For one night only, fans can watch five-time Grammy winning musician John Mayer's Where The Light Is: John Mayer Live in Los Angeles on the big screen in theatres across the country on Monday, June 30th. In the larger-than-life movie theater setting, fans will feel like they actually attended the unique concert, which featured Mayer performing an acoustic set, a full-band Continuum set and a rare John Mayer Trio set. Recorded last December at the Nokia Theater in Los Angeles and directed by Danny Clinch, Where The Light Is hits screens courtesy of The Bigger Picture, the alternative content distribution unit of Access Integrated Technologies, Inc..

"John Mayer's gift for mixing genres and styles and for appealing to such a wide cross-section of fans will come to life on the big screen," said Jonathan Dern, President of The Bigger Picture. "Everyone who comes out to see him in digital cinema will enjoy an incredible view and the best sound available."

"We are proud to present Where The Light Is with this special one-night only presentation in theatres," said John Rubey, President of AEG Network LIVE. "Fans will be delighted with the high quality digital cinema picture and the incredible surround sound."

On July 2nd, John Mayer begins his '08 Summer Tour in Milwaukee, WI and is scheduled to tour through the end of August. Various dates will feature Colbie Caillat, Brett Dennen, Paramore and OneRepublic.

Where The Light Is: John Mayer Live in Los Angeles becomes available in stores on July 1st as a 2CD, DVD & Blu-Ray package. The release will be Mayer's first since Continuum became available in September 2006 and incorporates each of the elements the five-time Grammy-winner is known for - acoustic songwriter, electric guitar slinger, bluesman, and vocalist. The special Columbia Records release will feature Mayer's own hits, as well as versions of blues and rock favorites like Jimi Hendrix's "Wait Until Tomorrow," Tom Petty's "Free Falling," and Ray Charles' "I Don't Need No Doctor."


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From The Hollywood Reporter: "Next month, [IMAX] will roll out the first three digital IMAX installations with exhibitor AMC Entertainment -- two in Washington and one in Baltimore. Three more will debut in August in Philadelphia. IMAX expects to have digital systems deployed at 50 sites by year's end, with the goal of converting its 296 owned or equipped theaters in 40 countries.

IMAX believes that the digital offerings will prompt new installations and more studio films for release in IMAX theaters."


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Christie, a global leader in visual solutions for entertainment, business and industry, is proud to announce that a pair of Christie CP2000-XB DLP Cinema projectors will be used at the World Premiere of Disney/Pixar's WALL-E. The World Premiere will take place outside under the stars at the Greek Theatre and Griffith Observatory on Saturday, June 21st.

The event marks the latest collaboration between Christie and Walt Disney Studios Motion Pictures Special Events. Christie's projectors were most recently used at the World Premiere events for Cars and Pirates of the Caribbean: At World's End. The Christie CP2000-XB is the most powerful in its class, and the projector features the revolutionary split-body design that allows flexible placement in almost any venue.

WALL-E, which opens in theatres everywhere on June 27th, follows the animated adventure of a determined and lovable robot. WALL-E (short for Waste Allocation Load Lifter Earth-Class) discovers a new purpose in life when he meets a sleek search robot named Eve, and together they take an exciting journey across the galaxy.

"We are proud to be using Christie's state-of-the-art projectors at the World Premiere of WALL-E," said Lylle Breier, Senior Vice President, Worldwide Special Events for Walt Disney Studios Motion Pictures. "Our guests will be able to enjoy all of the film's impressive computer animation in razor sharp clarity, and see a faithful reproduction of the filmmaker's vision."

"Disney and Pixar continue to raise the bar for animation, bringing to the big screen some of the most memorable and most entertaining characters in the world," said Craig Sholder, vice president of Entertainment Solutions, Christie. "We are pleased to be working with Disney on the World Premiere of the latest Disney and Pixar adventure. We believe Christie DLP Cinema projectors are the best choice to bring this highly entertaining film to audiences everywhere."


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From Reuters: Consumer spending on filmed entertainment will rise to $111.2 billion in 2012 from $85.9 billion last year, driven by Asia-Pacific growth and digital upgrades in homes and theaters, according to a report released on Wednesday.

The PricewaterhouseCoopers Global Entertainment and Media Outlook: 2008-2012 said box office spending would increase at a 6.1 percent compound rate yearly to $36.9 billion by 2012, outpacing home video spending, which will grow at a compound annual rate of 4.9 percent. Box office revenue will grow on 3D and digital upgrades and rising screen numbers outside North America, the report said.


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Turns out the $9.6 billion that moviegoers spent at the domestic box office wasn’t the only record set in 2007. According to the Cinema Advertising Council, its members’ revenues reached $539.9 million—an 18.5-percent increase, year-over-year. That’s a couple hundred million more than the top-grossing movie of ’07, Spider-Man 3, earned at U.S. theatres.

“We’re obviously very pleased with the growth,” says CAC President and Chairman Stu Ballatt, who is also senior vice president for marketing and research at Screenvision. “These numbers were in line with the expectation that we would continue to deliver double-digit growth as an industry. And 18.5 percent solidly puts cinema advertising second only to the internet in terms of advertising revenue growth.

“Last year, growth was about 15 percent. So I was really pleased to see that uptick, year-over-year,” Ballatt says. “Not simply maintaining double-digit growth, but also increasing it a bit was a pleasant surprise.”

Ballatt attributed the continuing growth of both onscreen and offscreen advertising—which accounted for $494.6 million and $45.3 million, respectively—to advertisers using cinema as a “sustaining media.”

“It’s not what it was four or five years ago, when people would buy one flight in cinema all year, for a big tentpole event, but nothing the balance of the year. Advertisers are using cinema much more frequently and consistently as part of their overall media mix. So while cinema doesn’t have a traditional ‘upfront’ like television, advertisers are buying cinema in an upfront nature. They’re buying several flights—three, four, five, 10 flights over the course of one planning cycle, and they’re committing to that spending six or nine months in advance,” Ballatt says. “They are making an upfront commitment to cinema because the inventory is finite, there isn’t that much of it. You can’t really expand it at any great level, because you can’t ever—and won’t ever—displace the film itself. So in order to take advantage of the GRPs [Gross Rating Points] that are available there, people are making upfront commitments and they’re doing so for multiple time periods or multiple flights.”

Cliff Marks, president of sales and chief marketing officer for National CineMedia, says the advantages of cinema advertising are manifold. “It is completely engaging, you have the ability to use sight, sound and motion, you have the ability to talk to niche audiences and target and—for a lot of categories—advertisers like the fact that we sell 70 percent of our tickets between Friday and Sunday. That’s when people are out, that’s when people are shopping, that’s when people are looking for new cars, that’s when people are in malls, that’s when they’re more likely to use their credit cards. There’s lots and lots of advantages there, but the cinema medium is a very powerful medium, because the research shows that the recall and the engagement of those ads are stronger than any other media known to man.”

Asked how the current state of the U.S. economy might impact 2008 cinema-advertising expenditures, Ballatt expresses sentiments similar to those shared by many in the exhibition industry.

“In a soft economy—whether it’s an actual, qualified recession or it isn’t—I think advertisers will view cinema as a stable environment. And I think, at that level, theatregoing does pan out to be somewhat recession proof. In fact, in previous recessions, cinemagoing in terms of box office ticket sales has maintained, and sometimes has actually even increased, because people love moviegoing, and movie going is a low-cost, high-value entertainment opportunity. So we would expect that we wouldn’t see significant, if any, erosion, in terms of expectations of admissions. And that means that advertisers can rely on cinema being able to provide the GRPs that they bought,” Ballatt says. “So I would expect that advertisers will continue to use cinema in a greater way.”

But Marks, himself a past president and chairman of the CAC, cautions that “no media outlet is recession proof. … While it’s hard to project what will happen in the future, clearly, any business that relies on marketers and the economy to some depth is vulnerable to a recession.”

For expanded coverage of cinema advertising, including additional insights from Stu Ballatt and Cliff Marks, read the August issue of Boxoffice Magazine.


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