In a landmark development for the spread of digital cinema in South Africa, leading chain Nu Metro recently employed Arts Alliance Media (AAM) to convert 16 sites located across the country. David Davies examines the sophisticated AV and system management involved in the roll-out.
Barco projectors, Dolby audio processors and Doremi servers were integral to a recent project that saw all screens at 16 Nu Metro sites across South Africa convert to digital. Undertaken in collaboration with London-based digital cinema company Arts Alliance Media (AAM), the initiative benefited from AAM’s Virtual Print Fee (VPF) model, whereby film distributors contribute towards the cost of installing digital equipment.
Recalling the origins of the roll-out, Darren Briggs, digital cinema field service manager at AAM, says: “Our sales team discussed with Nu Metro the digitisation of the chain using the VPF model. This led to the deal being agreed between AAM, Nu Metro and the equipment suppliers. RCC Trading was also appointed as our technical partner in South Africa for this roll-out. The whole process of negotiations took place over a 12-month period.’
Disclosing details of the deal last autumn, Luke Roberts – general manager of Nu Metro – remarked: “Having started our digital conversion already, we’re pleased to be able to join forces with AAM and benefit from their extensive digital cinema expertise, as well as the funding provided by the VPF model.’
Howard Kiedaisch, chief executive officer of AAM, added: “Nu Metro was the first company to open an all-digital cinema in South Africa several years ago, and we’re always delighted to help digital pioneers complete a full conversion of their estate. The Nu Metro team have always been innovators in digital cinema and we’re really pleased to be working with them.’
AAM – which also has a digital cinema roll-out agreement with South Africa’s leading chain, Ster Kinekor – provided full technical designs and schematics for the systems, as well as performing initial site visits to discuss the conversion process with Nu Metro and RCC Trading. Prior to this programme of work, RCC had already been supporting Nu Metro’s 35mm projection and sound equipment, and initial few digital screens.
Crucially, for each site AAM also supplied the central rack – which houses the network equipment and library server (LMS) – from its base in the UK. Briggs remarks: “The LMS runs our AAM Screenwriter Theatre Management software, while the network equipment used in the central rack and screens systems are D-Link. Different sites have slightly different models in the central rack dependent on the number of screens they service.’
In essence, though, the installation revolves around two networks – one for management and one for content. “The content network is used solely for transfer of the digital content from the library server to the screen servers,’ says Briggs. “The Management network connects the various screen system devices to each other and the central rack. Our Screenwriter software uses this to talk to the screen equipment, and we also use this network to manage and support all the equipment remotely.’
As Briggs observes, the overriding objective of any digital cinema installation is: “To ensure the vision of the film-makers is exhibited the way it was intended. The DCI Specification sets correct illumination levels and colour calibration of the projector.’
Providing projection at each of the sites are Barco Digital Cinema Projectors. Several models were selected but by far the most commonly specified was the DP2K-10S. A compact and fully integrated digital cinema projector designed with the needs of smaller theatres, independent cinemas and art-houses in mind, the DP2K-10S is DCI-compliant and incorporates a 0.69′ DLP Cinema chip and high grade cinema lens.
“Prior to installation, all the equipment was specified per screen depending on the screen size and requirements for 3D,’ says Briggs. “3D needs a projector capable of supplying a brighter image to offset the losses of the 3D equipment.
For the first “trial’ site we installed our central rack and TMS system at the Emperors Palace cinema, which incorporates a total of six screens. At this time we carried out initial digital cinema training with RCC to bring all their engineers up to speed with the standardised screen systems, central rack, AAM Screenwriter software and DCI installation specifications.’
Other “frontline’ elements of the screen systems at each location include Doremi ShowVault and IMB servers, D-Link 3200-10 switches, INTEG Process Group Jnior automation devices and APC uninterruptible power supplies.
Simultaneously to this intense programme of work, Nu Metro opted to upgrade the audio processing capabilities of its screens as well. “At the same time as the digitisation, Nu Metro elected to upgrade systems to the Dolby CP750 cinema processor, which allows for 7.1 playback as well as the standard minimium spec 5.1. equipment is set up and calibrated as per the DCI specification,’ notes Briggs.
The move to 7.1 takes place during the first quarter of 2014 and involves the specification of new amplifiers and speakers (the latter primarily drawn from JBL’s Cinema range). Sub-units are being placed behind screens, with the number of surrounds installed to be determined by the size of the auditorium.
Subsequent to the initial trial installation, Briggs returned to oversee the fit-out of the first two sites involved in the roll-out. On a longer-term basis, AAM also provides: onsite training of engineers in digital cinema technology and Nu Metro personnel on the use of the systems and Screenwriter Theatre Management system; active monitoring of all systems for faults; remote access platforms for RCC, Nu Metro and itself to assist in servicing the chain; and line support to the cinemas and RCC.
Invited to consider the long-term significance of this substantial undertaking, Briggs responds that: “All projects we are involved with are very important…from a single screen to a full chain of multiplex cinemas. In South Africa we also deal with the Ster Kinekor chain, while our UK-based NOC (Network Operations Centre) offers support to cinemas directly and (the ability to) escalate calls to site to RCC in South Africa.’
