The Two Minute Interview with Karl Anderson, CEO of Digital Cinema Systems Corporation, Marina Del Rey, CA. 
As featured in Screen Trade Magazine 

The Two Minute Interview 

Karl Anderson 

CEO: Digital Cinema Systems Corporation Marina Del Rey, CA 

What is DigiCine is about? 

It’s a ‘solutions’ business focusing on how software can improve the operational efficiencies and/or reduce exhibitors’ costs – our objective being to bring together a number of little-known, cost-effective solutions from global third-parties, integrate and augment them with some of our products, and put them together in one easy and accessible place. 

How should exhibitors be approaching their digital provision in 2019? 

I would never tell ITAL an exhibitor what they should do, but believe the key value in Exhibition is in creating a complete experience for people to watch movies. This goes beyond the projection environment, and into seating, dining, and even the early stages of ticket-buying. So, the exhibitor’s investment reflects the strategic offering. If it’s an IMAX, Dolby, or other branded experience, then that’s one thing; however, if the goal is still to provide a premium experience with food, seating and pristine digital picture, then the latter part of this can be provided using existing equipment at optimal costs. 

Tell us about the company’s initiative to extend the life of Series 1 projectors. 

DCinema is constantly progressing with new and immersive sound options, laser projection, and now new and potentially-disruptive LED screen technology poised to hit the market. The exhibitor invested in Digital, mostly using the VPF programmes and we don’t foresee any similar funding programme, so any new equipment-purchases will need to be funded from somewhere, be it via banks, leasing companies, or from exhibitors’ own cash-reserves. However, we question whether exhibitors really want to replace the Series 1 projectors that are still providing value in their cinema and believe there are benefits in being able to defer expensive projection-decisions until the market offerings are more clearly understood. This also allows exhibitors to preserve their cash. 
And whilst the Series 1 projectors were built-to-last, their media-players are now failing in the field and haven’t seen any functional upgrades, components are becoming obsolete and replacement stock is dwindling. The projector manufacturers are motivated by a replacement strategy and some of the original media-player manufactures appear unable to plug-the-gap, perhaps because it’s not seen as part of mainstream business. Meanwhile, our IMB works perfectly with both Series 1 & 2 projectors and thus, not only saving a ‘distress purchase’, but also resulting in considerable savings. 

What’s next for Digital Cinema – what changes are we likely to see in the sector as a whole and what do exhibitors need to be aware of regarding its inevitable evolution? 

Digital Cinema has grown as a complete destination experience and all areas of the operation are experiencing change, from subscription services, POS opportunities, lobby marketing, and the presentation of food offerings, right through to the fully-immersive promise of laser-led screens. There are a number of things to pay attention to and DigiCine will help by allowing exhibitors to respond to the changes at their own pace. 
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