Omnex Newsletter: October 22

8am

10pm daily.

Discover…

the October 2022 issue

Affordable laser wows the crowds at the new Chiswick Cinema On p.22

WIN!

Seeking efficiency? Why not look at the benefits of a modern screen.

Phil Clapp reflects on the success of this year’s National Cinema Day.

2022’s biggest event? Top Gun. And Omnex was at the premiere.

rising energy costs make laser compelling? We look at the maths.

We’ve teamed up with Christie to offer goodies in a free prize draw!

46We’ve

got our eye on you in a good way: our NOC+ monitoring services.

60Are

you ready for 3D in your cinema? You should be… Avatar 2 is coming!

62RAID:

the lowdown on a storage solution that’s anything but redundant.

Get in touch with us at Omnex…

Omnex is part of the MPS group.

It’s all four the taking...

WE ARE REALLY pleased to share our 64-page bumper issue! We started our newsletter with just eight pages back in October 2019, and here we are — three years on — with eight times the content! Perhaps our calling is actually in Distribution!?

For those who haven’t seen our Newsletter before, it is our version of an industry update, with items written by and based on the experience of the team at Omnex. We like to give a balanced appraisal of technologies that we

With

is

work with, ones that may well find a good home in your cinema.

As well as being distributors of all major cinema technologies, don’t forget we also still run with our four core offerings: (i) affordable pay-monthly service plans, (ii) our dedicated website shop at omnex.co.uk, (iii) our seating division, and (iv) our finance options to support the broad range of technologies and services we provide.

AND SOON THE clocks go back… If that was the summerseason, where blockbusters ring in the till, does it feel a little as if we’re still waiting for some major releases? Undeniably, this year’s wake-up call was the unveilling of the long-anticipated “Top Gun: Maverick”, now in its 20th week at the cinema. The film has secured its current position as the 8th

highest-grossing film at the boxoffice. That’s great news. Here’s some more… We have big titles still to come in 2022. If you were at the recent Distributor Slate Days, you’ll have had a chance to catch ComScore’s take on the 2022 box office so far — there’s a potted version on the opposite page if you missed it. It makes for healthy reading.

Equally upbeat and healthy reading is our Omnex newsletter. I encourage you to read all about our services that help to make technology an enabler of a growing cinema sector. Enjoy!

To £1bn... and beyond

THE UK AND IRISH box-office is set to exceed £1bn by the end of the year — if you were part of the audience at the recent Distributor Slate Days, held in London on the 20-21 September at Picturehouse Central that is the message you will have heard from Lucy Jones at ComScore. By any measure, that’s a pretty positive outlook on the state of the cinema sector in our first post-pandemic year.

The estimate from Gower Street’s weekly State of the Market report suggests that we can expect to see a final Q4 boost as cinemas start screening the autumn and winter slates,

seeing the year out on a muchneeded high.

Hearts [and tills] will have been warmed by recent headlines and comment such as this: “by the end of July, we had already surpassed the total for 2021” and “Top Gun: Maverick debuted at No1 with £15.9m — the highest ever opening for Tom Cruise”.

From home soil, we have seen both Belfast and Downton Abbey: A New Era as the highest grossing British titles of the year.

Event cinema has also paid dividends this year, notably with Prima Facie, starring Jodie Comer. It debuted with £1.4m and went on to £4.7m, becoming

the highest-grossing Event Cinema release of all time. There is plenty to look forward to as well, not least the latest outing in the Marvel Cinematic Universe — Wakanda Forever — in November, and, of course, Avatar: The Way of Water in December.

That represents some compelling content to get your audiences firmly into their seats this Christmas. Roll on the big releases!

A new costeffective LMS-TMS solution

MOVING TO A full TMS software solution often required hardware that was prohibitive for smaller operators. At Omnex we saw this problem firsthand. To help resolve it we have made available a new low-cost large-capacity Library Media Server (LMS) for the TMS software to be hosted on. Our new Omnex LMS features 6 x 8TB Drives in RAID 6 for robust data storage, CRU Drive Bay for ingest, USB ingest, APC UPS monitoring support, Robust SSD OS system, 16GB RAM, 1GB/4GB or 10GB Network Options, SNMP Monitoring of RAID Status via Omnex NOC services, 3 Year

Hardware Warranty, and a 2U Chassis (requires 800mm deep rack or will fit in a projector pedestal)

PRICING BUNDLE for a single-screen, 3 Year System: 3 Years AAM Screenwriter TMS Software Licence, 3 Year Hardware warranty (Ex Monitor and Keyboard), 36TB LMS – 22TB of usable Storage space, 1GB Network (Suitable for 1-5 screens), 21.5” Monitor, Keyboard/Mouse, Installation Included into an existing suitable rack or projector pedestal. Additional network links or network switched may be required.

THE COST? £3,495 ex vat

Additional licences per screen / year to more than one screen are discounted to match the included 3 years.

Contact sales@ omnex.co.uk

RECENT JOINER HAMISH BLAIR has hit the ground running as MPS’s new Head of People Experience. With a new take on how to turn boring HR into a more personable affair, one that is intrinsically linked to the culture of the company, his People Strategy will support Omnex, MPS and our sister group Chinagraph as they continue on the road to success. His strategy is centred around securing strong foundations — for example ensuring that policies and processes are up to date — then considering who we are as a company, and representative of our staff. Hiring, developing and retaining the best people is a critical piece of the puzzle. Off to a running start, the People Team is on the way to making true the MPS Group’s promise to be one of the best companies to work for by 2025.

A REMINDER TO cinema folk — you are invited to attend any or all of the UK Cinema Association’s Autumn round of regional meetings (see dates below), which give you the chance to meet and network not just with a wide range of Association members, but also with colleagues from across the wider UK cinema industry.

SCOTLAND: Grosvenor, Glasgow –Weds 5 October

WEST OF ENGLAND: Little Theatre, Bath – Thurs 13 October

NORTH AND MIDLANDS: Arc Cinema, Beeston – Tues 18 October

WALES: Chapter, Cardiff –Thurs 27 October

LONDON AND SOUTH EAST: Barbican, London – Tues 1 November

NORTHERN IRELAND – Moviehouse Cityside, Belfast – Weds 16 November Exact details are to be confirmed, but in general terms all meetings start with a networking lunch at around 1pm and continue into at least the early evening. To find out more or to register your interest in attending, email maria. constantinou@cinemauk.org.uk

WHEN OMNEX WAS asked to bring big screen entertainment to a multi-use studio auditorium to complement the larger full-time cinema at the same location, we needed to find a solution where speakers could be permanently fitted but out of the way for daytime use. The auditorium had an existing lighting grid system installed and the KCS SR29-N speakers provided an ideal solution when combined with the clamp mount brackets, that are installed on the front most lighting bar.

Combined with two KCS fourchannel amplifiers, a Trinnov Ovation 2 processor and a GDC Supra 5000 projector, the venue will benefit from a fully installed 7.1 audio system which can be setup for cinema use in the minimum amount of time, with the minimum number of technicians.

KCS: a perfect fit in a multi-use studio space

The venue now has a fully installed 7.1 audio system which can be very simply set up for cinema use in the minimum amount of time.

Don’t miss the UKCA autumn meetings!

Projectors are only half the picture... Why not replace your screens?!

In the drive for efficiency, cinemas often think only of the projector. As Geoff Newitt explains, it’s wise not to ignore a new screen’s benefits.

In most cases, you will find that a new screen pays for itself in savings very quickly

ENERGY COSTS HAVE risen over the past year, as we all know. The impact on your cinema’s running costs is clear —but there is a relatively simple way that you can reduce the power consumption at your site. Clearly the biggest change you can make is to replace your projector and install a new power-friendly laserbased projector — but we do understand that this is not an option for every one of our customers. So why not look at the difference that a change in screen can deliver to your electricity bill?

Over time your screens’ surfaces will deteriorate, dust, and other airborne contaminants will reduce the efficiency, even vandalism has an impact, with fizzy drinks and sweets being common items that the screen surface is damaged by. During the years that the screen is installed, the projector will be calibrated

by your service engineer to maintain the correct brightness, increasing the light output and the electricity consumption of your projection system.

IF YOU PLAN TO keep your current projector, then you could consider a cost-effective update of your screen surface. Depending on how long your screen has been installed, you could see a considerable increase in efficiency allowing you to reduce your light output from your projector, which in turn will reduce electricity consumption, and in

some cases, reduce the lamp size introducing a purchase cost benefit with a longer lamp life further decreasing your expenditure. In most cases you will find that the screen pays for itself very quickly. One such venue to have recently replaced its screens is the Mallard Cinema, in Guernsey. An independently owned four-screen, the Mallard provides the island with it’s only big screen entertainment — and thanks to the help of Omnex engineers is now delivering a brighter image to cinemagoers.

IF YOU ARE REPLACING your projector, then you should consider changing the screen at the same time. Depending on the size of your screen, and the shape of your auditorium it maybe beneficial to consider a new surface with a gain that will reflect more of the light back towards your customers (see inset image left). This increased light reflection will allow the projector to run at a lower power level, it can also occasionally mean that we can specify a lower output projector creating an overall cost saving on the entire installation package.

IF YOU KNOW THE size and type of screen surface you need, let us know and we can order a replacement for you, but if you need help with the size you need to order, let us advise you on the perforation type, the screen gain, and other considerations such as whether the screen is installed in a traditional frame with masking, or a wraparound frame. Our engineers can help, we can survey the installation and talk through the options available.

Depending on how long you have had your screen installed, you could see a big increase in your power efficiency if you replace it for a newer type

Success of the event exceeded all hopes, with more than 1.46m admissions on the day

National cinema day drew the crowds in to celebrate the big screen. The UKCA’s Phil Clapp reflects on a successful campaign.

WHEN YOU READ THIS, National Cinema Day — Saturday, 3 September — will be a distant but hopefully positive memory. Brought together by the crossindustry body Cinema First, with support of the UKCA, the Film Distributors’ Association and key players on both sides, the day was conceived primarily as a celebration of the place of cinema and cinema-going in the UK public’s hearts.

Backed by a marketing campaign across broadcast, print, online and outdoor, the aim was to excite the public, not least with heavily-discounted tickets at all participating sites at a time when household budgets are under pressure.

Success of the event exceeded all expectations. With support of colleagues in distribution and the involvement of over 570 UK cinemas — including major multiplexes, regional chains and a large number of smaller venues — National Cinema Day delivered in spades.

We saw over 1.46 million admissions one the day — an astonishing figure that knocks those seen for previous events of their kind in the UK (including the

£1 Cinema Day in 1997) out of the park.

Equally importantly, feedback from cinema staff and on social media was that the event produced a huge sense of excitement and celebration in returning audiences. Being so close to the sector, it is easy to forget the escape that a trip to the big screen is for so many. National Cinema Day was perhaps a wake-up call to remind us of all that we collectively represent.

AND THAT BRINGS ME to a final point, which is a huge thank you to those across the industry who showed their support to National Cinema Day, extending the reach of our marketing across their own social media and other channels. It was noted and appreciated and undoubtedly had an impact in driving the numbers to such heady heights.

In terms of what’s next, it’s still early days and we continue to analyse a number of aspects of the day, but fair to say I think that none of us is ruling out the possibility of repeating the exercise in 2023. So stay tuned!

Upgrading Stornoway’s big screen experience

Detailed preparation meant the An Lanntair upgrade on the Isle of Lewis recently passed off seamlessly

Darren Briggs heads north to the Outer Hebrides to upgrade a community gem: An Lanntair, the cultural hub of Stornoway

STORNOWAY ON THE Isle of Lewis

hosts An Lanntair, a multi-arts venue that houses an art gallery, theatre/ cinema, a dance studio, restaurant and bar. Opened back in 2005, the 200-seat auditorium was initially installed with 35mm film projection which we then replaced in 2014 with digital projection technology.

In 2020 the audio system received an upgrade from the Omnex team, helping to improve further the big screen experience provided by the

venue. This audio upgrade included allnew speakers and cinema processor. Now, to ensure it continues to provide the best show possible, the venue has upgraded to the latest laser light source projection. This delivers a welcome reduction in running costs and it also enables far brighter 3D projection — all in time for the release of “Avatar 2”.

AT THE TIME OF THE original digital installation, we had installed LANsat as well as a Screenwriter TMS system

which was all neatly housed within the projector pedestal. As the new projector had a slightly larger footprint compared to the outgoing digital projector, a complete new pedestal was required.

A Dolby IMS3000 server partnered the NEC NC1402L projector. This made the installation slightly more challenging since the TMS, networking equipment, LANsat and advertising server all had to be fully removed and then re-installed and wired into the new pedestal. 3D is also provided via Xpand Active glasses.

BEING ONE OF THE harder to reach venues on a relatively remote island, full pre-configuration of the projector was carried out in the Omnex workshop prior to being transported together with the new pedestal, accompanied by our own engineer to the venue.

The installation day was planned meticulously to ensure that all could be completed quickly, with work starting promptly at 9am. Of course the cinema was back on screen, fully commissioned and ready for the 7pm show of “Nope”.

The day was well planned to ensure all work could be completed quickly

It was Top Fun too…!

THIS YEAR’S BIG CINEMA wake-up was the unveiling of the long-anticipated “Top Gun: Maverick”, which brought muchneeded footfall to the box-office.

To kick off one of the cinema highlights of the year, the Duke and Duchess of Cambridge attended the UK premiere of the film at Leicester Square in London on Thursday 19th May. The premiere was hosted by Paramount Pictures and The Film and TV Charity. It was the 72nd Royal Film Performance™ delivered by the charity in its near 100-year history. The Omnex team joined forces with MPS’s premiere engineering team and our friends at Content Creator Studios to deliver the Royal Event to IMAX cinemas across the UK — a simultaneous satellite and IP broadcast to IMAX Cinemas across the UK, that brought the premiere buzz to audiences nationwide.

HOUSED BEHIND THE recently refurbished Odeon Leicester Square, we set up ‘shop’ with a satellite uplink truck to take the filmed event to UK Cinemas — via satellite and Gofilex’s IP delivery system. Cinemas across the Square, including the Odeon West End, Cineworld at The Empire and Vue Cinemas, were supported by our experienced team of MPS Engineers who were responsibile for all pre-performance picture and sound alignment, running a number of format versions, including Screen X, IMAX and 2K performances. And to top it off, there were even special in-screen appearences from Tom Cruise and the crew!

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Adapt to survive: how to fit the (im)perfect lamp

Pete Naples puts down the laptop and turns to the lathe to address a tricky illumination issue: what to do when you need less brightness!

PROJECTORS PROJECT light: they need a light source. Few in the industry now have seen or worked with carbon arc lamps. Many will have seen and worked with laser projectors. All of us have seen Xenon lamps.

What if the lamp you need to use is unavailable or you need to use less power than the minimum supported?

Xenon lamps come in an array of shapes and sizes, as do the projectors they illuminate. As you well know, it’s important to ensure you have the correct lamp for your projector and power rating for your screen. But, what if the lamp specified is unavailable? Or you need to use less power than the minimum supported by the projector? The answer might be… a lamp adaptor. Many will be familiar with the brass lamp adaptors supplied by projector manufacturers or, in the film domain, lamphouse manufacturers. What if we can’t use those or need a lamp not provided for?

SCENARIO ONE: Most QC rooms are small with a small screen. They need 4K resolution, but 4K projectors tend to be big and tend to be bright, making it impossible to hit target illumination of 14fl. The client has NEC 4K projectors which put out a stunning picture, just far too bright. Not ideal for a 3m screen!

How do we lower the light output? A woven, negative gain screen surface can reduce the illumination but does not go far enough. Install the lowest possible wattage of Xenon lamp? In the room in question, that’s 3000W. Still too bright! Defocus the Xenon lamp by adjusting the Z axis? It helps, but the quality of light suffers in terms of illumination uniformity. Not acceptable in a QC room! Xenon lamps can be unstable when run at extremes of their current range, so running a lamp on minimum current for extended periods of time isn’t feasible.

The solution was two-fold. First the manufacturer supplied a low wattage LPS for the projector, as well as special firmware which effectively reduced the minimum wattage to 1200W. You can’t drive a 3000W lamp at 1200W and expect colour to be accurate, nor can you expect reliability. So, we need to install a 1200W lamp that won’t fit. And the manufacturer doesn’t provide appropriate adaptors.

SCENARIO TWO: The site conditions (screen size and surface type etc) dictate a 3000W lamp, the lowest wattage specified for the Barco DP4K32B in the XL lamphouse. However, at the time of installation the specified 3000W lamp was unobtainable. But another style of 3000W HS lamp was. Sadly it didn’t fit…

ENTER THE MYFORD… My late father had a small Myford ML10 lathe which I now have. I don’t possess his level of skill, but I am able to produce lamp adaptors from a lump of round brass stock.

On the drawing board, I look at the critical dimensions of the lamp I can use vs the lamp I want to use. It’s vital that the arc sits in the focal plane of the reflector, which isn’t something you can easily see. It’s a position in thin air!

I look at the LCL (Light Centre Length) dimension of the two lamps in question, referencing from the rear (Cathode) lamp mount. The difference tells me how long my adaptors need to be overall. Generally they are not equal. Usually the Anode adaptor is longer than the Cathode. This is because the Anode end might be supported by a yoke just in front of the reflector (Christiestyle), or it may be a pin which fits into a supporting boss in the front cover of the lamphouse (Barco-style). The important things are that the arc sits in the right place, and the overall length of our small lamp with adaptors fitted is the same as the large lamp. Then I look at the end caps, there are a variety of designs. Some are pins and some are threaded.

IN THE CASE OF THE NEC lamps for the QC rooms, it required both adaptors to be machined from a 30mm diameter piece of brass stock, then cross-drilled and tapped for grub screws.

The job of fitting the non-specified 3000W lamp in the Barco XL lamphouse was simpler. The two lamps in question were dimensionally identical, with one exception, the Cathode pin diameter.

The DHS lamp has a smaller pin than the one available. I measured the pin of the lamp to be fitted. Luckily it was a standard drill size. I could quickly modify the factory-supplied adaptor to suit.

WITH SUPPLY CHAIN issues of late, some lamps have become scarce. That led me to think it was time to revisit lamp adaptors. Omnex has now also installed DHP lamps in Kinoton DCP II projectors which had been using HS/ HSC lamps from the 35mm catalogue. Speaking of 35mm, we are seeing longer lead times on those, so something which could be explored now is the use of digital projection lamps in a 35mm lamphouse — with appropriate adaptors!

Of course, what is most satisfying in the era of networks and touch-screens, is that good old-fashioned mechanical engineering still has a role to play in making sure that the show still goes on.

Good oldfashioned skills still have a role in making sure the show goes on

Talking about the TMS…

Is basic sufficient, or do you need a feature-rich system?

Your theatre management system is a powerful tool in day-today cinema management. Darren Briggs looks at some of the features you could take advantage of with a full TMS system.

FIRST OFF... WHAT’S the difference when it comes to managing your content? In simple terms, a TMS (Theatre Management System) is the software package which will run on hardware. This hardware — on a full system — Is generally known as a LMS – Library Management Server.

Larger storage capacity on the Library Management Server is one major use of the LMS, alongside running the operating system the TMS software relies on. The LMS and the TMS go handin-hand to manage content, playlists and scheduling efficiently.

The LMS is used to ingest all content from all sources, via the TMS software. Only content required on the individual playback servers is sent so as not to use the playback servers as general storage.

The latest Smart TMS functions can also manage and auto-delete content and playlists on the screen servers, optimising their local storage.

The TMS software then speaks to the screen servers, advert delivery systems, content delivery systems and even POS

systems as the hub of all operations required, using the LMS hardware as the main Library for content storage.

ENTRY TMS OR basic level TMS Software often only provides enough interaction to add dynamic advertising packs. The systems don’t allow remote projector control or status of the projection system to be controlled or allow you to manage content from all devices on the network. Also the smaller the server the less content storage in general. That means these more rudimentary systems can’t be used as long-term storage and they don’t ingest from external delivery devices such as LANsat. For some sites that’s not a major drama, but for others its means substantially more manual management of content is required, ingesting to screen servers directly from such solutions as LANsat. Fine if you don’t put on many shows, but a more seamless solution can often deliver so much more — and that’s where a full TMS solution comes in.

A FULL TMS SOFTWARE solution, as you can imagine, provides Management of your theatres. A full TMS is usually licensed per screen per year, with the rationale behind this business model being that it adds far more control over your complex and updates regularly as the software is further developed. It ensures compatability with new servers and projectors as you upgrade your kit. Linking to a POS system is also a big advantage to cinemas where available, as it can auto-populate your schedule to match the box office.

A typical full LMS will have at least 11TB of usable storage. Generally, the smaller the cinema, the more varied a film program is played and therefore sites do find that local server storage does quickly become very full and larger capacity is often required.

CONTENT MANAGEMENT is key to ensuring an efficient cinema operation.

A TMS will never replace fully decisions required on content, but the latest smart TMS solutions certainly give operators a huge helping hand. Control over the server and projector is also available on full TMS systems, avoiding the frustrating ‘Function Not available’ message you see on entry level systems when tantalising buttons are pressed.

If you opt for a full TMS software solution, you will find it goes hand-inhand with a large reliable LMS hardware solution. Omnex has a new LMS server designed to run the latest Screenwriter smart TMS software. This is a software widely used around the world and will integrate with your POS and all delivery server options. Give us a call if you’d like to know more!

Smaller sites with more varied programs often find local server storage quickly becomes very full

Laser projectors are now widely available to suit all budgets

Bring on the lasers!

As laser projection becomes a reality for a wider spectrum of cinemas, Omnex’s head of engineering Darren Briggs examines the key facts and figures you need to know if you’re in the market for an upgrade.

IN THE PAST FEW YEARS, laser light projectors are becoming the norm. The manufacturers now have a good range suitable for smaller screens as well as initial ranges made for the PLF screens.

Xenon machines featuring the latest electronics still have their place, notably in post-production screening rooms or part-time cinemas where it is still the most cost-effective of routes into DCI Cinema projection. From a technical perspective, standard* DCI content is

ELECTRICITY COSTS Xenon Vs Laser

As of Sept 2022 a cost increase of an average of 73% in 2002 over 2021 is expected — a unit price of an average 19p/kWh to 33p/kWh. What does that mean to a projector’s running costs?

2021 2022

Xenon Projector

Electricity

Laser Projector £718

Electricity

Based on average 4,200hrs’ operation, electricity costs/year (11.5 hours/day)

presently mastered for the DCI P3 colour space which xenon projectors easily operate in. This means the wider colour gamut in some laser units is not used fully for DCI projection — currently.

ALTHOUGH ALL projectors require to be operated within a set temperature range, heat from a laser projector is greatly reduced compared to a xenon unit. The knock-on is the possibility of removing the extract ducting fully and

Laser vs Xenon power consumption

A smaller S2K Xenon projector consumes approx. 2.5kW

A comparable Laser based system only 0.9kW

The scale remains similar all the way through model ranges and is an average. The headline average is that a laser projector draws at least 50% less power.

How much could switching from a small xenon-based projector save you per year?

Lamp Costs 2022 Total (3000/Lamp) Power Running Costs

Xenon £595 usage £3,465 £4,298

Laser N/A £1,247 £1,247

simply cooling the room with A/C. Each cinema is unique and Omnex can advise on the environment vs any saving to be made when upgrading to laser. A standard projection room of a new build will not require extract ducting, only room A/C. (A xenon unit requires both).

With Omnex finance options available, paying a set monthly fee for a new projector, warrantied and supported, makes upgrading easier still.

IN PRACTICAL TERMS, laser does generally improve contrast and longterm stable 14fl brightness is a huge benefit in comparison to a xenon** projector whose light output decreases over its hours before being replaced.

Power consumption of laser light source projectors can be a lot lower than xenon equivalents. This can make a material difference to operating costs. Look for the Lumens Per Watt figures. With the vast range of laser light source projectors available to fit most budgets, in 2022, laser is certainly here for the masses.

*Dolby Cinema and IMAX laser both have bespoke DCPs created to use the wider colours available.

**A xenon projector should not fall lower than DCI min. brightness if specified, calibrated and maintained correctly.

KEY TERMS AND PRODUCTS AVAILABLE

LASER PHOSPHOR LIGHT SOURCE - Use of a combination of Laser plus a Phosphor wheel (Which in turn generates a different colour) to generate a White Light source. Often just Blue or Red and Blue lasers are used. NEC use Blue laser and Red/Blue laser light sources in combination with the use of a phosphor wheel. The advantage of Phosphor is the near elimination of all visible Speckle.

RGB – Pure Red, Green and Blue lasers making up the White light source. Providing the widest range of colour reproduction and can produce very bright images for larger screens.

RGB 6P – As per RGB but when using dual projectors, left and right with different wavelengths of the three Primary colours. Using colour filtering glasses, 3D can be achieved without any further equipment (Dolby Cinema for example).

CHRISTIE’S RGBE - Pure Red, Green and Blue Laser with phosphor wheel to provide low to non-existent speckle but at a lower cost to pure RGB for smaller screens.

BARCO SMART LASER – The range of SP projectors use a varied combination of R/G/B lasers with a Phosphor wheel to produce the white light source. A great modular design which has greatly reduced the cost of Laser light source for the latest range of 2K and 4K projectors

SPECKLE – The name given to the visible interference patter generated between the laser light reflected from the screen surface and the laser light being projected to the screen causing the wavelengths to interact. Generally higher reflective screens cause more speckle. Speckle has been greatly reduced by both projector manufactures and the latest generations of screen surfaces. Matt White screens don’t suffer with speckle.

The Chiswick Cinema: affordable laser comes of age

Superb image, low maintenance, great value: there’s a reason Omnex specified Christie laser projectors in London’s latest independent cinema destination.

budget, which turned the original spec for a mix of laser and Xenon illumination into laser throughout. The five screens range from 4 to 8.5 metres, so projectors of different sizes were selected to match the requirements from three ranges and two technologies: the RGBe and RGB pure laser technology with CineLife™ and Real|Laser illumination.

When the team crunched all the numbers, the RGBe projector became a gamechanger

THE CHISWICK CINEMA in London was a success from the start. As the passion project of UK cinema pioneer Lyn Goleby, co-founder of Picturehouse Cinemas, that’s not a huge surprise

Owned by Trafalgar Entertainment and developed and launched by Lyn, it is a standout venue. An entirely new build on the site of the former Ballet Rambert, it is an independent with an intimate boutique feel. The venue has a club atmosphere with members, private hire and five screens. Christie RGB laser projectors illuminate all five screens; naturally image quality was key, but Christie’s laser also offered value.

When the team at Omnex crunched all the numbers, the RGBe projector became a real game-changer in the

“LYN CAME TO US to recommend projectors for the cinema as a trusted technical partner. She was familiar with Christie from the Picturehouse Cinemas, where Christie’s equipment was widely in use. Lyn’s Abbeygate cinema also uses a CP4330-RGB pure laser projector on its flagship screen,” explains Darren Briggs, Omnex’s head of engineering.

“Although our original spec was a mix of laser and Xenon, there were delays in the build, during which Christie announced higher levels of affordability for laser, introducing their RGBe range, a powerful solution for smaller screens, and ideal for use in this site,” said Darren.

“The numbers fitted the budget. We could easily show low running costs plus the advantage with no lamps. For a little more upfront cost than Xenon there is payback within a few years,” continued Darren. “The CP2306-RGBe will give DCI brightness for around 30,000hrs and is low maintenance with a sealed light

source. The colour gamut is extended, offering outstanding image quality for the audience,” he said. “There is low maintenance and reduced cooling; and it is a more ecological choice — an important consideration for the site. The RGBe was a new platform for us, but it really impressed us when we saw the image vibrancy. In brightness terms, it was more than the specs say that it is, while running close to minimum power.”

THE SMALLEST auditorium, with just 16 seats, has a small dining room attached for private parties or company presentations. In the 60-seat auditorium Omnex selected Christie CP2306-RGBe projectors. The other three auditoriums, two with 8.5m screens, one with a 7.3m screen, feature CP4315-RGB and CP2309-RGB projectors, respectively.

Phil Lord, the sales manager at Christie, explains the R&D behind the Real|Laser illumination. “It hinges on how we engineered the Multi Laser Pack Devices (MPDs) to deliver audiences true-to-life detailed image brightness, image uniformity and high contrast — and it is all factory calibrated to hold the colour balance for years with almost no maintenance.

Crucially, it also delivers the best TCO in the industry with up to 50,000 hours of operational life.”

“The largest auditorium, which uses the CP4315-RGB projector is used by a local film studio for testing pre-release content,” says Darren, “Christie laser projectors give better, brighter images for a longer period, and they produce a lot less heat meaning stress on cooling systems is reduced. The projectors are compact and suited to pod enclosures. These auditoriums all use pods to house their projectors. Audiences will get a great visual experience from an affordable platform that will perform long into the future.”

Audiences will get a great visual experience from an affordable, futurefocused platform

Christie Digital Systems, Inc.

CHRISTIE M1 SPEAKER SYSTEM

christiedigital.com/cinema

CHRISTIE M1 SPEAKER SYSTEM

10550 Camden Drive | Cypress, CA 90630

CHRISTIE M1 SPEAKER SYSTEM

CHRISTIE M1 SPEAKER SYSTEM

The M1 stereo system is a high quality audio speaker system that showcases key features of Christie® Vive Audio™, including Christie ribbon driver technology and class D amplification. Perfect for your office or home. The sound is excellent – rich and clear!

The M1 stereo system is a high quality audio speaker system that showcases key features of Christie® Vive Audio™, including Christie ribbon driver technology and class D amplification. Perfect for your office or home. The sound is excellent – rich and clear!

This impressive package, inspired by the Christie Vive Audio brand campaign

The M1 stereo system is a high quality audio speaker system that showcases key features of Christie® Vive Audio™, including Christie ribbon driver technology and class D amplification. Perfect for your office or home. The sound is excellent – rich and clear!

“Complete the Experience”, includes the following components:

This impressive package, inspired by the Christie Vive Audio brand campaign

The M1 stereo system is a high quality audio speaker system that showcases key features of Christie® Vive Audio™, including Christie ribbon driver technology and class D amplification. Perfect for your office or home. The sound is excellent – rich and clear!

›A pair of M1 ribbon driver speakers

“Complete the Experience”, includes the following components:

This impressive package, inspired by the Christie Vive Audio brand campaign

›One class D digital mini amplifier

“Complete the Experience”, includes the following components:

›A pair of M1 ribbon driver speakers

This impressive package, inspired by the Christie Vive Audio brand campaign

“Complete the Experience”, includes the following components:

›Necessary connecting wires and power cord

›A pair of M1 ribbon driver speakers

›One class D digital mini amplifier

›One class D digital mini amplifier

›A pair of M1 ribbon driver speakers

›Necessary connecting wires and power cord

Christie Digital Systems, Inc.

10550 Camden Drive | Cypress, CA 90630

Christie Digital Systems, Inc.

10550 Camden Drive | Cypress, CA 90630

Christie Digital Systems, Inc.

10550 Camden Drive | Cypress, CA 90630

Christie Digital Systems, Inc.

10550 Camden Drive | Cypress, CA 90630

christiedigital.com/cinema

christiedigital.com/cinema

christiedigital.com/cinema

christiedigital.com/cinema

October 2022 spotlight on Omnex suppliers supplier showcase

To celebrate the best in cinema technologies, the teams at Omnex and Christie have got together to offer a special free prize draw for our customers — enter for your chance to win fantastic Christie Vive Audio Technology!

IN THIS ISSUE of the Omnex newsletter, we have teamed up with our friends at Christie to celebrate the best in the world of cinema technology — we have a fantastic bundle of Christie Vive Audio goodies to give away in our free prize draw, including a superb M1 speaker system with digital mini amplifier to fill your home or office with rich, clear Vive Audio. We’ve also got 25 handy Christie speaker docs and other Vive goodies, too!

To enter, send an email with the subject “Christie Draw” and your name, contact details and the site you work for to…

Closing date is 8th December 2022 and winners will be announced on 15th Dec 2022. info@omnex.co.uk

Part of the solution...

In locations like the BFI Southbank, the Dominion Edinburgh, the Aldeburgh Cinema and Woodbridge’s Riverside, Trinnov’s Ovation2 cinema processor delivers improved premium audio whether it be just a processor replacement or as part of a larger package upgrade.

Trinnov’s Ovation2 elevates the audio in a truly diverse range of venues.

ALDEBURGH CINEMA in Suffolk is one of a number of sites where the Omnex team has improved the premium sound experience through the installation of the Trinnov Ovation2 cinema sound processor. A charitable enterprise that has been at the heart of the community for over 100 years, the Aldeburgh cinema has entertained audiences since the silent era through to live transmissions from the Metropolitan Opera and the National Theatre. Clearly, sound quality matters now more than it ever has.

To ensure a loyal and discerning audience enjoy the best possible sound,

Omnex replaced an aging system, with a Trinnov Ovation and QSC Speakers and amplifiers. This combination has made an enormous difference to the quality and intelligibility of the audio in the room, often a concern in older sites and in those that were not necessarily built for the sole purpose of screening films.

According to Omnex’s Suffolk-based engineer, Tony Everett-Spearing, general manager Michele Kench and the team at the Aldeburgh Cinema were blown away with the improvements that the installation has made to the experience within the auditorium.

showcase

What are they all hearing?

IMPROVED DIALOGUE QUALITY — this is the most consistent comment that the Trinnov team hears IMPROVED SUBWOOFER AND BASS — our time alignment yields better performance

A MORE IMMERSIVE EXPERIENCE — all speakers working together as the filmmaker intended

OVERALL SYSTEM CLARITY — due to precise room measurement/calibration

FOR A NUMBER OF years, the business strategy at Trinnov has been a relatively straightforward proposition — let people hear the product, and let them make their own decision, ideally in their own cinema which they know very well.

The success of these demonstrations tells its own tale and explains Trinnov’s growth from a company serving the French market back in 2015 to one that delivers to customers worldwide today.

Bring Screens to Life!

The NEC NC1202L & NC1402L DC Laser Projectors deliver the ultimate theatre experience.

Captivate your audience with ultra-crisp almost speckle-free Laser technology with 7,000 and 9,500 lumens in 2K resolutions.

Visit sharpnecdisplays.eu

support users with remote helpdesk tool

See and interact with your remote systems’ user control interfaces from a simple web browser, and resolve issues without putting boots on the ground.

Q-SYS: perfect in today’s cinemas

increase uptime with remote design updates

Troubleshoot, update and redeploy design files to systems anytime from anywhere, without the need for complex network or remote desktop configurations.

Steve Case explores the benefits of a modern management ecosytem in your cinema

www.qsys.com/reflect

NO PROJECTOR ROOMS: Today’s cinema projectors no longer need large projection rooms. Projectors can be in enclosures at the rear of the auditorium or suspended from the ceiling, named as hush-boxes or pods. This leads to a question: where do you put the audio processing and amplifiers?

One answer can be to install all of the audio equipment in a server room. This can take the form of multiple audio systems in one room, sometimes beside all the IT servers that a cinema needs to operate efficiently in the modern age.

The disadvantage? Server rooms now need a larger footprint, taking up more space. Staff must also attend the server room to control audio systems, and the increased heat load on the room uses more power to run a/c systems to keep it all cool. And then there are the miles of speaker wiring from the speakers to the amplifiers.

QSC Q-SYS provides a simple solution. The audio processor can connect to the amplifiers through a simple network connection, allowing the audio processor to be located remotely from the amplifiers. A typical installation can now see the projectors mounted in small enclosures

— making the most of the space — with the audio processing in a central control room/manager’s office from which the technical team can then monitor what’s going on. And the power amplifiers can be behind the auditorium screen where the heat dissipation is less of an issue, the speaker cables are shorter, reducing the amount of work the amplifiers need to do, with less cost involved installing speaker cables. The Q-SYS system also provides non-cinema audio and video links for presentation from within the auditoriums via the same network link.

THE Q-SYS SYSTEM can power down the amplifiers when they are not in use and automatically wake them up before the first screening. Being a network system, Q-SYS automatically monitors itself and will show any issues, such as amplifier faults and even speaker short or open circuits. NOC centres can monitor the Q-SYS ecosystem and the Q-SYS Reflect system can connect your system back to the technical support team from QSC who can offer real time support in the event of any issues. In total, a very versatile system!

The

helps you to make the most of your

connect, monitor & manage.

support users

with remote helpdesk tool

See and interact with your remote systems’ user control interfaces from a simple web browser, and resolve issues without putting boots on the ground.

increase uptime

with remote design updates

Troubleshoot, update and redeploy design files to systems anytime from anywhere, without the need for complex network or remote desktop configurations.

www.qsys.com/reflect

©2022 Q-SYS, LLC all rights reserved. QSC,Q-SYS and the QSC logo are registered trademarks in the U.S. Patent and Trademark Office and other countries.

Q-SYS allows remote monitoring and management, which means there is less downtime and more showtime.

Cinionic: pure laser-focus

Offering the industry’s most extensive laser solutions portfolio, cinemas worldwide benefit from Cinionic’s award-winning and sustainable laser solutions for all screens, from boutique to giant.

Working hand in hand with exhibitors, Cinionic is elevating the cinema experience

CINIONIC IS LASER-FOCUSED on cinema and proudly offers a laser solution for every screen. Since laser’s market debut in 2014, Laser Projection by Cinionic has set a new standard for cinemas. Cinionic leads the market with more than 30,000 cinema laser solutions deployed and thousands of all-laser multiplexes worldwide. The momentum with laser is thanks to Cinionic and Barco’s rich heritage in cinema and more than 100,000 projectors.

It’s no surprise that the world’s largest theater chains choose laser from Cinionic to deliver a wow experience for audiences and to reduce operational complexity. When talking about the benefits of laser versus traditional lampbased projectors, Cinionic refers to the suite of laser advantages as ‘360 degrees of laser benefits’, covering the visual performance, the viewer’s experience, operational excellence, and efficient sustainability.

Key benefits of laser...

Visual performance

86% of moviegoers rank picture quality as the main factor when deciding to see a film in a cinema (ERM Research, 2019). Cinionic Laser solutions are brighter, offer higher contrast, and greater uniformity, eliminate lamp flicker, and can deliver a broader colour spectrum. Audiences notice the wow factor and that keeps them coming back.

Moviegoer satisfaction

Laser offers proven benefits to enhance visual performance and audience satisfaction. When audiences are presented with laser projection, they will see the difference. When they are educated about Laser Projection by Cinionic, they value the visible benefits it brings to the big screen.

Operational excellence

Laser projection offers peace of mind for exhibitors with simpler operations thanks to the absence of lamp changes, flawless 2D-3D switching, reduced maintenance and training, and consistent DCI performance over time.

Sustainable efficiency

When a cinema chooses laser, it’s a choice to use fewer resources and to deliver an eco-friendly presentation. Laser is a less wasteful technology than lamps and offers savings on cinema construction with boothless options, lower HVAC consumption, the elimination of lamp expenditures, reduced electricity consumption, and an optimised technology lifetime.

RealLaser... Real Savings

Class-leading efficiency is a welcome benefit at a time of soaring energy costs. Good job Christie’s projectors have you covered.

AS WE CONTINUE TO find ways to reduce exhibitors’ TCO (Total Cost of Ownership), writes Christie cinema sales manager Phil Lord, the latest adaptations to our CineLife+™ and Real|Laser™ illumination, Christie’s new CP4425-RGB and CP4435-RGB, offer 30-50% higher operational efficiency than our competitors.

As volatile energy costs continue to

rise, this translates to savings that could be more than $USD500 per projector per year, as the chart below illustrates. Better energy efficiency results in a more sustainable and environmentally friendly projector that consumes less energy and dissipates heat more effectively… We’re really putting the green into RGB! For more information, visit us at christiedigital.com/cinema

Everything you need to know about our latest projectors:

• 26,000 and 35,000 lumens projectors offer more brightness options for mainstream cinemas

• 30-50% better operational efficiency over the leading competition

• 32% energy savings over the leading competition

• 50% more lumens per watt; that’s 15 lumens per watt of electricity!

• Future-proofed electronics, with electronic color convergence (ECC), enhanced wavelength diversity (EWD), and more proprietary IP built in

• Field-serviceable, so you no longer have to send equipment in for repairs

• Completely backwards-compatible with components purchased for other CineLife and CineLife+ projectors, further reducing our manufacturing carbon footprint

Identifying the perfect projector…

EVER WONDER what model names of Christie projectors mean? We created a simple system to help you find the right resolution, electronics platform, brightness, and illumination source by glancing at its name, as you can see above.

We are dedicated to providing options in a variety of specifications, to ensure we offer the widest range of cinema projection, period. From Xenon to RGB, we offer the options you need, from the most affordable to the most advanced.

Vive and Powersoft: a powerful boost to your cinema sound

WE ADDED POWERSOFT® amplifiers to our product offerings so that exhibitors can find all the best cinema equipment in one place. Powersoft amplifiers create amazing sound and pair exceptionally well with our Vive Audio® loudspeakers. Learn how you can amplify your Vive Audio system and make running your theatre sound easier than ever.

From Odeon Cinemas to Wimbledon Centre Court, Camatic Seating delivers high quality seating solutions to venues across the United Kingdom and Europe.

From Odeon Cinemas to Wimbledon Centre Court, Camatic Seating delivers high quality seating solutions to venues across the United Kingdom and Europe.

WORLD LEADING CINEMA AND STADIUM SEATING MANUFACTURERS WITH MORE THAN 50 YEARS OF EXPERIENCE.

WORLD LEADING CINEMA AND STADIUM SEATING MANUFACTURERS WITH MORE THAN 50 YEARS OF EXPERIENCE.

Working with some of the most recognisable facilities in cinema and sports architecture, Camatic Seating designs and manufactures high quality seating solutions that perform above venue managers expectations and leave audiences comfortable for hours. We have a proven range of in house designed products and tailored services to suit the following venues.

Working with some of the most recognisable facilities in cinema and sports architecture, Camatic Seating designs and manufactures high quality seating solutions that perform above venue managers expectations and leave audiences comfortable for hours. We have a proven range of in house designed products and tailored services to suit the following venues.

• Cinemas and theatres

• Cinemas and theatres

• Stadiums and arenas

• Stadiums and arenas

• Retractable seating

• Retractable seating

• Product customisation, installation, servicing and maintenance contracts

• Product customisation, installation, servicing and maintenance contracts

Camatic Seating is proud to have strategically partnered with Omnex to deliver cinema seating installation and programmed maintenance packages across the UK and Europe. Contact our newly established European office to discuss your next project and let us guide you to your perfect seating solution.

Camatic Seating is proud to have strategically partnered with Omnex to deliver cinema seating installation and programmed maintenance packages across the UK and Europe. Contact our newly established European office to discuss your next project and let us guide you to your perfect seating solution.

EUROPEAN OFFICE

EUROPEAN OFFICE

GLOBAL HEAD OFFICE

GLOBAL HEAD OFFICE

Camatic Seating

C/ Travesseres nr. 43

08401 - Granollers

Barcelona, Spain

Telephone: +34 620 216 673

Camatic Seating C/ Travesseres nr. 43 08401 - Granollers Barcelona, Spain Telephone: +34 620 216 673 Email: sales@camatic.com website: www.camatic.com/uk

Email: sales@camatic.com website: www.camatic.com/uk

Camatic Pty Ltd 93 Lewis Road Wantirna South, VIC 3152

Camatic Pty Ltd 93 Lewis Road Wantirna South, VIC 3152

Australia Telephone: +61 3 9837 7777

Australia Telephone: +61 3 9837 7777 Email: sales@camatic.com Website: www.camatic.com/au

Email: sales@camatic.com Website: www.camatic.com/au

Integrated innovations for a complete cinema solution

Fully

Where’s my Atmos...

And what is an IAB!?

This article is reprinted with the kind support of our friends at Celluloid Junkie.

Spoiler alert... IAB is a new SMPTE standard; Dolby Atmos is a system to play the standard back. C.J. Flynn, of CinemaTestTools, considers a three-letter change coming to your cinema soon.

MORE ACRONYMS! More DCP file names to understand… Fortunately, the latest — IAB — is simple to understand. Cinema operators need to know that a change is coming which will cause those who examine the TMS for keys and DCPs to wonder where the Atmos DCP has gone, and also to help train those who only know robotically what to look for. If you’re confused by these three letter acronyms, have no fear: I’ll explain.

THE SHORT ANSWER? Immersive Audio is a technology defined by a set of SMPTE standards that all Immersive Audio Compliant media players follow. This includes Integrated Media Blocks (IMBs) inside the projector, and separate external systems (SMS).

The SMPTE ST 2098 standards for immersive audio, published in 2018, are finally being adopted by the cinema industry. Soon, content owners (studios) and content service providers (motion picture labs) will distribute movies with the IAB label. This means:

1. Movies that use the standardised method for Immersive Audio will use the term “IAB Compliant“.

2. IAB Compliant soundtracks will be labeled “IAB” in Content Play Lists (CPL) and via the DCP Naming Convention.

3. A cinema’s Media Player, TMS or LMS will begin displaying the term “IAB” — and not Atmos.

4. Cinema staff may be more familiar with seeing the Atmos designation for a movie. In the future, “IAB” will be used.

5. This will not change the content in DCPs. Dolby has been shipping SMPTE Compliant “IAB” DCPs for years.

So, your TMS and SMS will only display “IAB”. They will not display the word “Atmos”. When will this happen? Sometime in the near future — Studios need to make certain the equipment is ready and the cinemas need to make certain their equipment is updated.

Studios also wish to make certain that everyone is aware and comfortable with the change in naming so that there is no confusion and 11th hour panic calls.

AND THE LONG ANSWER? In the big Digital Cinema Book of Abbreviations, IAB is yet another acronym. It stands for Immersive Audio Bitstream. Bitstream is a computer term we should explain…

In a standard audio system the audio starts from the Media Server, then goes to an Audio Processor, then is played direct into the sound system. In a sound system that can play Immersive Audio, the audio system includes a magic processor chip that delivers a second stream of information to the sound system. The chip may be magic, but the information it sends, the data stream, is not. It follows a standard agreed by a lot of engineers who do understand magic. They designed an Immersive Audio Standard to ensure every “IAB” system will receive the same immersive audio information, then do its magic to present it to your Immersive Audio speakers. Its data stream uses bits of information: a ‘bitstream’. Computers understand two choices: a one or a zero, or combinations of those. Every unit of information is one

of these “binary” choices. In computers, each binary digit is a “Bit.” Put them in a particular order… you have a bitstream.

LIFE BEFORE ATMOS… we had 5.1 and 7.1 surround sound. The 11.1 and 13.1 Auro systems from Barco were released two years before Atmos in 2010. These systems are Channel-based. Typically, they include the three front channels (Left, Center and Right) and two surround channels (Left Surround / Right Surround). They also include the “point 1” of the 5.1 channel-based system: a Low Frequency Effects (LFE) channel; 7.1 added two rear surround channels. The Auro system added upper channels to include a height element.

Dolby Atmos introduced a new concept the “Object”. The Atmos system still includes the 5.1 or 7.1 channels — the Bed Channels. Bed Tracks in a DCP are the basic 5.1 or 7.1 channels of the movie’s audio. The Object is different. It’s a sound, but it has no particular channel to play out of. There is no particular cable

Like the Media Server and Audio Processor, these might be inside the projector or separate units.

The ‘object’ is different. It’s still a sound, but there is no particular channel for it to play out of.

Immersive Audio

The screenshots above show part of the Content Play List for the same film with a small change in the Content Text Title highlighting the change when an Atmos movies is listed as an IAB movie.

for it to travel on. Instead, the object has a position in space to go to. It needs an IAB system to tell the sound object: “Go 4m in front of the screen, 3m from the left, 1m off the ceiling. Be very narrow, but very loud. Then take 5 secs to move elsewhere in 3D space and be very wide.”

might not hear the sound if it all came from the right side. So, many mixers put all the sound into both speakers.

When two separate channels were brought in, the audio mixer now had to take decisions

Those positions in space probably don’t have a speaker, right? If they did, the speakers would probably block the picture on the screen. In fact, with Atmos and the other systems, AuroMax and DTS:X, there are a lot of extra speakers. Smaller auditoria might only have eight additional speakers plus bed channels, but in another auditorium there might be 20 additional speakers, and they are located in many different places in the auditorium. The total combination can be up to 64 speakers. It takes computer magic to direct these sounds to trick the human hearing system.

WHEN TWO SEPARATE channels became available for sound, the audio mixer had some decisions to make. They could mix everything to one channel or to the other, or to both. But, if you were sitting on the left side of the screen, you

There is a trick that can be played on the ear though. If the same sound comes from two speakers to the ears at the same time, the sound seems like it comes from the centre — even if there is no speaker there: the “Phantom Centre”.

THE IMMERSIVE Audio standard uses this phantom trick. If the mixer wants the sound of an eagle to be above your head at a certain position, they move a position pointer to that place and the computer creates a set of numbers for that sound to be in that place at that time. It might use side speakers and some of the front to get the sound to “appear”. You remember the bitstream? The position and time values, with the values for the level of that sound, and how wide or narrow are what the mixers place into space. All are converted into bits, which flow to the larger bitstream

So, that’s it. A bunch of engineers figured out how to convince computers to do magic, creating phantom sounds and magic boxes make the phantom

sounds appear using eight speakers, or 20, or 32, or 64 speakers.

Not so fast. Engineers at Dolby put additional speakers on the ceiling. Barco engineers put the Auro speakers above the surround speakers, at the edge of the ceiling, and one or more speakers on the ceiling. The Xperi engineers have a formula for DTS:X Cinema System which defines speaker placement individually.

Sadly, movie studios said, “We only want to distribute one Immersive Audio version.” And exhibitors said, “We’re not going to buy something like this unless it works with all the company’s bitstreams. No matter what, we have to buy a lot of new amplifiers and a lot of new speakers and hang them and wire them. Just the cost of the scaffolding will be $100,000. Magic boxes must be compatible.”

ONE BITSTREAM to rule them all...

Fortunately, SMPTE assembled technical volunteers from manufacturers, and studios, and system integrators, and even some techs from some cinemas.

Countless meetings occurred for years to make certain various Immersive systems all understood the same language and definitions of space and time.

But will it all work together? That was the question for a group known as the ISDCF: the InterSociety Digital Cinema Forum, who performed a great series of “plugfests”, an enormous list of tests and processes, individually and randomly until some certainty about how the equipment would perform under the SMPTE standards. So now sound mixers have a rather elegant tool for placing sounds in space and fulfilling the Director’s Intent, while cinemas have a new tool to differentiate their offerings from the home experience.

Alll you have to remember: beginning soon, every Atmos movie that is released to over 6,000 Dolby Atmos auditoriums will have “IAB” on the label of the DCP file name and the TMS… and the External Media Server… instead of “Atmos”.

You can read the full version of this article at celluloidjunkie.com

In Dolby Atmos, extra speakers for the objects to use are circled in red: there could be more, or less. IAB units guide the sounds to the proper speakers to help duplicate the sound that the mix engineer and the director want us to hear.

Sound quality from GDC and DTS

Fit for the future, GDC and DTS are rolling out DTS:X™ for IAB immersive sound with the SR-1000 Standalone Integrated Media Block™ built-in Audio Option

FOR OVER 20 years, GDC has been a trusted partner in the cinema industry. Recognised as a leader in integrated media block (IMB) technology, GDC’s SR1000 is the company’s sixth-generation digital cinema media server designed for near-zero maintenance and minimal total cost of ownership.

With embedded power electronics of the kind used in medical and military products, the SR-1000 is certified for 100k hours MTBF by the world’s largest testing and certifications company., SGS Since launch in 2018, over 18,000 units have been shipped worldwide.

DIGITAL THEATRE SYSTEMS, now DTS Inc., launched in 1993 with Universal’s

release of ‘Jurassic Park’. Its latest achievement is to support the latest SMPTE immersive audio bitstream (IAB) standard. DTS has always focused on making sound better. In early 2015, the company unveiled DTS:X, its open, immersive technology. DTS:X replicates a real-world sound environment to transport the audience to a new level of sound immersion. It provides many customisation options and allows for a flexible speaker configuration that best fits the viewing space, with fluid movement of sound creating a richer soundscape.

DTS and GDC, the first licensee of DTS:X technology, have collaborated for the past seven years to deliver this realistic experience. Today, GDC has more than 1100+ screens installed and is rolling out DTS:X to screens worldwide.

SINCE ITS LAUNCH back in 2018, the robust SR-1000 has received excellent feedback and acceptance from the industry. With a future-proof architecture, the SR-

DTS and GDC has worked together for years to deliver a realistic experience

Rapid Rollout of DTS:X for IAB

THE IMMERSIVE audio bitstream (IAB) solution is designed to support SMPTE’s ST 2098-2, a major milestone towards a single interoperable immersive audio format. Supporting IAB will bring more immersive content to DTS:X screens globally.

In early 2020, GDC and DTS jointly demonstrated the DTS:X for IAB cinema solutions to Hollywood studios and industry stakeholders in Los Angeles. In August 2021, the two signed a landmark agreement to deliver DTS:X for IAB solutions to existing and future DTS:X customers worldwide. “The engineers at GDC and DTS diligently develop the best immersive audio solutions for exhibitors. We are delighted by the rapid adoption of DTS:X IAB solutions by theatre owners.” said Dr. Man-Nang Chong, CEO of GDC Technology Limited at the time.

32-channel DTS:X IAB Solutions

At CinemaCon 2022, it was unanimous that the SR-1000 IMB with the built-in cinema audio capability of rendering up to 32-channels of DTS:X immersive audio and AES67 networked audio that supports the IAB standard will be a game-changing audio solution. At Big Cine Expo 2022, GDC also showcased the built-in 32-channel DTS:X for IAB solution.

1000 offers several affordable options, including built-in diskless CineCache™ storage and built-in cinema audio processor designed for 5.1/7.1 surround sound.

By selecting GDC’s optional built-in cinema audio processor instead of an external audio processor, exhibitors can save cost, space, installation, and maintenance time.

For the first quarter of 2022, the cumulative global sales for its SR-1000 IMB with a built-in cinema audio processor has exceeded the forecast despite the economic impact caused by the pandemic. For more information on the new IAB solutions, visit gdc-tech.com

Omnex NOC+

We’ve got our eyes on you... but in a good way!

Omnex’s NOC+ services help to keep your cinema systems online day and night. Darren Briggs illustrates the benefit of our brand of 24/7 surveillance.

AT OMNEX WE have a 24/7 monitoring system, which forms the backbone of the NOC+ services that we deliver to our customers. For added peace of mind, our NOC+ services are backed up by our engineers who are on call 8-10pm every day of the year, with the exception of Christmas Day.

To provide an efficient service, we make use of a custom ticketing system. This system allows us to manage and communicate information to cinemas in a timely manner, and it also supplies service reports which are emailed out to cinemas after one of our visits has taken place. This ensures your own information is kept fully up to date.

AT THE HEART OF the NOC+ services are the monitoring systems and the

associated tools that alert us to a variety of issues arising in any device connected to our NOC service — for example, a degraded RAID or a fan failure.

To allow connection, we work with the cinema and update to a dedicated IP range assigned to your cinema to benefit from this service. All existing customers are currently being added as we update out-of-the-box standard IP schemes in use at cinemas.

Red notice? The lamp on site has a run-time warning

WE HAVE MULTIPLE staff each day providing the NOC service. They are all contactable via our new phone system which allows calls to be directed straight to the engineers on duty.

Our systems also provide the ability for engineers to connect securely into the monitoring system and, therefore,

they can support any cinema remotely from anywhere in the world.

Existing customers will already receive ticket alerts from our custom Cinema Ticketing System when any issues are raised either by the cinema or through pro-active intervention from Omnex.

SNMP is the backbone of the monitoring system (see the panel on the right for a detailed explanation). Every screen has, on average, at least four devices to be monitored. In turn, each device then reports multiple items (i.e. model, serial, software, firmware, lamp/laser, lens, fans, temperatures, interlocks, security, status and information).

OUR SYSTEMS monitor thousands of devices connected to hundreds of screens internationally. On average, 30 items are monitored per device. That means tens of thousands of separate items monitored, delivering resilience to customers’ businesses. Data such as fan speeds and temperature are logged to provide a detailed equipment history, while certain items automatically alert us if an error demands an engineer be sent to investigate and resolve it. We can identify lamps nearing end of life, fans running slowly, software which requires upgrading and other items, all of which contribute to the integrity of our support.

To join the world of Omnex and gain peace of mind that your system is being looked after, contact us to discuss the various support offerings.

SNMP? It’s a system lifeline

SIMPLE NETWORK Management Protocol (SNMP) is a protocol used primarily for the monitoring of networkconnected devices — and it’s fairly fundamental to the way your cinema systems operate, writes Omnex service engineer John Caswell.

Embedded into most modern network devices, such as your projector, server, sound processor and router, SNMP has been about in some form for more than 30 years. And here’s why it’s so important — SNMP allows for passive monitoring and for networked devices

SNMP actively flags your system errors — like a cry for help

actively to send out messages in case of errors and failures, like a cry for help.

We use SNMP for our Monitoring Server, which is a part of our Network Operations Centre (NOC). This allows us to monitor your equipment for errors and equipment failures (aspects such as fan and hard drive health, temperatures etc), usually allowing us to pick up on any issues before they develop into drama. We’re also able to monitor when you may need a new lamp for your projector. Any supported cinemas to which we have a remote connection, can be on our Monitoring System. It’s a handy service that can prevent problems before they occur, so give us a call if you’d like to know more!

The DIY handbook...?

Our tips to keep you on screen before calling the pros

We love to hear from you, obviously, but before you call Omnex about a problem

Nigel Priest has a few suggestions for simple things you can do to set things right yourself.

MANY CINEMAS use the services of a Cinema Integrator; either on an ad-hoc basis or through the means of a service contract. In a trouble-free year you may only see an engineer attend once in any twelve-month period to check over your sites’ sound systems and their projected image. These don’t always stay perfect between visits and it is important that you are aware of things you can check regularly year-round to reach the high standards of presentation you strive for.

Whilst many of the checks that the visiting engineer conducts will require many hours of training and experience, they also require the use of extensive calibrated equipment to ensure that the standards are met.

Cinema engineers use a variety of tools to help them make the sound and picture from your digital cinema as great as it can be. Tools like colour meters, convergence cameras, sound analysers, audio sync meters are what

LIGHT POWER: As the electrodes inside your xenon lamp wear down, they alter the light efficiency of the projector. The light output is calibrated and when the xenon wears and stops enough light passing through the optical system correctly the projector will normally increase its power to compensate until it can no longer achieve the calibrated levels.

This reduces the life of the xenon and also costs more in electricity. It is advisable to check the alignment of the xenon periodically, every 1-3 months to ensure it is always running as efficiently as possible. Checking the alignment is relatively easy, in some cases it is fully automated with a simple press of a button. A clean lens and porthole is essential for this so they should be cleaned regularly.

It’s good to be aware of the things you can check for yourself at your site

we all carry with us daily and regular training and a sound understanding of the technologies allows the cinema engineer to use these tools to perfect the calibration of your projection and audio systems so that your customers have the best experience when they visit your cinema.

THE PICTURE MATTERS: There are so many things to look out for on the picture that it can be tricky to know what to do for the best. Often, simple checks to focus and screen alignment are all that are needed to keep the picture looking great. Your projector will undoubtedly have a test pattern that is available which is a great start for checking focus. Although this is mostly done electronically by the projector, the settings can drift occasionally.

If you notice that the focus is drifting, then it can easily be adjusted on site and the setting re-saved into the projector’s memory. If you are having more focus issues, such as only being able to focus one area of the screen, then it is likely taht you will need an engineer to visit make the necessary adjustments to the lens mount to rectify (continued over)

Sounds simple… Basic audio checks

ALTHOUGH SOPHISTICATED test equipment and a thorough understanding of your equipment capabilities is essential for getting the best out of your audio, there are a few things you can do to satisfy yourself that all is well.

Most playback servers these days have a test DCP on them to verify that all your audio channels work as they should. Often these move channel to channel with an audible voice stating the identity of each channel. This test can identify that the system is performing well in many ways. First, it allows you to hear if channels are physically working (or not) and the correct sound is coming out of the correct speaker or surround array. You can also tell if the speaker is missing any range; specifically a failure on high frequency or low frequency response. You can also gauge if volume between the individual channels is balanced.

If they are wildly out of balance, in an emergency use a simple app on your smart phone or purchase a SPL meter (sound pressure level, right) to check and make crude adjustments to rebalance the system. Simply take the SPL meter, or phone and head to the seat in the centre (left to right), two thirds back from the screen and hold it at head height whist you are sat down. Play a pink noise DCP and note the levels.

IN MOST CASES, the stage channels would be 85dB, the surround arrays would be 82dB and the sub-woofer somewhere around 90-92dB. Unless your measuring device is calibrated, you would simply be checking that the Left, Centre and Right are the same level, then check the surround arrays are 3dB lower than the stage channels, then check the subwoofer is 5-7dB higher than the stage speaker measurements. Whilst it would be preferable to get an engineer in to calibrate, there are often times where you just need to keep things running after an issue.

To note: if you use a phone app, make sure you hold the phone so the internal mic is exposed.

Don’t forget the housework...

KEEPING THE PROJECTOR clean is essential to maintain its performance. It reduces the likelihood of dust ingress into the delicate internal optical components and also allows the projector cooling system to run as efficiently as it can. Generally, the cooler the projector can run the better — and you will also save a little bit of electricity as the internal fans may be able to run a little slower. The intervention locally for this is very simple — a monthly wipe over the casing of the projector will help keep it dust-free. Where possible, you should also remove the filters to give them a quick clean to.

(continued from previous) this; though you should always double check first that the lens and porthole are clean.

Projectors generally have simple procedures for adjusting the image focus, along with the size and position on the screen. The method for saving these settings differs significantly across different projectors but your support team should be able to dial into your system and save the changes you have made for you.

THE FEW TIPS ON these pages are simply to allow you to assess your projection operation to try and ensure you always deliver the best experience. Many cinemas already carry out checks and tasks throughout the year, but if you would like to know specifically how to carry out any then do speak with your regular engineer. They will advise you on how to make some of the adjustments and also ensure you have the necessary test content and test patterns available.

CONVERGENCE DESCRIBES the relative position of each imaging chip. They have to be in perfect alignment to achieve the best image. Whilst you probably would not adjust the convergence yourself; it is worth understanding and knowing when to call the engineer.

There are circumstances where it is not possible to have the convergence perfectly aligned across the whole screen. Projector manufacturers have tolerances they use to determine when convergence needs adjusting; typically this is around a full pixel width of

misalignment (refer to the example of primary colour misalignment to the right). When looking at convergence you should assess this with a test pattern designed for this purpose.

If you are checking the convergence you are best to sit on a seat near the middle of the front row and if the lines of the test pattern look reasonably white along their length then there is no need to be requesting their adjustment.

Your engineer will be able to advise on regular tasks that you can undertake

Q-SYS proves to be a sound decision for audio upgrades

In the Scottish Borders, Omnex and Q-SYS have transformed the audience experience in a 100-year old independent theatre

WITH SLATE GREY roofs speckling the Scottish Borders’ verdant landscape, the town of Galashiels projects a quiet charm borne of long history. We can say the same for the Pavilion Cinema, an independent venue in operation for more than a century. This family-owned cinema maintains an important role in the town, providing not simply access to the latest in film, but showcasing streamed performances of the National Theatre and the Met Opera.

In its centenary year, the team at the Pavilion discovered their application for a £75k grant from the Creative Scotland Cinema Technology Fund had been successful. This unlocked the funds for a myriad of upgrades, including replacing the sound system in all four auditoriums as well as improving accessibility for the hard of hearing and visually impaired.

era, with elements only replaced due to failure. While the legacy of the Pavilion Cinema is part of its allure, it presented some difficulties for modernisation. As a site built over a century ago, it presented some unique challenges that we would not have found in a modern building.

TO ACCOMPLISH THIS, the Pavilion Cinema team engaged with Omnex, who, after completing a full survey and considering all the options, selected QSC to power the audio upgrades. The cinema’s previous system had been a mix of equipment dating to the 35mm

EXTRACTING THE old loudspeakers proved a challenge. The Omnex team only had a limited time to complete the installation. “We needed to remove the screen surfaces to access the stage and LFE speakers, and replace more than 50 surround speakers,” details Simon Tandy, MD of Omnex. “Due to the legacy architecture, the series and paralleling of the surrounds had to be done in the wall itself, rather than in dedicated cable ducting. As part of the installation, we also removed two 35mm projection systems! Our plates were certainly full, but the difference was worth it.”

Our technical team selected a combination of QSC DPA 4.2 and QSC DPA 4.3 amplifiers. Their in-built digital processing made them an ideal choice to drive all the loudspeakers. In the speaker system that can be driven from

Our customers are now being treated to the best sound this cinema has ever produced

Andrew Poole, cinema manager

a single amplifier channel. In the larger auditoriums, we selected QSC’s SC223X 3-way system for larger spaces. We had to replace the original speaker cabling to power these bi-amplified speakers. With the QSC SR Series cinema surround loudspeakers and QSC SB Series subwoofers, it completed a really perfectly matched audio system.

The installation in each auditorium included reconfiguring to incorporate 7.1 audio channels. Simon explains, “The new 7.1 sound lifts the total experience with 3D sound and improved spatial awareness. The QSC amplifiers and loudspeakers do an amazing job powering this upgrade and translating these sites into truly immersive spaces.”

NOW MORE THAN ever, the residents of this Borders town are hungry for entertainment, and the Pavilion Cinema is happy to oblige. “Our customers are now treated to the best sound this cinema has ever produced in its one hundred years of operation,” exclaimed Andrew Poole, cinema manager of the Pavilion Cinema. “It’s been one hundred percent positive feedback from our customers, including comments like ‘That’s the best sound I’ve ever heard in a cinema!’.”

From massive premiere events to family-run cinemas, QSC are proud to be providing the best possible audio experience for patrons at venues around the world.

In situ: the allnew QSC DPA 4.2 and 4.3 digital processing amps

Q-SYS audio has been a central element in the revitalisation of Pavilion Cinema

Don’t end up doing the un-plug, re-plug, re-boot dance

HDMI — making the right connection

HDMI may be a simple enough cable, but it can be the cause of many frustrations. Kris Bell explains how to keep things well-connected

WHEN LANSAT switched to IP delivery of live broadcasts last year, we found that a lot of cinemas changed their event cinema set-up to accommodate new equipment. I’ve taken a number of calls from cinemas looking for advice in setting up a reliable HDMI system that does not end up with the user doing the stressful unplug / replug / reboot dance every time you schedule a live event. Every cinema is different, but here are things to consider when designing a system that works for you.

HDCP & EDID

This is the digital handshake that occurs between equipment. If you have a lot of items in the chain you are likely to have had problems with this. HDCP ensures that every device in your HDMI chain is secure. The two main versions are HDCP 1.4 and HDCP 2.2. HDCP 1.4 was designed for HD content, while HDCP 2.2 relates to 4K media. To view content in 4K across devices, all components must comply with HDCP 2.2. EDID is the information provided by a display (projector) to a video source, outlining the capabilities of the output device. This can

cause issues, as many cinemas have multiple output devices like projectors and confidence monitors all with different capabilities. This is why we often recommend devices with EDID management.

It’s important to note that many IMBs and projectors capable of presenting 4K DCPs may not have 4K capabilities through the HDMI port. The Doremi IMB, for example, uses a HDMI v1.3 chipset limiting the HDMI to 1080p although the internal playback server outputs 4K.

CABLE

The most important things you need to know are the resolution, Hz and speeds that it can handle. A high-speed HDMI cable will do fine in the majority of cases

DID YOU KNOW?

THE HDMI CHIPSET in an IMS3000 uses Dolby’s own FPGA code and so is upgradeable with a software update — so the HDMI port will stay current.

SOME IMS’S also have the option to change HDMI versions in the settings. We’ve had to do with older Icecrypt receivers that have been dusted off and disliked the IMS’s newer HDMI 2.0.

HDMI VERSIONS

HAVING ALL your equipment on a similar HDMI version can help the reliability of the HDCP and EDID handshake. Each HDMI version differs in the way it handles picture and sound:

HDMI 1.3: Up to 1080p at 60Hz

HDMI 1.4: Up to 4K at 30Hz

HDMI 2.0: Up to 4K at 60Hz

HDMI 2.1: Up to 4K at 120Hz and 8K at 120Hz

HDMI TROUBLESHOOTING...

HAVE YOU TURNED IT OFF AND ON...? It’s a joke for a reason. A reboot will wipe away the current state of the software and any mis-behaving code. With HDMI, there are a lot of digital handshakes between devices and EDID management, so a reboot is often a good first fix.

CHECK/RESEAT CABLES… It can be weeks between HDMI screenings. Things get knocked or unplugged. Check status LEDs on equipment and that power is running to all equipment. A handy tip: before you unplug too much, take some photos so that you can put it back again.

TRY A DIFFERENT SOURCE… This will quickly determine if the source is the problem. Take the HDMI cable out of the back of the source device and plug it into something else.

audio. On many alternative sources, the audio can be encoded differently (Dolby Digital / Dolby Digital Plus/ DTS etc) which is why often the HDMI is looped through the cinema’s audio processor or the Bit-stream audio is de-embedded on a digital coax cable which is then sent to the audio processor.

HAVE A MONITOR IN THE BOOTH… Check the monitor will accept the signal your projector is expecting (in most cases a 1080p monitor will do). Plug the HDMI from the source directly into Monitor 2, check the settings on the source device are outputting what your projector and audio processor is expecting. Then add equipment like a splitter/ HDBaseT links into the chain to narrow down the problem. Try to use the same cables; they can often be the culprit.

STILL STUCK? CALL OMNEX SUPPORT… Often, doing the above will resolve issues but if it doesn’t then our team is on hand between 8am and 10pm every day.

The 3D experience

Are you ready for 3D? (NB. ‘Avatar 2’ is coming...)

Now feels like the time to check your 3D system. Tony EverettSpearing has tips to send your viewers to another dimension.

THE FIRST QUESTION? What 3D system does your cinema have? Is it Polarised or Active? Active 3D uses the battery-powered glasses loaned to the audience and collected after each show. They give the best 3D separation with little crosstalk/ghosting and can be used on any type of screen surface. You need a brighter projector due to light lost through the electronic glasses to make this work at its best, though.

• Correct Illumination

• Correct projector configuration

SOMETHING LOOKS OFF? Check if the polarisation is inverted. Each eye will be seeing the wrong projected image reversing the 3D effect. This is a problem so must be checked, especially if the system has been moved around.

If your image looks off, check the polarisation is not inverted, especially if the system has been moved

In contrast, Polarised 3D uses an electronic screen system placed in front of the projector in the projection room. This polarises light for left and right eyes. Low-cost plastic glasses have matching filters to pick up only the Left or Right images accordingly. These systems require a silver/reflective screen surface.

They don’t use as much light from the projector but do suffer from slightly more crosstalk/ghosting than an active.

WHAT MAKES A good 3D experience?

Here’s a checklist for the basics:

• Good quality screen surface

• Good condition 3D glasses

• Optically clear port glass that is angled correctly to minimise reflection

• Clean port glass and polarizer screen(s)

• Clean active glasses and good quality batteries with a good charge

• Clean projector lens

Test DCPs either from 3D equipment suppliers or charts supplied with the feature film are available. Playback a 3D chart and go into the auditorium with the lights out. These DCP test patterns normally show ‘Left’ or ‘Right’ on the screen (see opposite page). Closing your left eye, you should only see the ‘Right’ text, closing the right eye, your left eye should only see the ‘Left’ text. You can correct this inversion via the projector configuration or a switch on some 3D systems. Your integrator can help too.

LET’S TALK CROSSTALK: Crosstalk or Ghosting is a measure of how good the separation of the left and right images is via the 3D system and glasses. When you use the test for Inversion, if the left eye can see the right eye text clearly as well, then this is showing that the images are visible in each eye. This causes the ghost of the opposite image. Technically this is crosstalk. This will cause eye strain, a

poor 3D image, and unhappy viewers.

Key causes are the port glass or the screen surface. The angle of the 3D system to the screen and lens can also cause ghosting so the installation has to be carried out carefully with correct 3D settings stored in the projector to ensure optimisation of the installation.

The 3D polariser system could also be at fault. You can test the port glass quickly if the port is removable. Remove the port — if the image is now free from crosstalk, the port glass is the cause. Your service provider can also further test the uniformity of the port glass if required via test on site.

Different 3D systems have different amounts of visible or ‘normal/acceptable’ crosstalk. Again, service provider can advise you further. Servers also have configurations to minimise crosstalk of the alternative image via ‘Ghostbusting’,

WHO YA GONNA CALL: Ghostbusting is a trick used for polarised 3D systems. These are never 100% free from crosstalk especially when there is a high contrast between the left and right eye images.

‘Ghostbusting’ is where a ‘contrast hole or darker area) is added to the opposing eye’s image where the ghost of the brighter image bleeds into the opposing eye. This helps to reduce the brightness of the ghost and will improve the crosstalk and reduce the viewers’

eye strain to maintain a good 3D image.

YOU MAY SUFFER from reflection due to the image reflecting from the polarising screen, hitting the lens and reflecting back through the polariser onto the screen. This can happen due to the angle of the projector and should be minimised on installation of your system.

Similarly, you can get reflection from the port glass back to the screen and lens which can only be fully resolved by angling the port glass. This reflection also happens in 2D, hence projection ports should always be angled.

With ‘Active’ 3D systems you avoid the problem of added reflections as there is no polarising screen in use.

A typical 3D test pattern (this one is from RealD).

Using these you can check for faults such as incorrectly setup polarisation.

RAID: the storage solution that’s far from redundant.

Whil the R might stand for “redundant”, RAID storage is anything but. John Caswell looks at the basics of this essential content storage tool.

WHICHEVER BRAND of server or LMS

you use, you’ll likely have heard it’s storage mentioned as RAID. But what is RAID? RAID stands for Redundant Array of Inexpensive Disks. It is a system of using multiple drives together, in place of one large expensive drive. It allows data to be read from multiple places at once, so is faster than using a solitary drive and provides more reliability overall. If you were to use just one large drive, there’s the risk that, if this fails, you will have lost all of your content.

The “R” in RAID, Redundancy, means that you can have a disk in your RAID

array fail, yet not lose a single bit of your content. RAID storage typically copies your content into more than one drive, and there are several systems which are used. Here are the most common:

• RAID 1 – This uses a pair of drives, each keeping an identical copy of your data. If one drive fails, then you have all of your content on the other drive.

• RAID 5 – Commonly used in Screen Servers, this uses three or more drives, and allows for failure of one drive without loss of data. You can replace the one failed drive, and your data will copy back across onto the replacement.

• RAID 6 – More often used on Library Servers, this uses four or more drives, and allows for failure of up to two drives without losing data.

WHILE USING ANY form of RAID, you do lose out on some storage capacity, ie, using three 1Tb disks setup as RAID 5, you only have just under 2Tb of storage available to use, rather than 3Tb, due to the Redundancy factor — a small price to pay in contrast to losing your content completely in the middle of a show.

Today, DCP sizes seem to be getting ever bigger, but larger capacity drives are actually getting cheaper over time. And that’s great news for cinemas, as upgrading RAID storage is a good way to get more from your existing servers.

SIMON TANDY Managing Director, London

Simon started in cinema in 1995, working in indies and multiplexes, then launching the company responsible for LANsat.

NIGEL PRIEST

Asst Engineering Manager, W. Midlands

Nigel’s first role in cinema was as an usher at UCI, He joined AAM in 2006, helping to roll out digital projectors for the UKFC.

CHANTAL GUTHRIE:

Head of Seating

Chantal manages a team of six seating technicians, directing installations — as well as managing more than 44,000 seating checks across Europe.

DANNY LOVERIDGE Warehouse Operations Supervisor

Danny started at Arts Alliance Media in 2011 as a warehouse assistant and is now responsible for our Warehouse Ops Team.

TONY EVERETT-SPEARING:

Service Engineer, Suffolk

Based in Suffolk, Tony is an experienced Omnex engineer and considered our expert wireman — he creates order out of chaos in any installation.

KRIS BELL:

Cinema Engineer, Sussex

Before Omnex, Kris worked in technical theatre. Today, as many cinemas become more multifunctional, his advice on live sound and lighting is invaluable.

JOHN CASWELL:

Service engineer, Liverpool

John has been a field engineer for more than a decade — prior to that, he was the chief projectionist for FACT in his home town of Liverpool.

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DARREN BRIGGS

Head of Engineering, York, Starting his cinema life in 1999 for City Screen, Darren was instrumental in training several hundred projectionists in the digital rollout nationwide.

STEVE CASE

Technical Sales Manager, London

“30-years man ‘n boy” Steve has vast knowledge of mechanical and digital systems to support cinemas’ installations.

GUY SELWAY: Warehouse Ops Facilitator

After gaining experience at our sister company, MPS, in 2021 Guy joined Omnex to focus on managing contracts, customer relations and project delivery.

RICHARD LYON Warehouse Operations Support

Rich supports our warehouse operations and also provides vital support to our service engineers on bigger jobs.

PETE NAPLES:

Senior Engineer, Scotland

Based in Dunfermline, Pete has been a cinema engineer since 1998. He has also worked in television production and is a keen photographer.

GEOFF NEWITT:

Service engineer, Oxford

Formerly head of tech ops at Picturehouse, Geoff has been working in projection rooms since his student days; joining Omnex in 2018.

0161 477 7633

0161 477 7633

across the UK sales@omnex.co.uk

across the UK www.omnex.co.uk sales@omnex.co.uk

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A RANGE OF FINANCE

replacement projector installed and commissioned, with five years warranty and full Gold Support... all from Omnex from just £595* per

A replacement projector installed and commissioned, with five years warranty and full Gold Support... all from Omnex from just £595* per month

With a projector suitable for a 6m screen, a full five-year warranty and an inclusive service plan from just £595 per month, we believe the future is a lot more affordable.

With a projector suitable for a 6m screen, a full five-year warranty and an inclusive service plan from just £595 per month, we believe the future is a lot more affordable.

It’s what we do

It’s what we do

With finance packages available to suit a range of screen sizes, we also have options to include full peace of mind - speak to our team for the most suitable equipment.

With finance packages available to suit a range of screen sizes, we also have options to include full peace of mind - speak to our team for the most suitable equipment.

Established in 1987, Omnex supplies, installs, services and maintains technologies to cinemas throughout the UK and Ireland. We work alongside leading equipment manufacturers, and our goal is to support exhibitors in making cinema the ultimate place to enjoy the movie experience.

Established in 1987, Omnex supplies, installs, services and maintains technologies to cinemas throughout the UK and Ireland. We work alongside leading equipment manufacturers, and our goal is to support exhibitors in making cinema the ultimate place to enjoy the movie experience.

Truly the one-stop business for any cinema auditorium related items. *Terms & Conditions apply

Truly the one-stop business for any cinema auditorium related items.

*Terms & Conditions apply