protocol developed by Apple based on Bluetooth low energy which allows you to interact in different ways when you arrive at the movie theater. The specialized portals BeaconZone y BeaconStac collects experiences that have already had their test phases in several rooms: check-in, information on waiting times, use of coupons, guiding the spectator to their seat, sending messages to mobile phones to notify the spectator when they sit down You have to put your cell phone on silent, or even be able to book tickets to see a movie at the moment the trailer is being projected on the screen.

It's not a new concept: large chains have been thinking about the possibilities since last year 2014. However, the cheaper technology and the improvement in smartphone ecosystem could give the solution a new chance.

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2. LED and laser projection

At a time when the director's look is transformed by hypersaturated LED panels o inaccurate HDR technologies (something pending to be solved thanks to the new Filmmaker Fashion), exhibition rooms are presented as an alternative to preserve the filmmakers' intentions. However, increasingly there is a gap between the visual expectations of viewers and what exhibition halls can offer. Faced with this situation, exhibitors propose alternatives to continue fascinating the public.

The inclusion of laser projectors It is still a natural evolution that allows expand color spaces and sometimes offer light sources with better performance. Many exhibition halls are already implementing them, and, in fact, festivals such as Cannes is betting with Christie on its standardization. Illa points out that Cinesa hopes that laser projection “expand” for the next few years.

Faced with the improvement of the projection, the LED cinema screens, which have among their “advantages” a smoother finish. vivid, less loss of luz, compatibility with higher resolutions and the possibility of expand seats while the projection rooms they become no longer necessary.

The Japanese and Korean market has already largely embraced these technologies and studios as 2020 Global LED Video Wall Market Outlook- Meeting Room, Sales Channel and Price Trend of LEDinside (TrendForce) point out that in 2023 one in eight movie screens will benefit from this technology.

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3. PLF and the panoramic

In 1952, the dream of Fred Waller: Expand the cinema experience by offering a first panoramic image. The system, called Cinerama, benefited from the use of three 35mm cameras with 27mm lenses to simulate the focal depth of the human eye and, from this way, shoot with an aspect ratio that could reach the 2.65:1. With the use of multiple projectors, large exhibition halls could offer a completely immersive experience. The project failed: only a handful of films benefited from the technology. The complications in production, the lack of interest of the most heeled images and the limited number of cinemas capable of displaying this projection made it fall into oblivion except for nostalgic people like Quentin Tarantino, which revived the format filming in Ultra Wide Vision The Hateful Eight.

Recently, the trend has been reborn in the form of PLF: Premium Large Format. He PLF, although it has different manifestations (which seek to improve the cinema experience), it has several examples in which it seeks take advantage of the sides of the projection rooms to favor the immersiveness. The proposal of Ice Theaters, for example, involves the installation of paneles LED on both sides of the screen, which are They will be responsible for duplicating the images to provide a environmental content, not narrative. The concept, in this way, moves away from what Waller could propose with Cinerama or what he continues to offer IMAX, which in the recent re-release of Avatar In China it managed to monopolize a third of the country's collection. Everything happens and everything is.

Ice Theaters technology, named Ice Immersive, has currently reached Ocina Granollers, contributing, according to the company, “greater sensation of speed and direction to a movement, enhancing a landscape or amplifying special effects in a smooth way.” Another alternative that has recently arrived in Spain is ScreenX of CJ 4DPlex, which is committed to the use of two additional large format side screens to offer a 270º viewing sensation. On this occasion, it benefits from “image reconstruction” technology, although the firm presents in its website different production tools to achieve a better finish. Cinesa is one of the companies that has implemented this technology: “With technologies such as IMAX or ScreenX (…) we manage to differentiate ourselves from a technological point of view and provide our customers with new reasons to go to our cinemas to enjoy the Seventh art. From what we are seeing, this is a trend that is here to stay,” says Illa.

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4. HFR in the cinema

In the battle for resolutions, he immersive audio o to color fidelity, there is an element that has always been the great forgotten: the HFR (High Frame Rate, or High Frame Rate). Jack Kline, former CEO of Christie and current head of Cinity, shows this reality: “We have been making movies for 100 years and we continue making movies at 24 frames per second.” Of course, Kline sweeps home, but this does not mean that the industry is mobilizing to be able to bring these high speeds to the showrooms.

The industry seems shyly observe the trend. The always restless The Lee, after betting on 3D with the Oscar winner The life of Pi, shows with Gemini Project in 120 fps, being released in 60fps. The movie was a complete commercial failure and some viewers criticized the sensation achieved on screen, although they recognized improvement in action scenes.

James Cameron, another lover of technology and popcorn, is filming the sequels to Avatar a 48fps with the intention of consolidating the format in cinema, just as he managed to revive (even if only for a few years) the 3D. In Spain, there are many exhibitors that already promote the HFR as a technological attraction for viewers. Among them, chains like Cinesa, Helmet o Kinépolis, and other independent displays.

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5. Cinema and effects: 4DX, Buttkicker, D-Box…

Expanded sensation for some, circus for others: in any case, the rooms 4DX They advance decisively across half the world. Expanded experience of rooms 4D (extended in theme parks), this brand also developed by the Korean company CJ 4DPlex coordinates the cinematic experience con seat vibration and movements, wind, rain, snow, fog, odors, strobe lights and so on until 20 effects.

The technology, used for recent releases such as Doctor Strange and the Multiverse of Madness, Top Gun Maverick o Jurassic World Dominion, continues to grow with new features such as inclusion of four screens (the main one, one on the spectators and two on the sides, improvement of the previously mentioned ScreenX concept) or the combination with augmented reality glasses, although this technology is only compatible with pieces created specifically.

Numerous companies are looking to join the train of immersiveness. ButtKicker, with a significant presence in the United States and Asia, has developed a system that is installed in the seats and improves the cinema experience by translating the lowest frequencies into vibrations. On the other hand, D-Box continues to delve into the possibilities of tremors, this time adding programming based on the images on the screen.

At the same time, numerous rooms are opting for the inclusion of premium rooms that complement the visual experience with mobile chargers, tablets to order from a food and drink menu, reclining seats or individual LED lights.

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Return to the rooms?

The pandemic and the improvement of home technology has invited viewers to rediscover home cinema. Along the way, the silence of tension, the laughter of comic moments or the murmur of surprise at a script twist in the theaters are lost. However, the lack of regulations, the low cost of a monthly subscription to a streaming platform or the comfort of home means that movie theaters have had to redefine your concept.

At interactive, technological and immersive experiences that we have reviewed, which seek to make a big difference with the living room or the mobile device, other alternatives whose objective is that the collective experience acquires new dimensions. Live viewings of major sporting events, such as soccer games, series premieres or the mere live monitoring of the final of Eurovision (encouraging participation through mobile phones) are presented as alternatives for return to the rooms and again, connect with the world after a period of isolation. In the end, it's all aboutreinvent yourself”, as Illa remarks: “We provide customers with new ways to enjoy the cinema.” Among these alternatives, the commercial manager of Cinesa lists the possibility of Rent a movie theater, play a video game, or watch operas, plays, and documentaries., business models “that can coexist completely with the most traditional cinema.”

The exhibition rooms are located in a crossroads. It's not the first time. First was the television, then he Internet, and now the streaming platforms. The moviegoer, after all, will not give up the rooms. But will technology be the solution that can return cinema to the general public?

A report by Sergio Julián Gómez

Other articles on Christie, Cinesa, Cinity, CJ 4DPlex, Ice Theaters, Ocina