Boxoffice - May 2016

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P R O F I L E SHARE DIMENSION Cinema Intelligence hopes to revolutionize booking and scheduling through the power of data Interview with Claudiu Tanasescu, CEO and Founder, Share Dimension Claudiu is Tanasescu Share Dimension’s founder and CEO and brings more than 15 years of technical expertise gained through working with multinationals Philips and Canon, as well as strategic ICT project development and entrepreneurial skills honed as founder and CEO of Share Dimension. He holds a Telecommunications degree from Polytechnic University in Timisoara, Romania and a degree from Oulu University of Applied Science, Finland. Vista recently acquired a stake in Share Dimension. How does this deal affect the scope and impact of your services? We developed this product with a global market in mind, and obviously you can’t talk about a global market in the cinema industry without the United States. We were just waiting for the right partner at the right moment to expand to the U.S., and both those conditions were realized with Vista when they acquired a 50 percent stake in the company. It became an important opportunity to expand and a huge opportunity to look at all of the synergies between our products. This applies not only to linking Vista with our offerings, but also feeding back our own analytics and forecasts into Vista modules. We see a lot of synergies between our products, and we’re of course benefitting from Vista’s global footprint. Cinema Intelligence is your forecasting, planning, and scheduling solution. What sector of the exhibition business do you believe can it influence the most? One of the things that we’re working very hard on is to leverage the power of big data and our forecasting module. We are looking at films anywhere between three weeks, six months, and up to a year prior to their release. We want to leverage that into what we call “long-term booking,” a functionality where cinemas will be able to plan programming weeks in advance through our forecasting module. We are finally at that point where people can plan up to four weeks in advance where to schedule their new releases and holdovers, all with an exact screen count, giving exhibitors a much more powerful tool to start engaging with studios and exhibitors. We empower exhibitors in that discussion and negotiation through our analytics and data. Why is film booking primed for a shift in strategy in North America? A lot of booking decisions tend to be made by either a studio agreement or a gut decision by the booking team. We’ve done a comparative study of the U.S. and European markets, looking at a similar-sized multiplex, and found that in the U.S. they were running an average of 14 different films, whereas in Europe they averaged 28—double that amount. That means a lot more choice for moviegoers. It also means that you see the lifetime of each movie last longer—a film can last around three to five weeks in a U.S. theater, while in Europe that goes into 10 to 12 weeks. You can earn revenue for another eight weeks on a given film just by optimizing your schedule and keeping that product in the market. By identifying those movies and extending them, you are also extending their earning potential. Another aspect we see a lot in Europe is a shift from admission-based scheduling into what we call profit-based scheduling. Instead of optimizing admissions, you optimize the net profit of each show. To build that, you look at the total box office for that particular show time, you subtract the rental fees you pay to the studio, and you add concessions sales on top of it. At the end you end up with a dollar amount that you can compare between show times. That’s something that data analytics and forecasting can help with, and we want to be part of that process; our module is able to forecast admissions at the moment, and we’re working to integrates POS (point-of-sales) and concessions systems so we are able to add a significant difference in a theater’s net profit. n 60 BoxOffice ® MAY 2016
P R O F I L E comSCORE ComScore and Rentrak join forces to write the next chapter of audience tracking and analytics Interview with Paul Dergarabedian, Senior Media Analyst, comScore How does the comScore and Rentrak merger complement your offerings to the cinema industry? By combining comScore’s unparalleled digital platform measurement with Rentrak’s industry-leading worldwide theatrical box office data, we effectively tie together all aspects of how audiences consume filmed entertainment and how they search for content on virtually every device everywhere in the world. As we say, “comScore is precisely everywhere.” Do you believe audience measurement has fully reached its potential? Or are there still a lot of untapped benefits for the cinema industry? ComScore analytics have the potential to tie together audience theatrical moviegoing habits with their consumption of digital content on their mobile devices and in their homes to form a complete picture of how, when, and where they are seeking entertainment. There are enormous untapped benefits for the industry that can come from the harnessing of this exclusive comScore information to create more effectively targeted marketing campaigns and enact proactive rather than reactive advertising strategies. And it gives content providers the ability to actually connect with audiences that are seeking out the theatrical moviegoing experience. Can you tell us more about Swift and how can it can help exhibitors manage their businesses? Is there any feedback from clients that you can share with us? Swift is a product that provides efficiencies within the film exhibition/distribution ecosystem by allowing theaters to report their Join... Elizabeth Banks Max Handelman Morgan Freeman Ian Bryce Sarah Treem Michael London Gary Lucchesi Noah Hawley Molly Smith Nick Meyer Nonny De la Pena Courtney A. Kemp Ben Relles official box office figures to distributors in a one-stop shop. Swift is a tool that will gather pertinent transactional details from exhibitors and then provide collated data to each distributor of record for their own films. The result will be a reduction in manual entry when exhibitors create their reports and when distributors receive the reports as well as a streamlined and consistent methodology for all participants. Studios are thrilled with the idea of eliminating data entry chores while loading more granular data than they are currently able to. Exhibitors have been instrumental during our development process, and we’ve been able to accommodate their need for a consistent approach to box office reporting, easy delivery of these reports, and having Swift act as an electronic file cabinet for historical records. ProducedByconference.com Russell Simmons America Ferrera Steve McQueen Basil Iwanyk Clay Newbill Amy Baer Lori McCreary DJ Roller Dalia Ganz Ted Schilowitz John Landgraf Robert Stromberg Marshall Herskovitz June 4 - 5 Sony Pictures Studios What can we expect from your company in the coming year— any new products or services we can look forward to? In addition to the Swift launch, we are excited about our upcoming analytic tool called Forecast. Designed by the data-science team at Gower Street Analytics and using robust data sets provided by comScore, Forecast will allow distributors to “forecast” the potential box office performance of all films in individual markets on a week-by-week basis up to a year into the future. Using multilayered machine-learning algorithms and advanced analytics, we’ve produced a product that allows studios to find the best possible release data for each title within their slate for each of the major markets globally. 2016 will see the launch of this product for North America, the U.K., Mexico, and Australia. n MAY 2016 BoxOffice ® 61
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Boxoffice - May 2016

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