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Author Topic: Christie/AIX conversion? Mike Sellars Film Handler Posts: 34 From: Robertsdale, AL., USA Registered: Oct 2006 posted 08-30-2007 05:40 PM                     Without revealing any of your actual contract data or anything you cannot reveal, would someone please give me a rundown of the issues involved in converting to the digital Christie/AIX thing? Things like what types of costs must the theatre absorb, how PM's and service calls work cost-wise, timeline for conversion, how the Virtual Print Fee thing works, etc.? Thanks very much for any info offered.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 08-30-2007 06:14 PM                     Aside from lamps the 2nd biggest expense to the customer is the 2500.00 per booth per year service contract. With Carmike this is a 10 year contract. Most of the details were on Carmike's web site with very little of it blackened out to hide the actual costs. Mark  |  IP: Logged Mike Sellars Film Handler Posts: 34 From: Robertsdale, AL., USA Registered: Oct 2006 posted 08-30-2007 06:55 PM                     Thanks Mark.... I looked on their website and could not find that kind of info, unless I didn't look hard enough - any idea where else I might find it? Mike  |  IP: Logged David Zylstra Master Film Handler Posts: 432 From: Novi, MI, USA Registered: Mar 2007 posted 08-30-2007 09:03 PM                     I have 46 screens all under the AccessIT/ChristieAIX contracts . . . .. 1st. Due to a confidentiality clause I won't confirm or deny the number Mark mentioned Items to consider: if you keep some dual systems you may need to install another projection port and have some electrical work done to power the digital projectors, you will need to have dedicated power circuits run for the LMS rack, you may need to run a dedicated power circuit for the automation/screen server rack (you might be able to repurpose the platter circuit for this), you will need to provide Christie with a VPN connection to your sites as well as maintain a WAN between locations (if you don't already have Internet make sure you get a good firewall properly configured to make sure you are protected), you need a dedicated phone line for the LMS, if you don't already have email to your locations I'd suggest having an email account that can be checked at the theatres so you can easily receive KDMs via email (this comes in handy when you get servers replaced), you will be responsible for any ancillary hardware items needed to install the projectors - i.e. if your ports are too high you need to pay for platforms or have the port lowered, EXHAUST - you will need to make sure they are pulling at least 600CFM (the 2K and 3K lamps seem to be able to run fine with less, but the 4.5K and 6K really do need 600CFM), our install was signed before I came on board so I don't remember who paid for the network install (I think they did, but our company is a little scatterbrained and no one can tell me for sure), you may need to pay for the first wave of lamps (Note that you DON'T have to buy your lamps directly from Christie - shop around for the best price on their lamp for comparison, if you are paying list price it is too much . . . . I can say that the Christie lamps have been good - we usually easily run to +25% of warranty as long as light levels look good), you need a sound processor that can take in 6 channel analog (I'd suggest the USL JSD-80 if you need new ones - they are very cost effective and you get the ability to plug in and decode 5.1 sound from DVDs and other sources as well as plug the digital sound into the AES inputs instead of analog), if you want to do alternative content you will need something to convert the video signal to be DVI (we use the NEC TheatreSync - it works well and it matches digital audio to any scaling time delay). Sorry for a disorganized list, I was typing as I was thinking . . . I'm sure I'm forgetting a few minor things . . . . The VPFs are basically the lease payments for the projectors that are being paid by the studios - so for each title that you run in digital the studios pay AccessIT a fee (I think it's somewhere between $1,000-$1,500 per title). Our local CSEs have been great - very responsive and conscientious- only issue I have is they do not have a film background so they don't always understand why I want things done a certain way, but they are both great guys. Our procedure is to call the Christie NOC first and if they can't fix the issue remotely they will dispatch a CSE. Christie is responsible for the lamp changes on our deal as well as unlimited service calls, I hear some deals have limited "free" service calls. I would suggest after your install have them give you a report on each screen - i.e. lamp size/model installed, lamp power level, screen luminance (should be 14FL +-2), etc - this is to prove to you they installed systems that meet DCI luminance requirements of 14FL (I have 4 screens that did not meet standards even with 6K lamps - they are installing anamorphic lenses for these) You are welcome to come up and tour our booths anytime, but I see you are in Alabama so I'm sure Christie/AccessIT can hook you up with a closer location to go through. Depending on the install crew's experience they could easily get a 10 screen location converted in a week . . . . ours took forever since we were the first and they were learning as they went . . . If you have any more questions I can send you a PM with my email.  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 08-31-2007 01:02 AM                        Where is the Christie NOC, Kitchener?  |  IP: Logged Tristan Lane Master Film Handler Posts: 444 From: Nampa, Idaho Registered: Feb 2002 posted 08-31-2007 03:55 AM                     quote: Daryl C. W. O'Shea Where is the Christie NOC, Kitchener? Nope, Cypress.  |  IP: Logged Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 08-31-2007 12:47 PM                     Something else to consider....... Our insurance agent told me that you have to be insured for the full value of the digital projection equipment. This can add a lot to your property insurance coverage vs. the film equipment.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 08-31-2007 01:29 PM                     quote: Lyle Romer This can add a lot to your property insurance coverage vs. the film equipment. I'm not sure why a theater owner wouldn't want a theater full of film gear insured for full replacement value anyway... That is if said owner had in mind that he wanted to continue after what ever disaster took him out. TIme spent shopping for insurance has always paid off for me in the past!! Mark  |  IP: Logged Dustin Mitchell Phenomenal Film Handler Posts: 1865 From: Mondovi, WI, USA Registered: Mar 2000 posted 08-31-2007 02:01 PM                     I think his point was that 'full value' of a digital projection system is much more than for a 35mm system.  |  IP: Logged Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 08-31-2007 03:10 PM                     That's exactly where I was going. The replacement value for a d-cinema system is probably 3x the value of a film based system. When looking overall for a multiplex you're probably talking doubling your total property insurance premium.  |  IP: Logged Mike Sellars Film Handler Posts: 34 From: Robertsdale, AL., USA Registered: Oct 2006 posted 08-31-2007 04:50 PM                     Thanks for the info, David. We currently run Simplex Apogees with Strong platters, Dolby CP-650s, and are fully networked together up there, so that part should help. As for the VPF, is there a theatre component to it, or is it all on the studios? Mike  |  IP: Logged David Zylstra Master Film Handler Posts: 432 From: Novi, MI, USA Registered: Mar 2007 posted 08-31-2007 06:09 PM                     The only theatre component is delivery, but exhibitors already pay for that part for 35mm . . . . . When Access delivers a print (HD or satellite) they charge no more than what we used to pay for 35mm print delivery . . . . . . there are also fees for using the projectors for alternate content, but specifics and exemptions are worked out in the initial deal so every exhibitor may have something different . . .  |  IP: Logged

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