MORRISTOWN, N.J. - Building on the success of the Phase 1 Christie/AIX Digital Cinema deployment plan, Access Integrated Technologies, Inc. ("AccessIT") and Christie Digital Systems USA, Inc. (Christie) announced today the signing of a Supply Agreement to bring Digital Cinema Systems including Christie projectors to theatres in the United States and Canada. Christie will provide up to 5,000 projectors for the previously announced AccessIT Phase 2 Digital Cinema Deployment Plan.

As in the Phase 1 Plan, Christie will again provide turn-key digital systems featuring its full line-up of DLP Cinema® projectors including the Christie CP2000-SB, Christie CP2000-XB, Christie CP2000-ZX and the latest Christie CP2000-M model for screens up to 35 feet wide. All models now feature the latest industry advancement, Christie Brilliant3DTM technology, providing 33% more brightness in full 2K resolution for 3D content.

“In Phase 1, AccessIT and Christie made digital cinema a reality. Together we completed the conversion of more than 3,700 screens. In Phase 2, AccessIT is aiming even higher with a goal of installing 10,000 screens over the coming three years. It just makes sense to continue working with the company with whom we’ve shared tremendous success. We’re looking forward to seeing the installations begin and we know that Christie will be an important asset to our Phase 2 objectives,” said Bud Mayo, chairman and CEO of AccessIT.

"Together with AccessIT, we've had three successful years in digital cinema leading the transformation in the industry with the first network technology and business model," commented Jack Kline, president & COO, Christie Digital Systems USA, Inc. "Now, we're entering a new phase that will see rapid change in the landscape of commercial cinema and we're excited about the opportunities ahead. Our years of experience working together on the first large scale deployment has created a solid foundation for reliability and enhanced operational efficiency for exhibitors."

“Over the last three years that AccessIT and Christie have worked together we’ve provided an effective technology and operational foundation for our 15 exhibitor partners including turnkey installation and an ongoing maintenance program from Christie’s industry-leading Managed Services division,” said Chuck Goldwater, President of AccessIT’s Media Services Group. “That foundation has made possible the benefits of digital cinema for distributors and exhibitors by enabling the growing businesses of 3D movies and alternative content programming including live 2D and 3D events. We are pleased to continue our successful working partnership with Jack Kline, Craig Sholder, Sean James and the entire Christie team in their Cypress, CA and Kitchener, Ontario facilities.”

AccessIT’s Digital Cinema is the industry-leading deployment program for Digital Cinema that provides the funding, installation support and administration for the company's studio-supported Digital Cinema rollout plans. Its Phase 2 plan for up to an additional 10,000 screens will provide networked, turnkey, Digital Cinema systems in conformance with DCI specifications, including AccessIT’s unique Library Management Server® and Theatre Command Center® software. The system will also include digital projectors and JPEG 2000 media servers from a variety of vendors whose equipment is designed to meet the DCI specifications as well as a demanding set of performance and reliability requirements AccessIT developed through its success with the Phase 1 plan.

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LOS ANGELES — Leveraging the power of its nationally diverse user base of entertainment consumers,, the world’s most powerful Internet movie ticketing service, recently debuted a new service that offers movie marketers actionable data regarding decision-making influences and future movie-going intent.

For the first time, movie-marketing professionals are able to identify key purchase drivers at the point of sale across various film titles and demographic segments. Collecting this information at the time of ticketing enables marketers to hear moviegoers’ valuable first-hand assessments of the impact of marketing stimuli on their purchase decisions.

In addition, the service tracks moviegoers’ awareness, interest, and attendance expectations for movies up to six weeks prior to release. As such, this information allows marketers to assess the real-time effectiveness of a movie marketing campaign.

The Internet has become a standard tool used by moviegoers in connection with movie selection and ticketing. The MPAA reports that 73 percent of U.S. moviegoers who seek out movie information before seeing a film in the theater use the Internet to conduct such research. Additionally, moviegoers who research online are more likely to see a movie on opening weekend, go to the theater more often, and see some movies more than once in the theater.

“Every week,’s finger is on the pulse of a nationally representative sampling of moviegoers that set box office trends into motion. As such, we can provide valuable, actionable information for studios and agencies to use to connect with their target audiences as effectively as possible,” said Gary Hiller, President of’s Research and Analytics Division. “Our unparalleled ability to survey moviegoers from across the country at key points in time both before and after seeing a film cannot be replicated using traditional, in-person, research methodologies.”

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By Amy Nicholson

Some recent big news in 3D technology has been the ascendance of RealD projection, a digital format that allows viewers to shed those goofy red and blue glasses for a slick pair of black shades. Following the debut RealD feature Chicken Little in 2005, which was released in 3D on only 100 screens (each of which earned two and a half times more revenue than theaters with flat projection), the technology has seen a marked uptick with this year heralding several RealD features including Journey to the Center of the Earth, the concert films for Hannah Montana and U2, and the upcoming Disney cartoon Bolt.

Now, RealD has joined forces with Iosono, a 3D sound system that pledges to give audiences a dimensional auditory experience that surround sound can't match. The goal is to create what the company calls an "audio hologram," where every seat in the theater is enveloped by the same sound. Iosono's method is based on wave field synthesis. The theater is circled with what looks like a rollercoaster track made of individual speakers. Each speaker is virtually connected to a digital workstation for a simple set up that avoid a snarl of audio cables and wires. At a presentation at the Mann's Chinese in Hollywood, 380 speakers hugged the walls of the theater. The first simulations were sound-only demonstrations, undermined by the crackling of potato chip bags from the lunch boxes handed out at the entrance. During a jungle sequence, the sound of thunder rumbled up from the front left corner while birds and insects seemed to fly right overhead. The audience was cautioned to pay attention to the noise of water drops, which was so specific in location that it felt as though one would know exactly where to look for the puddles. Next, moderator Tanya Johnston, Iosono's VP of Business Development showed how with only the movements of a computer mouse, the sound of a gibbering ghost could sweep through the audience, its whispers passing through every seat going "in the ear, through the head, and out," described Johnston.

Later demonstrations paired the Iosono system with visual clips. First, the presenters played a clip from the 2004 Japanese feature-length cartoon Steam Boy using the theater's original 5.1 system, which sounded flatter and clumsier than usual. The brief reel showed the film's climax, a crescendo of explosions and shattering glass over an orchestral score. When played again in a remastered Iosono version, the sound wasn't astoundingly different, but if one concentrated, the broken glass seemed to sprinkle over the audience's head and the individual instruments in the symphony were more pronounced. Steam Boy's sound mixer J. Stanley Johnstone (no relation to Ms. Johnstone) spoke about the relative simplicity of adapting standard audio mixes to Iosono's technology, and then said that just as 3D films have advanced past the gimmickry of pop out surprises like the decapitated fish in Jaws III, he anticipates 3D sound will also evolve to be as lush and realistic as life. For the day's demonstrations, however, Iosono and RealD were limited to more jarring and cartoonish uses of their potentially game-changing technology. Their closer -- a drag race sequence from the Japanese anime Freedom -- combined 3D sight and sound, but was so raucous that the audio and visual precision of the earlier demonstrations was lost in the choppy editing, unrestrained laser beams, and throttling car engines.

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CYPRESS, CA - Christie, a leader in digital cinema projection, is pleased to introduce its Brilliant3D technology that enables 3D content to be projected in full 2K resolution for digital cinema projectors utilizing 1.2” DMD chips from Texas Instruments. A first for the industry, this new technology will be available exclusively on all Christie digital cinema projectors and will be launched at ShowEast beginning October 13 in Orlando, FL. Following the successful demonstrations with RealD at IBC in Amsterdam last month, Christie’s new technology provides 33% more brightness for 3D content and uses only a single lens system.

“We’re very excited about this technological development from Christie. This advancement combined with our RealD XL system enhances the 3D experience tremendously. Together, we can fill screens up to 75ft in width with true triple-flash capable technology, making 3D films even brighter and clearer,” noted Joseph Peixoto, president of worldwide cinema, RealD.

Craig Sholder, vice-president of Christie’s Entertainment Solutions stated, “With more than 15 new movies slated for 3D release over the next 18 months, Christie’s new Brilliant3D will enable exhibitors to project 3D movies onto the largest screens—while reducing both lamp and electricity expenses. Christie engineers initiated development of this technology so that audiences would have the most compelling 3D experience.”

Christie Brilliant3D will be available on the world’s brightest 2K DLP Cinema® projectors, the Christie CP2000-SB and Christie CP2000-XB, as well as on the Christie CP2000-ZX. Christie’s CP2000-M digital cinema projector, based on the .98” DMD chip, will also feature Christie Brilliant3D technology. With this new technology, Christie now offers 3D in full 2K resolution at brightness levels not previously seen before in theatres.

Sholder added, “We’ve enabled our full suite of digital cinema projectors with Christie technology. And, our flagship Christie CP2000-SB will offer double the brightness for 3D projection than any other competitive product on the market. We’re thrilled to offer a much more viable solution to the industry for projecting 3D movies on medium and large screens. Christie remains at the forefront of the digital cinema revolution with 3D solutions for every exhibitor on any size screen.”

In addition, Christie is also announcing a new suite of variable prime zoom lenses that enable a convenient and cost-effective, single lens solution for 2D and 3D content regardless of format, keeping operating costs down. These lenses and new projector solutions will be available for the release of the 3D blockbusters scheduled for the upcoming holiday season.


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CYPRESS, CA - Christie, a global leader in visual solutions for entertainment, business and industry, sets a new standard for quality and reliability with the introduction of the new Christie Champion Lamp Warranty. For all eligible lamps, Christie will provide a full 100% credit of the purchase price. The new warranty, effective October 1, 2008 applies to all of Christie's industry acclaimed CXL and CDXL Xenon lamps used for film and digital cinema projectors.

The new Christie Champion Warranty is one of the most powerful guarantees of product excellence in the industry. For example, previously the CXL-20 was 100% covered for the first 1,200 hours and pro-rated between 1,200 to 2,400 hours of operation. Now, the new warranty gives 100% coverage for the full 2,400 hours of operation.

“Christie cinema lamps are backed by years of quality engineering to an exacting standard, making them unequaled in the industry for dependability,” notes Jim Dukes, film cinema and Xenon lamp product manager for Christie’s Entertainment Solutions division. “The new Christie Champion Lamp Warranty reflects our continued confidence in the exceptional quality of our products. Christie lamps continue to exceed industry expectations for performance and combined with the new warranty, represent the most competitive offer in the industry."

At the heart of Christie’s cinema projectors, the CXL and CDXL lamps offer exceptionally high output and brightness. Recognized throughout the cinema industry as a reliable light source, they are guaranteed against all defects.

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