Audio Media - September 2008 - (Page 72) 09|08 AM Cinema Expo International 2008 In the mix for a full-on concert experience, TERRY NELSON wonders just how an important an ingredient ‘alternative content’ is? he th edition of Cinema Expo International at the agreement with the Metropolitan Opera for live RAI Convention Centre in June showed that the cinema transmissions. exhibition industry is still very much alive Paul Chesney of Arts Alliance said that cinema is an and well! ‘alternative’ venue that can swing between live events D-Cinema figured prominently in the seminar and ‘classic’ cinema with one-day screenings. Their programme and, by and large, it can be said that this portfolio includes La Scala and the Royal Opera House, is at last underway, with the full implications of the including ballet. technology now being discussed. For Evan Saxon of D&E Entertainment asked some, the new turn of events will be too the question: “Are you in the cinema business, much; for others, an opportunity to be or the entertainment business?”, before exploited. making the important statement: “Sound An aspec t that is finally being quality is very important to content, in fact, it recognised as an important ingredient is a vital ingredient.” Well, well… for success is alternative content, and a With people such as Sony and Disney comprehensive seminar was devoted to creating new divisions for alternative content this ‘new frontier’, with contributions from in 3D, things are indeed moving. However, in Europe and the USA. my opinion, there are still serious issues that So what is ‘alternative content’? need to be addressed concerning sound, and Opinions do differ slightly, but it could be three main questions came to mind during said that it covers everything apart from the presentations. current releases of feature films. • How and where is the mix done? Charlotte Jones of Screen Digest • How will the average cinema sound defined it as “…events (mainly live), system translate the audio? The Alcons Prototype. media and venue-based” (including gaming, • Lip sync! This was often way out, and education, and corporate presentations, etc). Though still painfully so with some programme a niche market, it is evolving as it opens venues to a wider material. audience. There needs to be more emphasis on sound, and just Drew Kaza of Odeon/UCI pointed out that music saying, ‘the audio is 5.1…’ is not enough. In most of the does not necessarily mean big acts and that the most examples shown, the sound was very much behind the important aspect is regularity, with programming being screen, with virtually no surround or envelopment. as diverse as local or upcoming bands, or the Royal Opera A common failing is that the mix just does not House and Glyndebourne. translate to a large space, hence the first question. If you Rafael Urio, Yelmo Cinemas/ are mixing in a broom cupboard for Spain, described the concerts by a control room, it will not work (and I the Spanish supergroup Héroes speak from experience). del Silencio! as being a win-win For concerts, the sound system situation, where supplemented will have to be able to recreate the ticket prices for the cinemas were live experience and in many cases, still far lower than the concert this will require an upgrade of the prices, the latter being sold out in installation. minutes. An important point was This could open up a new that the group and management oppor tunity for loudspeaker were very motivated to do the manufacturers for systems that can cinecasts, and that work ing handle both cinema and concert The new JBL. with people with vision is the way sound in the manner to which they are forward. accustomed! However, it is clear that to get all of the Marc John, Picture House cinema group, noted benefits offered by alternative content, it will not be on that alternative content could be up to 20%-30% the cheap. ∫ of programming. The company does full project Thanks are in order to the CEI team for their kind management for events and has just reached an collaboration. T A possible course of action for concerts would be to install a supplementary sound system. We asked the hire company, Britannia Row, for their view (thanks to Mike Lowe). “Unless a cinema has the necessary physical infrastructure for the temporary installation of supplementary sound system, it is usually not financially viable (unless it is a really special event that could command a very high ticket price to make a temporary installation financially economical). “If they are going to show a season of programmes, the best course of action would be to upgrade the installation entirely (although the expense of a temporary installation could become more viable as certain related costs would be amortised over several days or weeks). “We have done a variety of film and DVD premières in concert venues, and these are more conducive to the concert experience due to the size of the hall. Concert levels in a cinema may prove rather frightening!” 72 AUDIO MEDIA SEPTEMBER 2008
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