History and development

Bon Jovi (2001), David Bowie (2003), and Robbie Williams (2005) bringing non-film audiences into cinemas that had newly installed digital equipment. The Metropolitan Opera in New York through their partnership with Fathom Events ^[1] is committed to the trailblazer in this area, aggressively seeking out new markets and setting high standards for live broadcasts via satellite. Emulated by other opera houses worldwide Such As the Royal Opera HouseFollowing a close second, Glyndebourne , La Scala and the Sydney Opera Housethe genre of opera within the ‘Event Cinema’ industry has a huge success, and has brought new, younger audiences into cash-strapped opera houses depended on state funding and wealthy benefactors for the first time – an unforeseen and happy consequence of digitization. ^{[2] [3] [4]}

Ballet and theater have also been very successful, have rock concerts, both live and recorded. The UK’s National Theater has been a huge success under the banner of ‘NT Live’, featuring big name Helen Mirren , who recently turned Queen Elizabeth II in The Audiencewas a sell out everywhere. (This was in partnership with another West End Theater and the others are maximizing their potential through live broadcasts). The Globe and the Royal Shakespeare Company are also producing for live broadcast and recorded exhibition. As digitization of mature cinemas, the Event Cinema industry is growing. The strongest territory is the US, followed by the UK and mainland European territories. Latin America is also a very strong market. ^{[5] [2] [4]}

Recent additions include Pompeii Live, a unique exhibition by the UK’s British Museum, featuring celebrities and curators taking a tour of the world, and they are also exploring the schools market for the first time, following the live broadcast on June 18 with a daytime broadcast aimed at UK schools for the first time. If successful, this will be a model for future museums to emulate. Art galleries have already been produced along these lines with the Royal Academy and the National Gallery.

An alternative incentive for exhibitors is the ability to show alternative content, ie alternative to mainstream, studio-driven content, such as live events, sports, pre-show advertising and other digital or video content. In the industry, this alternative is known as ‘Alternative Content’, but it is known as ‘Event Cinema’. ^[2]

Expanding markets

Some low-budget movies that would normally be shown smaller than normal movie studio pictures. The cost of duplicating a digital “print” is very low, so adding more Movies that start with a small release Could scale to a much larger release Quickly if They Were Sufficiently successful, opening up the possibility That smaller movies Could accomplish achieve box office success Previously Their out of reach. ^{[5] [3] [4]}

Technical Specifications

Event Cinema is also a market in the world in which DCI equipment is not yet affordable. This is an explosion in the variety of content on offer, but lack of standardization. As the industry matures, this lack of regulation is expected to change and make a move to introduce codes of practice and technical specifications. ^{[2] [3] [4]}

Recorded content complements mainstream studio by maximizing the ‘downtime’ that plagues the cinema industry, where screens worldwide spend a large proportion of their time in darkness and cinemas empty. Some cinema chains have been designed for the occasion, for example. DCPs have been useful for satellite broadcasting and their ability to exhibit their event cinema audience, which is the 18-24 demographic that multiplexes are targeting. ^[3] [4]

New Audiences

Event Cinema has a history of affluence, preceded by an affluent audience, and has been established by the multiplex experience. world away from the traditional popcorn / soft drink model; art house cinemas are marketing themselves as ‘destination’ come to an evening’s entertainment, somewhere to spend an entire evening, rather than just a couple of hours. As exhibition admissions have plateau’d in recent years due to the explosion in VOD, tablet and mobile content technology, this new revenue stream has been a surprise and welcome addition to the cinema industry, though the US studios have been cautious in embracing the change as yet. ^{[2] [6][3] [4]}

The thrill of Live broadcasts are more likely than others, but there are exceptions; artists with a loyal cult or teenage following, as well as the Grateful Dead , Pearl Jam , JLS , Led Zeppelin and the Rolling Stones have been shown. ^[4]

The Future

As more and more distributors are emerging, providing a broad spectrum of content to cinemas worldwide, the market is changing, and the market is changing. witnessing a re-evaluation of business models and practices worldwide. This paper is an illustration of the growth of this industry in the US $ 1bn by 2015. An illustration of the growth of this industry is the creation of a European trade association promoting the industry to the general public Event Cinema Association. ^{[7] [3] [4]}

See also

• Digital Cinema Initiatives
• List of movie-related topics (extensive alphabetical listing)

References