OMNEX NEWSLETTER AUTUMN 2024

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Our news, our views
Autumn 2024
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WIN £2K!Flick
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IN THIS ISSUE
Beyond the
Red Carpet
DCM:
MAXIMISE
Advertising
Revenue
Barco Factory
Tour: Choosing
the right
projector

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finance solutions
for the best-value cinema technology
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Contents
Discover…
In the Autumn 2024 issue
IMAGE: WWW.JULIEEDWARDSPHOTOGRAPHY.CO.UK
P.20 From
Optimus
Prime, to
Scarlett
Johansson,
how do we
maximise
the Red
Carpet?
06
We catch up with the
UK Cinema Association
to see out the year.
08
Find out what DCM
Upfronts is all about
with Steve Davis.
10
Learn all about the FCPA
and how to combat
piracy in cinemas.
12
We are excited to support
the FCPA’s awareness and
offer a £2,000 prize.
23
Our
Supplier Showcase
where you can hear from
the manufacturers.
44
Looking to enter the
world of CInema
Technology - It’s DCI.
a Tour with us and
learn aboout Barco’s
48Take
facility in Kortrijk.
54
Tea time: Spend fiveminutes
with... our
engineer Mark.
Get in touch with us at Omnex…
+44 (0)161 477 7633 info@omnex.co.uk omnex.co.uk
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 3

Our Views
Embracing Resilience
and Innovation: A Bright
Future for Cinema
It’s no secret that 2024 has had its fair share of challenges, from the strikes to a
thinner film slate. But as always, the cinema industry’s resilience shines through,
and here at Omnex, we’ve been proud to support so many cinemas through it all.
Simon Tandy, Managing Director.
This year we’ve grown our team, welcoming two
new engineers, Peter and Glen, along with
Rebecca as our new Exhibitor Relations Manager.
At the same time, we’ve maintained our bestvalue
pricing and advanced our NOC monitoring
services, consistently delivering on our goal to
demonstrate value.
We’ve had a number of stand-out moments in
recent months. From being recognised as a Post-
Production Partner for Barco, to being signed up
to their Partner Program to offer the best level of
pricing for cinemas. Spending two days at their
factory in Belgium, we saw first hand how
projectors are built and watched their new HDR
projectors in action. It was a reminder of just how
far cinema technology has come. It felt like
catching a glimpse of the future—one that
promises a brighter, sharper, and more immersive
cinema experience. Moments like that remind us
why we do what we do: bringing the magic of
cinema to life.
Cinema Advertising: A Bright Spot in
Tough Times
In the midst of this challenging year, cinema
advertising has remained a bright spot. As you’ll
read on Page 8, Digital Cinema Media (DCM)
continues to position cinema as a powerful
platform for advertisers. Brands are recognising
that cinema offers something unique: a fully
engaged, captive audience. And with a
blockbuster Q4 film slate on the way, from
Transformers One to Paddington in Peru, the
opportunities for cinemas to drive revenue
through advertising have never been stronger.
The Fight Against Piracy: Protecting
Cinema’s Future
One initiative I’m particularly excited about is our
partnership with the Film Content Protection
Agency (FCPA). While piracy remains a serious
threat to the cinema industry, it’s cinema staff
who play a vital role in keeping our films safe. To
encourage participation in the FCPA’s autumn
quiz, Omnex is doubling the prize to £2,000—and
the winner will also receive two tickets to the UK
Cinema Association’s Christmas party in London.
This is an incredible opportunity for your team,
so please make sure to share this newsletter
with everyone!
Exciting Projects and Partnerships
This year, we’ve had the privilege of working on
some fantastic projects, like the upgrades at Gwyn
Hall (P16) . Their reaction to the improved picture
and sound quality reminds us of how cinema can
truly transform an experience. From NEC laser
projectors to Dolby audio systems, we’re proud to
help future-proof them for years to come. We’ve
installed a number of Built For Good’s WatchWord
accessibility solutions, designed to enhance the
cinematic experience for all audiences, ensuring
cinemas are inclusive spaces.
4 Q4 2024
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Looking Forward
Despite the challenges, there’s so much to look
forward to. With an exciting film slate ahead,
growing partnerships, and continued efforts to
protect the films we love, we remain ever
optimistic. And at Omnex, we’re ready to support
you through the rest of 2024 and beyond.
Thank you for your continued trust—we’re here
when you need us.
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 5

A Year (So Far)
Of Two Halves…
Were the cinema year to be subject to a regular
school report, I think it fair to say that any score
that for the Summer term would be considerably
more positive than that for the Spring months,
where a - for the most part - moribund slate had
cinema operators big and small tearing out
whatever hair they had left after the twin challenges
of the pandemic and the cost of living crisis.
The final months of 2023
had already given us a
good idea of what to
expect, with the actors’ and
writers’ strikes in the US -
although thankfully resolved
by the end of September -
laying waste to films then in
production and causing those due for release to
be pushed back (and back) in the absence of
any cast being available for promotional
activities.
If no experience was quite as jarring as seeing
the starry array of names attached to Christopher
Nolan’s (ultimately) multi-Oscar winning
Oppenheimer beat a hasty retreat from the red
carpet at its UK premiere, the date of which
unfortunately coincided with the Screen Actors’
Guild confirming plans to join the screenwriters
in their action, then the subsequent (and
understandable) loss of Dune: Part Two from
November of that year made clear that UK
operators in particular could look forward to a
diet of scraps over the coming months, or at
least until the wheels of Hollywood had cranked
back into action.
6 Q4 2024
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UK Cinema Association
Thus, while there were undoubtedly
highlights in the last months of 2023 and into the
New Year – including Wonka and the aforementioned
Dune sequel - many operators must
at that time have viewed the early Summer
months, and their promise of significant box
office, as some far-off land.
Thankfully those days did finally come, and it
has to be said that the water during those months
was even lovelier than they promised, with Inside
Out 2, Despicable Me 4 and Deadpool and
Wolverine all undoubtedly exceeding
expectations by some way, heading in some
cases to £50 million plus and beyond.
While the challenges certainly aren’t over –
the September lull in releases which was a
regular feature of cinema life pre-pandemic
seems somehow to be being felt more keenly
this time around – the arrival of Joker: Folie à
Deux at the beginning of October presages the
start of a period of extraordinary strength for the
slate with something for everyone.
The experience of the last few years has very
much been that ‘when the films are there, so are
audiences’, with last year’s unique Barbenheimer
cultural moment and the success of the likes of
Top Gun: Maverick providing ample evidence of
the public’s continuing appetite for big screen
entertainment.
Sadly, there have been too many occasions
during that time when in terms of studio product,
and for entirely understandable reasons, the first
part of that equation has simply not been met,
and – unlike perhaps in some other prominent
European film territories – UK operators have not
had strong domestic films to fall back on.
So the sense of excitement (and relief) at the
prospects for the likes of Paddington in Peru,
Gladiator 2, Mufasa, Moana 2, Wicked, Venom:
the Last Dance, Sonic 3 and more is palpable and
a hope that we’ll enter the New Year in much
finer fettle than was the case 12 months ago.
See you at the movies!
Phil Clapp, CEO UK Cinema Association
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 7

DCM Upfronts
MAIN IMAGE: DIGITAL CINEMA MEDIA
The landscape of modern media
consumption is in constant flux,
shaped by technological innovations
and constantly changing viewer
habits. As a result, the ways advertisers
approach their audiences have evolved
dramatically. In this dynamic environment,
Digital Cinema Media (DCM) has emerged as a
major player in the realm of cinema advertising,
as we position cinema as a unique medium that
connects brands with captivated audiences
to maximise AV (Audio Visual) advertising
campaigns.
for global, national and local brands across
Cineworld, Odeon, Picturehouse, The Light, Vue
and over 200 Independent cinemas; including
Reel, Savoy, Merlin, Cinema in the Power Station,
GFT, HOME, QFT, Tyneside, Zeffirellis… there are
genuinely too many amazing cinemas to name.
As the industry returned from CineEurope ‘24
we were keen to share some of the amazing new
films (please can we stop calling them content!),
so we took over the prestigious Odeon Leicester
Square (OLS) and welcomed the greater good
of ad land to this iconic building for our annual
Upfronts event.
Cinema has a unique advantage in an era
of digital and streaming dominance, where
audiences often binge-watch content or access
ad-free platforms, cinema provides a rare and
valuable advertising opportunity: a captive
audience. Unlike television, where viewers can
change the channel or make a cuppa during a
commercial break, or digital platforms, where
ads are often skippable, cinema offers an
environment where the audience is fully focused
on the Mother of all screens. The immersive
nature of the cinema experience makes cinema
advertising uniquely impactful, which is why
DCM takes our responsibility so seriously. In
providing cinema audiences with engaging and
entertaining adverts.
DCM have long been the market leader in
UK cinema advertising, delivering campaigns
In the advertising industry, Upfronts are
events where media companies present their
upcoming season’s programming to advertisers,
giving them a chance to buy ad space ahead of
time, often at a premium rate. The shift toward
Upfronts in the cinema advertising industry
highlights the growing relevance of cinema
as a powerful advertising medium. Everyone
wants to advertise in the next Barbenheimer
and Upfronts is a critical platform for brands to
secure cinema advertising spots as we approach
our busiest quarter - Q4!
ALWAYS LOOKING FORWARD, DCM Upfronts
also offers insight into data on audience trends,
previews of how DCM will innovate the incinema
advertising experience and a panel of
key cinema and advertising industry leaders,
allowing other brands to gain an in-depth
8 Q4 2024 www.omnex.co.uk mne info@omnex.co.uk

Maximising Cinema Revenues
understanding of how cinema advertising can
complement their marketing strategies. This
year our panel comprised of Hotpoint, L’Oréal
and Sky, showcasing how their ‘Start With
Cinema’ strategies drove cultural resonance and
maximised brand moments.
Karen Stacey (DCM CEO) highlighted cinema’s
unmatched power to engage audiences through
shared, immersive experiences and how the
results speak for themselves. Cinema advertising
has led to a +50% uplift in Community
Association and a +12% boost in Brand Fame.
This kind of audience connection benefits
everyone, as brands increasingly recognise
the value of advertising on the big screen and
Exhibitors get the immediate financial benefit of
cinema advertising revenue.
Burst Your Bubble, the research and thought
leadership agency, revealed that 98% of cinema
showings are co-viewed, a figure far higher
than TV or YouTube. This shared environment
enhances both the cinematic experience and
the ads. Karen Stacey noted: “For cinema, ads
and trailers are an integral part of the experience.
It’s where audiences are receptive to high-quality
content. That’s why brands should include
cinema in their media plans.”
While cinema advertising is a critical component
to a cinema’s business model, the upcoming film
slate is an essential tool in driving footfall and
audience engagement. The DCM CineEurope
Film Guide (email me if you would like a copy at
steven.davis@dcm.co.uk) in which we diligently
capture EVERY film presented - with something
for everyone, from Transformers One (11/10) to
Gladiator II (15/11) and the most family-friendly
Q4 I can recall; Paddington In Peru (8/11), Wicked
(22/11), Moana 2 (29/11) all perfectly timed for
brands to advertise this Christmas’ must-have
items!
Karen Stacey summed it up well at Upfronts “This
is not just about the films, but the emotional and
cultural resonance cinema offers. When brands
align with cinema, they tap into a powerful
connection audiences feel, making campaigns
more memorable. The months ahead will show
how content and brand engagement combine
to create a strong season for cinemas.”
DCM Upfronts have successfully positioned
cinema as a modern and innovative advertising
platform, offering a rare combination of audience
immersion and high-impact storytelling.
For brands looking to make a memorable
impression, the cinema remains one of the last
bastions of true, distraction-free advertising.
STEVE DAVIS, EXHIBITION DIRECTOR
Cinema is the shared medium SOURCE: BARB / TRIP / ALL DEVICES. DCM 2024 TYD
98%
100%
90%
% OF VIEWING THAT IS CO-VIEWING
80%
70%
60%
50%
40%
30%
20%
10%
42% 43% 44%
50%
10%
0%
YOUTUBE LIVE SVOD BVOD PLAYBACK CINEMA
www.omnex.co.uk
mne
info@omnex.co.uk
Q4 2024 9

The FCPA:
Protecting the Magic of Cinema
10 Q4 2024
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Content Piracy
Protecting Cinema:
The Fight Against Piracy
Film piracy remains an ongoing and significant
problem to the industry and those who work in
it. Over 90% of pirated versions of newly released
films are still sourced in cinemas by illegal activity
involving the use of compact digital recording
devices , primarily smartphones.
At a time of ever more UK-first, as well as global
‘day and date’ (simultaneous) film releases, the
UK and Ireland are particularly vulnerable to
illegal recording activity in cinemas.
Film distributors are deeply committed to
safeguarding the rights of the creators of the
films they release to audiences. By protecting
copyright, not only are creators’ rights upheld,
but also importantly, the industry’s own capacity
to reinvest and develop new projects and talent
is enhanced, ensuring that the UK and Ireland
remains one of the world’s leading markets for
filmed entertainment.
What the FCPA Does:
Beyond the Basics
A
t Omnex, we understand that the magic
of cinema extends beyond the screen –
and that protecting the films we all love
is a collaborative effort. As the threat of piracy
remains ever present, safeguarding the creative
process is essential to ensuring audiences enjoy
films as intended; on the big screen.
This autumn, Omnex is proud to enhance
its support for the Film Content Protection
Agency (FCPA), which trains cinema staff to
stay vigilant against piracy. Through regular
quizzes, the FCPA provides the tools needed
to protect valuable content. To boost this
initiative, Omnex is doubling the cash prize for
the autumn quiz, offering a £2,000 prize pot for
participating staff who complete it successfully.
We encourage cinemas to spread the word and
engage their team members in this effort to
help protect the future of cinema.
The main focus of the FCPA’s work is to prevent
infringing (pirated) versions of films originating
from cinemas in the UK and Ireland. FCPA works
with cinema operators, law enforcement and
other bodies in the UK, Ireland and worldwide.
The FCPA programme plays an essential role for
the film industry by safeguarding intellectual
property, combating piracy and protecting the
box-office.
The role of cinema staff, who are in the frontline
of spotting and disrupting the activity through
effective vigilance and awareness, is vital in
tackling the problem. Hence, the FCPA’s efforts
extend beyond enforcement activity. They work
closely with staff at cinemas across the UK &
Ireland to develop this awareness and vigilance.
Cinema staff are usually the first line of
defence in this fight, and the FCPA equips them
with the knowledge and tools to spot suspicious
behaviour, take the appropriate action and
potentially receive a reward.
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 11

Andy Leyshon, CEO of the FDA
“Protecting the hard work of creatives and the
significant investments made by our members,
is essential for the future of the film industry. The
collaboration between the FDA and partners like
Omnex underscores the strength of our collective
efforts to combat piracy and safeguard the integrity
of cinema for audiences and creators alike.”
Phil Clapp, CEO of the UKCA
“Cinema staff play a critical role in the fight
against piracy and are often on the frontline of
efforts to protect film content. Initiatives such as
the FCPA quiz are vital in equipping them with
the knowledge and awareness needed to help
safeguard our industry and ensure the future of
cinema for all.”
The Film Content Protection Agency (FCPA)
was formed in 2016 by the Film Distributors’
Association (FDA). Its aim is to make cinema
releases as secure as possible by protecting
the content – and thereby safeguarding the
intellectual property rights of film distributors and
the creators whom they represent.
The FCPA, working closely with the UK Cinema
Association (UKCA), law enforcement agencies
and other industry bodies, lead initiatives that
highlight the critical work they do in protecting
film content from piracy, and especially
at source.
YOU
COULD
£2K!
WIN
One of FCPA’s core objectives
focuses on the development and
delivery of anti-piracy awareness
amongst those who work in
cinemas across the UK and
Ireland.
To support this, their online
resources include a multiple-choice
quiz for cinema staff,
with a winner randomly
selected every quarter.
To encourage more
cinemas to get
involved, Omnex is
also contributing to
the FCPA’s Autumn
quiz. This year, we’re
matching the FCPA’s
£1,000 prize doubling
the prize amount
to £2,000, creating
even more incentive
for cinema staff to
participate.
12 Q4 2024
www.omnex.co.uk
mne
info@omnex.co.uk

The UKCA have also
agreed to include two
tickets for the winner
and the cinema manager/
owner to join the UKCA
Xmas party on the 5th
December at No. 8
Northumberland Avenue,
London.
Head to the FCPA website and complete the online quiz,
which you’ll find in the Quiz zone on this website address:
www.filmdistributorsassociation.com/
safeguarding-copyright/cinema-zone/quiz/
T’S & C’S: One entry per person.The quiz is open to cinema staff working in the UK and Ireland.All correct entries
will be entered into a prize draw. The winner of the £2000 prize will be drawn on 3 December
www.omnex.co.uk mne info@omnex.co.uk Q4 , 2024 13

Behind the Scenes:
Simon Brown and the FCPA
In an industry where creativity meets commerce, safeguarding intellectual property has never
been more critical. Simon Brown, Director of the Film Content Protection Agency (FCPA),
stands at the forefront of the UK’s fight against film piracy. With over three decades of
experience in investigation and security, Simon has dedicated the last 18 years to protecting
cinema content from the evolving threat of illegal recordings. Under his leadership, the UK’s
anti-piracy programme has flourished, setting a global benchmark in the
prevention and detection of piracy in cinemas.
Simon’s unwavering commitment to the cause has earned him accolades
and recognition within both the UK and the wider European cinema
industry, making him a central figure in the ongoing battle to protect film
content from piracy’s grasp.
In this exclusive interview, we delve into Simon’s journey, the challenges
posed by modern piracy, and the vital role cinemas play in this mission. Join
us as we explore the world of anti-piracy through the eyes of a man who
has made it his life’s work to stay one step ahead of those who threaten
the integrity of the cinematic experience.
What the FCPA Does: Beyond the Basics
Q
What are the biggest challenges in the
fight against piracy?
Piracy is a very complex issue that cannot be
addressed with a single solution. Our challenges
change as technology develops. Specifically, to our
programme there have been huge developments
in the world of smartphone technology since we
started looking at the camcording issue back in
2006. At that time cammers were quite limited
in what they could use to record film content in
cinemas and relied mainly on relatively big and
bulky camcorders (hence the term “cammers”).
However nowadays we are faced with the
challenge of offenders using small, compact
devices (mainly smartphones) which are not only
easier to conceal but widely possessed.
Cammers continue to be creative, and devices
other than smartphones are still occasionally used
- we had a particularly interesting case in the UK a
few years ago where a person attempted to use two
small digital cameras fixed together to record a 3D
theatrical film in 3D. Thankfully fantastic vigilance
and awareness by staff at the cinema led to him
being spotted and arrested. We subsequently
tested the device, and an infringing 3D pirated
version was easily reproduced, which could then be
played on a 3D television. Up until then there was a
perception that 3D films could not be camcorded,
but this case proved otherwise. Pirates will always
try to overcome barriers,
so we have to try to be one
step ahead – and anti-piracy
vigilance and awareness
of cinema staff remains
crucial in our ongoing
fight.
Aside from technological
advances, “consumer
confusion” around
film piracy remains a
serious challenge; it’s
often very difficult for the average
internet user to differentiate between illegal and
legal content. There is an assumption that an
online video streaming site, especially one with
membership fees, is providing legal content.
Unfortunately, that is not always the case, but
many consumers remain unaware.
Q
Do you have any personal experiences or
anecdotes about piracy?
Inevitably I’ve seen some very interesting
things whilst in this fascinating world of antipiracy
over the last 18 years or so. Working in
partnership with other agencies and bodies on
high-impact investigations is always rewarding
and interviewing suspects in custody with law
14 Q4 2024
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Content Piracy
enforcement has been of particular interest and
invaluable in determining the motives, methods
and sometimes madness of the offenders. For
example, several years ago, after tracking down
a repeat camming offender, he was arrested and
interviewed at the local police station. We then
recovered some old emails from his laptop, which
he had sent to the cinema manager asking if he
could take a long plank to the cinema on his next
visit – he claimed he was disabled and needed
it to support his back. Clearly this appeared like
madness, so he was asked about it during an
interview – only to admit his intention was to
place the plank across the armrests of the seats
in the cinema and sit on it – thereby raising both
himself and the camera above the seats in front to
camcord better footage! To this day I don’t think
he had considered how odd and suspicious this
would have looked!
Q
What excites you about the future of your
industry sector?
I remain very optimistic about the future. Nothing
compares to the sheer magic of watching a
new film in a lovely cinema – the huge screen,
the brilliant sound, the entire experience – and
not forgetting the copious amount of popcorn!
Cinemas certainly aren’t the same places they
were in the past, and many now offer unique
entertainment experiences. Let’s look forward to
further developments as the industry recovers,
hopefully with new formats and approaches. As
for the anti-piracy world, and who knows what is
around the corner. Technology is clearly a huge
and significant driver and collectively the industry
must continue to examine how it can help tackle
the problem.
Q
What message would you like to send to
cinemas that haven’t yet engaged with the
FCPA’s resources?
Please look at our online resources – especially the
“cinema hub” here:
https://filmdistributorsassociation.com/
safeguarding-copyright/cinema-zone/bestpractice/
Increase your awareness and vigilance of filmpiracy
- to protect not just the film content, but also
the cinema, your jobs and the local community.
Please enter the quiz and the lucky winner will
receive an amazing prize of £2000 in December –
what a brilliant early Christmas present!
Good Luck!!
Simon Brown is the Director of the
(FCPA) in the UK.
The FCPA is part of the Film Distributors’
Association Ltd. (FDA) - the trade body
for theatrical film distributors in the UK
and Ireland, which works in partnership
with other bodies who share the goal of
safeguarding films from piracy.
Simon has 33 years of experience in
the fields of investigation and security,
in both the public and private sectors,
having previously worked for Lancashire
Police, the BBC and FACT (Federation
Against Copyright Theft).
He has spent the last 18 years specialising
in the protection of film content from
piracy in cinemas in the UK and Ireland,
by focusing on the detection and
prevention of illegal recording activity.
The UK anti-piracy programme for UK
cinemas, which Simon has managed
and developed since it was introduced
in 2006, is unparalleled worldwide, and
has a proven track record of success
Simon holds a Bachelor of Science (BSc
Hons) from the University of Sheffield.
He was presented with the “IP Champion
Award” on British IP Day 2018 for his
exceptional work in safeguarding the
UK from illegal recordings in cinemas,
and also received a Gold Award at
CineEurope in 2019 for his exceptional
contribution both to the ongoing success
of his organisation and also to the wider
European cinema industry.
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 15

Transforming Gwyn Hall:
A Collaborative Cinema Upgrade
At Omnex, we believe that every upgrade should be a collaborative process, aligning closely
with our clients’ vision while delivering technology that truly enhances the experience for both
audiences and staff. When Gwyn Hall approached us to modernise their cinema technology, we
took the time to fully understand their goals and ensure we delivered a solution that not only
met their needs but would also support them well into the future.
MEETING THE
VISION: A
TAILORED
SOLUTION
Gwyn Hall
wanted to bring
their three screens
up to the latest standards in projection
technology. After detailed discussions
with their team, we recommended
NEC’s Laser projectors. For their main
screen, we chose the NC1803ML,
offering powerful brightness and
exceptional clarity. For the smaller
Screens 2 and 3, the NC603L projectors
were the perfect fit. Each projector was
tailored to the unique requirements of
the screen it was serving, ensuring an
optimal viewing experience.
One of the more challenging aspects
of the installation was in the Studio
(Screen 3), where space was limited.
Working closely with Gwyn Hall’s team,
we mounted the projector from the
lighting rig using an MN Mounting
bracket, preserving the space while
maintaining perfect picture quality.
The feedback from the cinema has
been overwhelmingly positive. As their
team noted, “The difference in picture
quality is night and day. The sharpness
and brightness really make you feel
immersed in the film. It’s like seeing
movies in a whole new way.” This
reaction is exactly what we aim for when
implementing a technology upgrade of
this scale.
“The goal was to find technology
that not only delivered cutting-edge
performance but also future-proofed
Gwyn Hall for years to come. We wanted
to give them the tools to stay ahead in a
This
project
sets the
stage for
many
years
ahead,
future
-proofing
Gwyn Hall
for years.
16 Q4, 2024 www.omnex.co.uk mne
info@omnex.co.uk

Future Proof
competitive market, and the NEC projectors and
Dolby processors have definitely achieved that.”
operations. Their expertise ensured a seamless
installation with minimal downtime.
ENHANCING AUDIO: A SOUND DECISION
Upgrading the audio system was a key part of
the project. Gwyn Hall’s aging Dolby CP750
processors needed replacement, so we
recommended the Dolby CP950 models for
improved sound clarity and a more intuitive, webbased
interface.
The feedback was immediate: “The upgrades
have completely transformed the atmosphere in
our cinema. Audiences are raving about the sound
and picture quality—it’s made a big difference.”
This response confirms we’re not only meeting
technical needs but enhancing the guest
experience.
The CP950’s interface also simplifies day-to-day
operations, making it easier to manage sound in
each auditorium.
“We ensured the upgrade process was
seamless for both staff and audiences, and the
positive feedback reflects this.”
ENGINEERING EXPERTISE: THE BACKBONE OF
SUCCESS
No project of this scope can be achieved without
a dedicated engineering team. Blade, Geoff, Nigel,
Darren, and Peter were essential in bringing the
vision to life, handling both installation and
problem-solving.
For example, when installing the NEC
projectors, they balanced technical performance
with the need to avoid disrupting Gwyn Hall’s
LOOKING TO THE FUTURE: PLANS FOR FURTHER
ENHANCEMENT
The upgrades at Gwyn Hall have already
transformed the way their audience experiences
cinema, but this is just the beginning. With the new
technology in place, the cinema is in a prime
position to keep evolving. In fact, we’ve already
started discussions with the team about a potential
upgrade from 5.1 to 7.1 sound, which would take
their audio experience to the next level.
As the team at Gwyn Hall said, “With these
upgrades, we’re excited to offer a cinema
experience that rivals the best in the industry. Our
team is thrilled with how seamless the new systems
are, and we’re already thinking about the next
steps to enhance it further.”
“This project sets the stage for even more
enhancements in the future. With the groundwork
we’ve laid here, Gwyn Hall is in a fantastic position
to keep raising the bar on what a modern cinema
experience should be.”
The project at Gwyn Hall is a testament to the
power of collaboration, careful planning, and the
right technology. We’re proud to have been a key
role in their journey and look forward to seeing how
they continue to push the boundaries of what their
cinema can offer.
Steve Case,
Technical Sales Manager
Our recently updated 4k
framing chart, was used to
ensure full frame images
across key aspect ratios
www.omnex.co.uk mne info@omnex.co.uk Q4, 2024 17

A Update from Christie
“We can all agree
that it’s an exciting
time to be in cinema”
says Phil Lord, Christie ® cinema
sales manager. “For us, some of that
excitement stems from finding ways
to deliver what exhibitors like you
are looking for. The Christie team
understands that no two cinemas
have the same requirements, which is
why we continually look to adapt our
projectors, technology, and tools to
fit the needs of the market. Whether
it’s offering a wide range of projectors
so you can find the right light for your
theatre, pushing the envelope of what’s
possible with HFR, or updating our
guides and tools to help you make
choices for your theatre, we’re here
to work with you to make sure your
cinema has what it needs.”
Masters of light
› WE KNOW THE POWER OF LIGHT, which is why you can count on us to offer
the widest range of projection to fit your cinema. Whether you want to go big
with premium large format (PLF) projectors or you’re looking for an advanced
yet affordable fit for your small screen, we’ve got what you need.
If you’re looking to upgrade this year, we offer options that range in brightness
from 6,000 to 57,000 lumens, high contrast and ultra high contrast lenses, and
a range of illumination options. The best part? With the most energy-efficient
projectors on the market, your new projector will actually reduce the costs through
energy savings.
Pushing the envelope with HFR
› WHEN FILMMAKERS WANT TO
PUSH THE BOUNDARIES of magic
and technology to enhance the
movie-going experience, we’re right
there, working with them to make it a
reality. One of the ways we do this is by
pairing our advanced CineLife+ PLF
(premium large format) projectors with
Mystique Cinema for 120fps and 4K 3D
per eye. So, when the action happens
on screen, motion blur is a thing of the
past, and your audiences get visual
clarity like never before.
18 Q4 2024
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mne
info@omnex.co.uk

Find the best light for your cinema
› IT’S MORE THAN FINDING THE RIGHT
LIGHT FOR CINEMAS; it’s about finding
the best light for your cinema. Simply
input the dimensions and desired
resolution for your theatre and our
cinema calculator tool, CineMaster, will
provide the optimal projector and lens
combination.
With CineMaster, you can select the
projector that offers the brightness,
contrast, and features you want based
on the unique installation requirements
of your auditorium.
Our latest lens guide
› WE KNOW CINEMA LENSES are one of the most underrated
heroes in image quality. But how do you choose the one that’s
best for your cinema? Do you need HB, HC, or UHC lenses?
Whether you want to learn more about the technology behind
the magic of cinematic contrast or you need to know which
lenses are compatible with your Christie cinema projector, our
updated lens guide has you covered.
Want to know more?
If you’re ready to purchase or you have more questions, get
in touch with us today. Our cinema team is here to help.
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 19

Live from the Red Carpet
Red Carpets Beyond
Leicester Square:
How Transformers One
Dazzled the Nation
The European premiere of Transformers One at Odeon Leicester Square delivered more than
just a night of glamour—it served as a strategic promotional powerhouse, designed to captivate
audiences across the UK and drive substantial cinema admissions. While it’s easy to think of
these events as exclusive to the multiplexes of central London, this premiere, much like last
year’s Top Gun: Maverick, demonstrated that red carpet events have far-reaching impacts,
creating opportunities for cinemas of all sizes, to engage audiences and boost footfall.
IMAGES: JJULIEEDWARDSPHOTOGRAPHY.CO.UK
THE SPECTACLE OF TRANSFORMERS ONE: AN
OPPORTUNITY FOR CINEMAS EVERYWHERE
The excitement surrounding Transformers One
was palpable from the moment the red carpet
rolled out. With the film’s high-octane action and
iconic franchise status, expectations were skyhigh,
but the true magic lay in how the event was
curated for audiences across the country. I had
the privilege of managing the live broadcast to
cinemas, working alongside Content Creator
Studios, who were delivering a well-packaged
red-carpet experience complete with interviews
with the star-studded cast, including Chris
Hemsworth, Scarlett Johansson, and Brian Tyree
Henry.
However, while the glitz and glamour of
Leicester Square grabbed headlines, the key
takeaway for cinemas across the country is how
these events generate a treasure trove of
content—assets that go well beyond the red
carpet itself. From carefully shot interviews from
the team at Content Creator Studios to highdefinition
photos from Julie Edwards, the event
created promotional materials that every cinema,
regardless of size, can use to amplify their local
marketing efforts.
LEARNING FROM TOP GUN:MAVERICK -
PROOF OF IMPACT
For those questioning whether these highprofile
premieres are relevant to them, consider
the example of Top Gun: Maverick. As the manager
of that premiere’s broadcast, I saw firsthand how
the red-carpet event contributed to an opening
weekend surge in ticket sales across the UK.
Top Gun: Maverick grossed over $124 million
domestically in its opening weekend, and the
social media buzz, fueled by red carpet interviews,
glamorous photos, and curated behind-thescenes
footage, played a significant role in driving
that momentum.
Crucially, many cinemas that leveraged the
digital assets created by the premiere, saw
marked increases in footfall. By sharing star
interviews and exclusive red carpet content on
their social platforms, these cinemas generated
local engagement and helped turn the national
buzz into local ticket sales.
CINEMAS AS CURATORS OF NATIONAL BUZZ
The Transformers One premiere is no exception.
The event generated high-quality social mediaready
content, with professional photos and
20 Q4 2024
www.omnex.co.uk
mne
info@omnex.co.uk

exclusive video footage made available in realtime
- with cinemas able to seize the opportunity
to use this content to create a sense of eventdriven
urgency. By sharing this material on their
own platforms, cinemas can enhance their local
marketing efforts and create a direct connection
between the excitement of Leicester Square and
their local communities.
www.omnex.co.uk
mne
info@omnex.co.uk
Q4 2024 21

Live from the Red Carpet
edwards_photo
A CALL TO ACTION
If cinemas truly want to thrive in a competitive
market, embracing the assets created by these
high-profile premieres is key. Red carpet events
like Transformers One are not just for the few in
Leicester Square; they are marketing tools
designed to create national excitement. By
utilising the stunning photography, exclusive
video footage, and social media clips made
available from these events, cinemas can build
localised campaigns that draw on national buzz,
driving footfall and increasing engagement.
IMAGES: JJULIEEDWARDSPHOTOGRAPHY.CO.UK
DATA-BACKED SUCCESS
Research supports this. According to the Event
Cinema Association, event-driven content such as
red-carpet premieres increases cinema admissions
by up to 20% during a film’s opening week.
Furthermore, social media engagement from red
carpet events can generate up to 10 times the
reach of standard promotional materials. For
cinemas, this means real, tangible value in being
part of the red-carpet buzz, even if they’re not
physically at the premiere.
CONCLUSION: RED CARPETS FOR ALL
The Transformers One premiere showed once
again that red carpet events are much more than a
central London spectacle. These events create a vast
array of promotional materials that can help cinemas
across the UK engage their local audiences and drive
admissions. For cinemas, the key is to tap into this
national buzz and use it to create excitement at the
local level. With the right approach, every cinema
can make these high-profile events their own.
By embracing these opportunities, cinemas
are positioned to thrive in a competitive
landscape, driving admissions and building
lasting relationships with their audiences.
22 Q4 2024
www.omnex.co.uk
mne
info@omnex.co.uk

supplier
showcase
AUTUMN 24 spotlight
on Omnex suppliers
Omnex is a cinema technology
company headquartered in Aylesbury
with an experienced team of cinemafocused
professionals.
Our UK-wide team of engineers are all
qualified to install and support all major
cinema projection equipment. In addition, we
are distributors of all major cinema sound and
server equipment, as well as automation, video
distribution, and conferencing systems. Our
website, www.omnex.co.uk offers affordable
pricing on a range of cinema sundries.
Despite the impact of the COVID pandemic
on the industry, we have reduced our annual
service agreements and offer monthly payment
options — via Direct Debit if you need. This
allows us to provide annual service and support
from as little as £59 per month.
Our support includes 7-days a week, 8am
until 10pm remote intervention via your internet
connection, with a dedicated engineering team
available for remote support during those hours.
We also ensure that all software/firmware is
up to date and includes full projector servicing
and audio EQs annually. Furthermore, we have
a dedicated Cinema Seating Team for sales,
installation, and repair. We pride ourselves on
delivering the best-value so that cinema can
remain the best place to watch content. The big
screen experience is in our DNA.
We are proud to work with a range of leading
suppliers and the following pages allow us to
introduce you to the innovative products that
they offer. If you’d like to know more about these
suppliers and indeed the full range of products
and services Omnex can support you with,
please drop the team a line: info@omnex.co.uk
mne
www.omnex.co.uk info@omnex.co.uk Q4 2024 23

What is Christie Phazer?
Christie ® Phazer is the affordable, future-proof, laser solution for smallscreen
cinemas. It combines a new, enhanced laser light source with CineLife+
2K electronics to produce brilliant DCI-compliant onscreen visuals.
This highly efficient illumination technology is designed to seamlessly
integrate with boutique theatres for the optimal viewing experience,
even on high-gain screens.
The power behind Phazer
To serve the entire market, Christie rolled out Phazer in three new projectors that
produce 6,000, 9,000, and 11,000 lumens. The CP2406-RBe, CP2409-RBe, and
CP2411-RBe maintain the 50,000 hour laser lifetime, have fully sealed optics, and
the same low-maintenance benefits of other Christie laser projectors, sharing the
most advanced cinema electronics platform, CineLife+. That means the RBe
models include electronic color convergence (ECC) for perfect color alignment,
backward compatibility with existing Christie accessories, an easy-to-operate UX
for playback, scheduling, and content management, and enhanced wavelength
diversity (EWD) to improve image performance on high-gain screens.
24 Q4 2024
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Bigger efficiency in a smaller package
Now the energy efficiency of laser comes to cinemas requiring less than 10,000
lumens. While previously Xenon cornered the market, these new laser projectors
are up to 292% more efficient than Xenon projection, which translates to major
energy savings for exhibitors. During non-operating hours, these projectors can
also be placed in an ultra-low power standby that consumes less than 3W.
Future ready
As the technology used to film movies continues to expand, Christie has made it
their mission to keep cinema projection just as capable. In preparation for films
like the next Avatar debuting in December 2025, upgrading to laser with a
robust and adaptable electronics platform becomes essential. This new,
enhanced laser light source supported by a reliable and proven electronics
platform is exactly that for theatres in the 6,000 – 11,000 lumen range.
Set your projector’s visuals to: stunning, with Phazer!
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 25

AAM’s Screenwriter
Screenwriter:
Driving sustainability
with software
Designed to increase operational efficiency, Screenwriter presents a multitude of energysaving
features that help cinemas to act more sustainably.
Now more than ever the need to operate
more sustainably has become essential;
a conversation that has developed
within exhibition as the subsequent
time and cost savings of progressive
software are revealed. Leading the
charge for change is Screenwriter, a
trusted and long-established Theatre
Management System (TMS) that powers
over 44,000 screens worldwide, and its
powerful automation is proving the
difference maker.
Screenwriter
remains the
industry’s
leading
tool for
theatre
manage
-ment.
By automating manual tasks, controlling
content with ease, and centrally
monitoring screens and playback,
exhibitors are reducing energy
consumption and optimising resource
allocation to make significant time and
cost savings. The art of automation not
only improves the quality of daily
operations, but contributes to a more
eco-friendly and financially sound future
to further align with the evolving needs
of modern audiences.
26 Q4 2024
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mne
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supplier
showcase
Centralise cinema management
FROM ONE CENTRAL LOCATION, a single Screenwriter user can
manage every area of their operations. By scheduling content,
managing KDMs, monitoring screens, and controlling playback, all
from a single, easy-to-use dashboard, exhibitors can save time and
energy actioning manual, repetitive tasks to build workflow efficiency.
Automatically cancel empty shows
SAVING ENERGY AND OPERATIONAL COSTS, Screenwriter will allow users
to create a set of shutdown commands for each screen, known as Auto-Show
Cancel, that will trigger up to 30 minutes into a movie where no tickets have
been purchased. In this instance, Screenwriter will interrogate the POS and
shut down the screening.
Automatically turn systems on and off
HARNESSING ‘BOOKENDS’ FUNCTIONALITY, Screenwriter users can prepare ‘Start of
Day’ and ‘End of Night’ playlists, which can be scheduled before and after the first and last
show in each screen, to eliminate the need to power systems up upon arrival or keep them
running idly at night. This enables each screen to automatically power down at its earliest
possible point to save energy and money.
Receive content with ease
WITH E-DELIVERY, OR ELECTRONIC DELIVERY, vendors can integrate with the AAM Cloud API
to deliver content straight to Screenwriter, a process which provides vendors and exhibitors with an
accurate delivery status with end-to-end visibility. Without the need for a courier to personally deliver
and transfer content, the industry can benefit from a modern, carbon-neutral form of delivery.
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 27

Trinnov Ovation 2
LIVE THE TRUE CINEMA EXPERIENCE
Featuring Trinnov’s Optimizer active acoustics technology,
Trinnov and Omnex deliver next level cinema experience,
with best-in-class sound reproduction.
Immerse yourself in a world of sound!

The next generation of
TIME PHASE FREQUENCY

Keeping you connected
RHM Telecommunications are a
key technology partner of OMNEX
& Motion Picture Solutions.
As part of Motion Picture Solutions’ drive to deliver content
digitally, RHM have supported them with rolling out
Broadband services into Cinemas across the UK.
RHM are here to support the Cinema industry with advice,
consultancy, products and services.
30 Q4, 2024
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mne
info@omnex.co.uk

Energy Costs
If you negotiated a long-term contract before the rise in energy prices then
you may be in for a big shock when it comes to your next renewal.
Right now though you may be able to negotiate a reasonable renewal, as
due to a warm winter prices have fallen sharply.
RHM offer an Energy brokerage service that tracks the top 23 UK
suppliers. Simply send us a bill to enquiries@rhmtelecom.com and we
will give you a free report on how your current package would compare to
what is available in the market today.
https://www.rhmtelecom.com/energy/
Internet
There has been an explosion in investment-backed alternative fibre
providers rolling out Fibre Broadband. This has resulted in the market for
Fibre Broadband becoming very fragmented. It might sound complex, but
working with an alternative provider can save you money.
It is estimated by some analysts that by the end of 2026 35% of the UK’s
Fibre Broadband will not be supplied by BT Openreach.
It’s a perfect alternative to a leased line connection that can end up
costing cinemas hundreds every month.
To see the services available in your area, use our broadband checker at
https://www.rhmtelecom.com/broadband-checker/
BT’s Big Switch off
At the end of 2025 BT is intending to switch off all their traditional
telephone lines.
These are lines that Cinemas use to deliver Broadband, alarm lines, lift
lines, or phone lines connected to a telephone system.
Businesses need to start thinking about how they are going to navigate
this change, RHM can help.
We can help you put a plan of action together to assess what you have
on your estate now and how you can get 2025 switch-off ready. More
information is available at https://www.rhmtelecom.com/isdn/
www.omnex.co.uk mne info@omnex.co.uk Q4 , 2024 31

Laser has many benefits, and Barco continues to invest in
laser Laser innovations has many benefits, for every and cinema Barco screen continues for the to invest long-term. in
It’s laser a smart innovations and future-ready for every cinema investment screen that for brings the long-term. value
for It’s a both smart you and and future-ready your audience. investment that brings value
for both you and your audience.
4 reasons to go Laser by Barco
4 reasons to go Laser by Barco
Improve image
quality Improve image
Your quality audience will
enjoy a better movie
Your audience will
experience thanks
enjoy a better movie
to laser. Boost your
experience thanks
brightness, contrast,
to laser. Boost your
and color and
brightness, contrast,
guarantee a consistent
and color and
brightness over time.
guarantee a consistent
brightness over time.
Moviegoer
satisfaction
Moviegoer
Picture satisfaction quality the number one
Picture quality is
factor influencing a
the number one
moviegoer’s decision
factor influencing a
to see a movie in a
moviegoer’s decision
theater. Laser projection
to see a movie in a
improves color
theater. Laser projection
quality and brightness
improves color
levels, which matters
quality and brightness
significantly to 68%
levels, which matters
of moviegoers. *
significantly to 68%
of moviegoers. *
Simplify your
operations
Simplify your
operations
Laser projection makes
running your theaters
Laser projection makes
simpler by improving
running your theaters
operational efficiency.
simpler by improving
It implies less storage,
operational efficiency.
less staff training, and
It implies less storage,
less maintenance.
less staff training, and
less maintenance.
Reduce
resources
Reduce
resources
With laser projection,
you can cut costs up
With laser projection,
to 70% by reducing
you can cut costs up
your power
to 70% by reducing
consumption,
your power
minimizing heat
consumption,
dissipation, and
minimizing heat
increasing efficiency.
dissipation, and
increasing efficiency.
Barco Series 4
Barco Series 4
Explore a complete range of
next-generation laser projectors and
Explore a complete range of
discover outstanding image quality and
next-generation laser projectors and
worry-free operation for every screen.
discover outstanding image quality and
worry-free operation for every screen.
• Brilliant images consistently delivered
• Sustainable Brilliant images and consistently eco-friendly delivered
projector platform
• Sustainable and eco-friendly
• Smart projector design platform
worry-free
operations
• Smart design for worry-free
operations
Barco’s added value
Barco’s added value
Extended standard warranty to
3 years
Extended standard warranty to
More 3 years reliable SSD storage
Doubling More reliable standard SSD storage
capacity
Doubling standard storage capacity
*Source: Erm Research Global Study for Barco
*Source: Erm Research Global Study for Barco

Feel the difference
of brilliance
with Barco series 4
We designed Barco Series 4 in collaboration with cinemas
for their exact needs. A unified family of next-generation laser
projectors. Powering your cinema with a performance and
a simplicity you’ve never seen before.
Experience more at barco.com/cinema

SEATING SOLUTIONS
MANUFACTURERS FOR
CINEMAS
EZCARAY SEATING, founded in 1955, has always been focused in the design and production of
seating solutions for cinemas, theatres, opera houses, auditoriums, lecture, press and conference
halls, sport venues, stadiums and polyvalent halls.
Thanks to the acknowledged excellence of our designs and the quality of our seats, we continue our
international expansion. With projects implemented in more than 80 countries, our exports exceed 70%.
Cinemas are our main line of business; we offer a complete range of products in line with current trends.
Whether it is a very large or small project, we have the capacity and commitment to always produce the
highest quality and guarantee the best service. This includes the planning out of projects through our
technical department, consultation from our experts on seating, the manufacturing and installation of
the seats and, finally, follow-up once the project is completed to ensure customer satisfaction.
We manufacture everything entirely in our factory, located in Ezcaray, without outsourcing anything
thanks to the various workshops on site. This ensures quality, daily tracking of orders and the ability to
customize product designs and create new models when needed.
Should you wish for more information, please feel free to access our website or social media accounts.

SPACES WITH
A UNIQUE IDENTITY
We offer bespoke solutions that fit the needs of each client,
granting the space a touch of distinction and elegance.
AUDITORIOS
Scan the QR code
to see all the production
processes in our factory.
CTRA. SANTO DOMINGO, 49-51
26280 EZCARAY | LA RIOJA | SPAIN
TEL. +34 941 354 054 | EZCARAY@EZCARAYSEATING.ES
WWW.EZCARAYSEATING.ES

Be seen, but not heard!
NC603L Digital Cinema Projector
Silent, Sealed, Sustainable
Discover more at sharpnecdisplays.eu

With an unrivalled noise level of less than 39dB, at 6,000 Lumens the new
super-silent NC603L Laser Projector is delivering captivating movie experiences,
ideal for boothless cinemas.
Incorporating the latest highly efficient Laser technology achieving a low power
consumption of just 0.89kW, with a sealed engine for advanced dust protection,
impressive 50,000 hours Laser lifetime and legacy interchangeable lenses, the
NC603L safeguards low cost operation and long life sustainability.

AT THE HEART
OF OUR DNA
....
38 Q4, 2024
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mne
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CINEMA
www.omnex.co.uk mne info@omnex.co.uk Q4 , 2024 39

www.fercoseating.co.uk
SEATING FOR THE LUXURY CINEMA EXPERIENCE

supplier
showcase
Want to know
more about our
suppliers?
Get in touch:
T: +44 (0)161 477 7633 E: info@omnex.co.uk

Medialease provides specialist asset finance for cinema technology
We can offer finance for new cinema projectors, audio upgrades
and digital cinema projects, plus everything else that’s cinema-related,
including bar areas, kiosks and the latest 4D technology.
So whether you’re a cinema chain, an independent exhibitor or simply have a
screening room, we provide fantastic finance deals you won’t find anywhere else.
Contact Omnex for expert technical advice on your next cinema project.
For financing options, Medialease is ready to assist you!
T: 01327 872531 • sales@media.lease • @medialease
www.medialease.com

Why Financing Your
Cinema Equipment
is a Bright Idea
A finance story
In the ever-evolving world of cinema technology, aging equipment and the end of the VPF
mean keeping your equipment up to date is not just an option; it’s a necessity. With the
unpredictable nature of film releases and other areas of the business to invest in, proper
financial planning is an important consideration. In this section, we’ll explore financing
options and our partnership with Medialease.
UNDERSTANDING THE COSTS AND BENEFITS
Consider the scenario: Your projector is showing
signs of age, and you’re running out of quick fixes.
The upfront cost of a new replacement might feel
daunting, potentially diverting funds from other
critical areas of your business. However, introducing
the option of financing changes the landscape
significantly. Spreading the cost over a five-year
term with manageable monthly payments not only
makes this essential upgrade feasible but does so
without an upfront payment. This approach ensures
that your cash flow remains healthy, enabling
investment in other areas of your business or simply
providing a buffer for the unpredictable nature of
box office revenues.
Moreover, businesses in the UK may benefit
from potential tax advantages when choosing
financing. Investing in critical technology through
financing can offer tax efficiencies, as payments
can often be offset against profit, reducing the
overall tax burden. While this should be discussed
with a financial advisor for tailored advice, it
represents an additional benefit of financing.
FINANCING AS MANAGED INVESTMENT, NOT DEBT
At Omnex, especially in partnership with
Medialease, we view financing not as incurring debt
but as a strategic, managed investment. It’s about
empowering your cinema to stay at the forefront of
technology, maintaining control over your
operations without the constraints of upfront
payments. With some of our finance options, the
absence of initial outlays or deposits ensures that
the transition to better technology is as smooth as
possible, aligning with our ethos of supporting
cinemas in their growth and adaptation to
changing times.
WHY THIS MATTERS
Reflecting on the era of the Virtual Print Fee
(VPF), where cinemas transitioned to digital
projectors under strict conditions, today’s financing
options offer a breath of fresh air. They provide
autonomy, allowing cinemas to upgrade while
retaining control over their programming choices.
This is a testament to how financing can be a tool
for freedom and flexibility in our industry.
LOOKING FORWARD
For cinema owners contemplating the future,
understanding the ins and outs of financing a
projector or other technology upgrades is
invaluable. It’s not just about preparing for an
investment; it’s about strategic planning for
sustainable growth and operational efficiency. By
choosing financing through Omnex and
Medialease, you can embrace technological
advancements with the confidence that you are
making a sound business decision—one that
respects both financial health and long-term vision.
We invite you to contact us to see what we
mean. We have worked with several cinemas in this
manner, and they are happy to share their stories.
For detailed inquiries and to discuss how this can
align with your goals, please contact:
steve@omnex.co.uk
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 43

Cinema Technology Matters
DCI Technology: Creating the
Ultimate Cinema Experience
If you’re running a cinema, you know how important it is to deliver the best viewing
experience for your audience. But not all projection systems are created equal. When it
comes to ‘presenting films as the director intended’ and ensuring the best experience for
your patrons, having a DCI-compliant system can make a huge difference. But what exactly
does that mean, and why does it matter?
SUPERIOR PICTURE AND SOUND QUALITY
A DCI-compliant system follows strict guidelines
set by the industry for picture and sound quality.
This means the films you show will be in 2K or 4K
resolution—simply put, the images will be sharper,
clearer, and more detailed, especially on larger
screens. Non-DCI systems may not always hit this
high level of quality, which can affect how the
audience experiences the film.
On the sound side, DCI-compliant systems ensure
you’re delivering immersive audio—whether that’s
in 5.1, 7.1 surround sound, or even the more
advanced Dolby Atmos. These formats ensure
audiences hear the full impact of the soundtrack.
Non-DCI systems might use compressed audio,
which doesn’t sound as crisp or full, potentially
reducing the overall impact of the movie.
PROTECTING FILMS FROM PIRACY
One of the biggest advantages of a DCIcompliant
system is security. Films come in an
encrypted format called a Digital Cinema Package
(DCP), which can only be played by authorised
cinemas with the correct decryption key. This level
of protection helps prevent piracy—something
that’s hugely important to film studios and
distributors. Non-DCI systems don’t offer this level
of security, increasing the risk of films being
illegally copied or pirated.
THE DECRYPTION KEY: KDMS (KEY DELIVERY
MESSAGES)
If you’ve been in the cinema business for a while,
you’ve likely had your fair share of KDMs. These are
the encrypted keys that allow a DCI-compliant
system to unlock and play a film for a specific
cinema, at specific times, and on specific
projectors. They’re essential for ensuring that films
are protected against piracy, but they can be tricky
to manage.
If you’re showing films in a DCI-compliant
cinema, you’ll be familiar with Key Delivery
Messages (KDMs). These encrypted keys are
essential for unlocking a DCP (Digital Cinema
Package) and allowing the film to be played on
your specific projector, at specific times, and only
for the duration of your licence.
To ensure the correct KDM is created, you’ll need
to provide certain key information to the film
distributor or their trusted KDM management
service. This typically includes (i) The server serial
number for your projector system, (ii) The screen
number where the film will be shown, (iii) The
dates and times when the film will be played.
KDMs are usually generated by the film
distributor or a specialist company, based on the
details you provide. Once created, the KDM is sent
directly to your cinema, allowing your system to
decrypt and play the film for the agreed time
frame. At Omnex we keep the technical
information about your cinema close to hand – we
can always help.
CONSISTENCY ACROSS CINEMAS
One of the reasons cinemas opt for DCIcompliant
systems is that they guarantee a
consistent experience no matter where the film is
being shown. Whether it’s an independent cinema
or a multiplex, the picture and sound will be of the
same high quality. Non-DCI systems can vary a lot
in terms of their performance, which can lead to a
less reliable experience for your patrons.
44 Q4 2024 www.omnex.co.uk mne
info@omnex.co.uk

EASY TO MANAGE AND MAINTAIN
DCI-compliant systems are designed with
ease of use in mind. Many come with
automated tools that allow you to schedule
films, manage playlists, and even control the
system remotely. This reduces the time
spent on manual tasks and minimises the
risk of human error. Non-DCI systems often
don’t have these features, which means
more hands-on management and potential
headaches.
Another bonus is that DCI-compliant
systems typically receive regular updates
from manufacturers, so you’re always in sync
with the latest technology. This keeps your
equipment running smoothly and ensures
compatibility with new releases, whereas
non-DCI systems might not be as easily
upgradable.
ACCESS TO THE LATEST BLOCKBUSTERS
If you want to show the latest major releases from
big film studios, having a DCI-compliant system is
essential. Most studios only distribute their films in
DCP format and require cinemas to meet DCI
standards. Without this, you could miss out on
screening some of the biggest box office hits,
which can impact your revenues.
FUTURE-PROOFING YOUR CINEMA
Technology in the cinema industry is always
evolving, and DCI-compliant systems are built to
keep up. Whether it’s advancements in laser
projection, HDR (High Dynamic Range), or
immersive audio, these systems are ready to
adapt. Non-DCI systems, on the other hand, might
struggle to keep up with the latest innovations,
putting your cinema at a disadvantage over time.
BETTER FOR THE ENVIRONMENT (& YOUR BUDGET)
Modern DCI-compliant systems, especiallythose
using laser projectors, are designed to be energyefficient,
helping you reduce your electricity bills
and lower your carbon footprint. Older or non-DCI
systems tend to be less efficient, meaning higher
running costs and a bigger environmental impact.
THE BOTTOM LINE
Investing in a DCI-compliant projection system
might seem like a significant upfront cost, but the
long-term benefits make it worthwhile. You’ll
provide your audience with the best possible
viewing experience, protect your films from piracy,
and future-proof your cinema for years to come.
Non-DCI systems can offer a lower-cost alternative,
but they often come with trade-offs in terms of
quality, security, and access to major films.
For cinemas looking to stay competitive and
keep patrons coming back, a DCI-compliant
system is a smart investment.
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 45

Maximising Cinema
Projection with Sharp/NEC:
Long-lasting Performance &
Environmental Benefits
“Infomercial?” You say! Whilst it’s fair to say that we invest a lot of time into ensuring
the correct projector model is selected to suit each auditorium, it should also go
without saying that the manufacturers we work with take R&D and the entire cinema
experience to heart. So - and whilst other manufacturers are available - we’re proud
to share an article drafted by Jens Kayser, NEC’s European Head of Sales, who has
equal pride in the work NEC/Sharp provides to cinemas around the world.
Maintaining cinema projection
equipment in optimal condition is key
to delivering a memorable movie
experience, and it also extends the lifespan of the
equipment, protecting your investment and
supporting sustainability.
Sharp/NEC Cinema Solutions has long been a
leader in the field, with their industry-leading
service operation designed to ensure that cinemas
maximise the benefits of their projectors for years
to come.
One of the standout features of Sharp/NEC’s
digital cinema projectors is their advanced laser
technology, which offers an impressively long
lifecycle. Known for meticulous Japanese
engineering and best-in-class components, Sharp/
NEC ensures that cinemas continue to deliver highquality
visuals long after the warranty period ends.
An early trial at ODEON in 2007 showcased the
durability of this technology, with projectors still in
operation 17 years later—an impressive testament
to Sharp/NEC’s commitment to quality.
46 Q4, 2024 www.omnex.co.uk mne
info@omnex.co.uk

Laser Light
The company’s approach to service excellence
is equally notable. Sharp/NEC, in partnership with
Omnex, provides UK-based support to ensure any
downtime is minimised, with spare parts available
24/7 and expert assistance on hand. In fact,
replacement parts are often delivered door-todoor
within just six hours, a vital feature for cinemas
where equipment reliability is crucial to avoid
revenue loss.
Sharp/NEC also offers extended warranty
options to fit a cinema’s operational needs, with
coverage extending by 1, 3, 5, or even 8 years. For
cinemas that experience reduced performance
or have non-operational projectors, the Prism
Refurbishment Program offers a quick, costeffective
solution. This programme is particularly
useful for older equipment, allowing cinemas to
continue operating without the need to reinvest
in new projectors. The refurbishment process not
only helps prolong equipment lifespan but also
reduces waste, contributing to more sustainable
operations.
Another significant advantage of laser
technology over traditional Xenon lamps is its energy
efficiency. Laser projectors generate less heat,
removing the need for external cooling systems and
cutting down on overall energy consumption. In
addition, Sharp/NEC’s optically sealed light engine
ensures consistent performance without requiring
lamp or filter replacements, saving both on labour
and consumable costs. For cinemas, this translates
to greater operational efficiency and reduced
environmental impact over the long term.
As Jens Kayser puts it: “Our goal is to ensure that
our projectors continue delivering high-quality
visuals for many years, while also supporting cinema
operators with reliable service and sustainable
solutions.”
With a robust support system and technology
that prioritises longevity and efficiency, Sharp/NEC
is a trusted partner for cinemas seeking to deliver
exceptional movie experiences while also
maintaining cost-effective and environmentally
conscious operations.
PICTURED ABOVE: The Sharp/NEC NC603L is a compact powerful laser projector ideal for smaller to midsized
screens. Offering virtually maintenance free operation and a specified laser lifetime of up to 50,000
hours, it ensures long-term operational savings by eliminating the need for lamp replacements or filter
changes. With low power consumption, it reduces overall energy costs while maintaining exceptional
image quality. The projector’s compact design makes installation simple, even in limited spaces, and its
quiet operation enhances the movie-going experience.
For cinemas looking to invest in reliable, energy-efficient technology that delivers brilliant visuals while
lowering operational costs, the NC603L is a smart, sustainable choice.
www.omnex.co.uk mne info@omnex.co.uk Q4, 2024 47

48 Q4 2024 www.omnex.co.uk mne
info@omnex.co.uk

Barco
Barco Factory Tour:
Exploring the Future of
Cinema Projection
In August, Omnex signed up for the Barco Partner Program, enabling us to offer a unique opportunity
to support cinemas with further improved value, service, and support. In a double-whammy of
events, we were then selected as a Barco Post-Production Partner—a reflection of Barco’s
confidence in our capabilities! To better understand both accolades, Simon Tandy, MD, and Steve
Case, Technical Sales Manager, headed to Barco’s HQ in Kortrijk, Belgium, and experienced two days
of how the world turns at Barco.
DAY 1: BARCO EXPERIENCE CENTRE AND
HANDS-ON TRAINING
Our visit kicked off with a warm welcome from
Oliver Pasch, VP of Sales & Business Development
for Western Europe, and his team. Beginning with
a tour of the Barco Experience Centre, where we
explored Barco’s full range of technologies,
including those for medical imaging and
corporate AV solutions. But our focus, of course,
was on Barco’s cinema technology.
We saw Barco’s laser projection systems in
action, giving us a closer look at their brightness,
contrast, and colour accuracy. The quality of the
images was impressive, demonstrating the level
of detail modern cinema projectors can achieve.
After that, we moved on to a hands-on session in
Barco’s cinema training room, where their senior
trainer, Frédérick Lanoy, walked us through the
technical features of their projectors. We even
learned how easy it is to pull out and replace a
laser plate, making maintenance even more
straightforward.
Marc Arts, Business Segment Director for
Digital Cinema, shared valuable insights on the
importance of projector and screen choice. From
image clarity to understanding lifespan, warranty,
and budget requirements, it reinforced the
significance of getting every design detail right!
DAY 2: CINEMA DEMOS AND REAL-WORLD
TESTS
Day two was a cinema enthusiast’s dream! We
visited the local Kinepolis, a cinema that
exclusively uses Barco projectors. There, we put
Barco’s Series 4, 2K and 4K projectors to the test
across different screen types and gain levels.
The S version of the Series 4 is great for smaller
venues, with a focus on energy efficiency and
compact size. The C version ups the game with
brighter output and can feature either 2K or 4K
resolution, making it ideal for mid-sized venues
where sharpness and vibrant colour are key.
Finally, the B version is a powerhouse for largeformat
screens, delivering ultra-high brightness
and incredible detail in 4K.
We tested these projectors with a range of
screens, including the Clarus 1.7 silver 3D for an
immersive 3D experience and the MDI 1.8 2D for
sharper 2D visuals. Each combination showed
how 2D and 3D experiences rely heavily on the
right screen choice. But it’s not just about
performance—there’s a commercial balance too.
For example, lower-gain screens require more
lumens to achieve the correct brightness, which
can mean more expensive projectors. On the flip
side, you would typically avoid high-gain silver
screens if 3D is not required, with all RGB laser
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 49

Technology cross-overs
projectors there is a chance you will introduce
some speckle. These tests really confirmed that
finding the right projector and screen
combination is crucial for delivering the best
performance while managing costs.
THE FACTORY TOUR: SEEING IT ALL COME
TOGETHER
After our cinema tests, we returned to Barco’s
headquarters for a tour of their assembly plant.
This was a fascinating behind-the-scenes look at
how Barco projectors are built, from start to finish.
We saw every stage of production, from initial
assembly to rigorous testing before the projectors
are shipped off worldwide.
One of the highlights of the trip was seeing a
demonstration of Barco’s new High Dynamic
Range (HDR) projection technology. HDR
promises deeper blacks, brighter highlights, and
an expanded colour range, and it’s set to
revolutionise the cinema experience. We even got
a sneak peek of Transformers One in HDR—
currently released in select cinemas across the
US—and it was nothing short of breathtaking.
The level of detail and the vibrancy of the colours
had us both excited about what this will mean for
cinemas in the near future.
LOOKING AHEAD
Our two-day visit to Barco’s headquarters left us
inspired and excited about the future of cinema
projection. Barco’s commitment to innovation in
image quality and reliability ensures that they’ll
continue to play a key role in shaping the cinema
experience for years to come.
As Omnex prepares to introduce Barco’s
latest technologies, including their highly
anticipated HDR projection systems, we’re
looking forward to offering these cutting-edge
solutions to our clients. The hands-on experience
and insights we gained during this visit will help
us deliver the very best projection technology to
the cinemas we work with, ensuring their
audiences enjoy an unparalleled movie
experience.
Our visit to Barco gave us a rare insight into the
technology that will drive the next generation of
cinema projection. With Barco’s innovations,
particularly in HDR, the future of cinema looks
brighter, sharper, and more immersive than ever.
50 Q4 2024 www.omnex.co.uk mne
info@omnex.co.uk

mne
shopping@omnex
for the best-value cinema technology
0161 477 7633 info@omnex.co.uk

Live Events
New Term, New Opportunities:
Live Events Take Centre Stage This
Autumn
As we gear up for the new season, we sat down with Ed, MPS’s Live Events Manager,
to discuss the exciting slate of live content set to hit screens. In this article, Ed reflects
on how live programming has grown since MPS started supporting cinemas in 2013
and shares insights into the major technological leaps made during lockdown,
particularly the shift to IP streaming.
The Autumn reset is not just a space for
students to lament a summer that has flown by;
it’s also the dramatic start to a new slate of live
content for cinemas to promote around the world.
Live, can often get pushed to one side in
favour of the full, saturated, theatrical release of a
blockbuster, MPS has been supporting
distributors and cinemas in live since 2013.
The "old days " of live via satellite can still send
shivers down my spine, particularly knowing that
ultimately there are disgruntled customers
demanding a comp ticket for a disrupted event,
many of which came thanks to inclement weather
or AV truck configurations!
The most significant change in live happened
during lockdown, as we started the transition to
IP streaming of live events.
The step change in bandwidth enabled us to
deliver the highest quality streams without risk of
buffering and unlocked the ability for more
dynamic programming to multiple screens in one
cinema.
I sometimes wonder whether the
opportunities of live have really been explored?
The eventisation of 'anything' is all the rage,
perhaps blending live with the traditional
programming of the theatrical film could unlock
'bumper content' harking back to the DVD menus
of old, showing behind the scenes, Q&A and
interviews.
It’s great to see the popularisation of Q&A, I'd
love to see more as it extends the shared
experience and cements a story into people’s
minds for way longer than two hours in a
darkened room. Sharing in conversation is how
we keep cinema the epicentre of eventised
experiences.
We've enabled a wide range of live events,
from E-sports with the League of Legends and CS
Go Finals for our gamers, a Q&A panel with cast
and crew to support cinema titles like James
Blunt: One Brit Wonder, and We Dare to Dream as
well as exciting live music by Metallica, the MET
and Royal Ballet & Opera. We electronically
delivered 1000+ encore recordings to cinemas, so
customers wouldn’t miss out on this engaging
season of Event Cinema.
The MPS live team are here to help you with
your IP Live Streaming needs!"
Ed - Live Events Manager
events@withmps.com
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 53

Five minutes
with...
Mark Bailey:
A Journey from
IMAX to Omnex
Meet Mark Bailey, one of Omnex’s
cinema engineers with a fascinating
background in both film and digital
projection. As an MPS Screenings
Engineer Mark supported Omnex
during the pandemic, leading to him
becoming a permanent member of the
team just over two years ago. Mark brings with him an
impressive range of skills, cultivated from years of
working with IMAX projectors, repairing screens around
the world, and supporting prestigious film premieres. In
this interview, Mark shares his journey through cinema
technology, his experience working at Omnex, and how
he adds value to the services Omnex provides.
Q
What led you to pursue a career in cinema
technology?
It all started when I became a projectionist,
working with IMAX film projectors. Back then,
projection was very hands-on—there’s something
incredibly satisfying about lacing film through an
IMAX projector and making sure everything runs
perfectly. Working with such high-end technology
54 Q4 2024
www.omnex.co.uk
mne
info@omnex.co.uk

Meet The Team
really sparked my interest in the technical side of
cinema. As IMAX shifted towards digital, I was
fortunate enough to join their digital team, and
that took me all over the world, fixing IMAX
screens. I worked with Arts Alliance Media and
IMAX Digital before moving on to Motion Picture
Solutions, where I was heavily involved in
supporting screenings, including high-profile
premieres. That was exciting work, but joining
Omnex has been equally rewarding as I’ve been
able to work with a diverse range of cinemas, each
with unique challenges.
Q
Your career sounds quite adventurous,
with lots of travel. Can you tell us more
about your time on the road?
Yes, the travel has definitely been a highlight. One
of the more exciting experiences was working on
IMAX screens around the world, often at very short
notice. I remember being called to fix a screen in a
remote location in Dubai and within two hours, I
was on a plane, toolkit in hand. There’s a certain
thrill in that—the urgency, the technical
challenges, and of course, the places you get to
see along the way. Whether it’s troubleshooting in
a high-tech cinema or setting up screenings in
some far-to-reach locations, the variety kept
things interesting.
Q
What excites you most about your role at
Omnex?
For me, it’s the teamwork. The Omnex team I work
with is full of really talented people, with such a
broad range of skills and knowledge. No matter
the problem, there’s always someone with the
expertise to help. It’s a very collaborative
environment, which I love. I never thought
WhatsApp would become such a great resource.
The range of projects we handle is also exciting—
everything from smaller screen cinemas to larger
PLF. It keeps me on my toes, as no two days are
the same.
Q
How do you feel your experience adds
value to Omnex’s services?
think my background in both film and digital
projection gives me a broad perspective. At
Omnex, we aim to provide our clients with the best
service, and I believe my technical skills contribute
to that. Whether it’s maintaining the latest digital
projectors or resolving issues with older equipment,
I like to think I’m helping cinemas run smoothly,
allowing them to focus on delivering great movie
experiences. The variety of my past work—from
repairing IMAX screens to supporting film
premieres—has given me a broad skill set that
helps me adapt to whatever the job demands.
Q
What’s one of the most rewarding projects
you’ve worked on at Omnex?
One project that stands out was a cinema upgrade
we did recently where we updated the sound
systems and installed an all-laser projector set-up.
The complexity of the job was challenging because
there was so much to think about in terms of
reconfiguration to be able to integrate all of the
new technology, but seeing the final result was so
good! It’s when you receive feedback from the
cinema teams that’s really satisfying.
Q
What do you like least about your job?
Honestly, the M25! The traffic can be a bit of
a nightmare, but in all seriousness, there’s very
little to complain about. The variety of work and
the spirit and support I get from within the team
make it a really enjoyable place to work.
Q
How do you think Omnex provides value to
its customers?
I think the monthly payment service plans we offer
are a great example. It helps customers spread the
cost of their maintenance, making it more
manageable and predictable. Beyond that, I think
our technical expertise really sets us apart. If I
sound cheesy, we don’t just fix things; we work
with cinemas to find solutions that work best for
them. It’s not always new equipment but
optimising what they already have. I feel I get good
feedback from the cinemas I work with and that’s
something I’m proud of.
Q
Finally, what’s your top tip for cinemas?
A weekly reboot of your server. It’s such a
simple thing, but it can prevent so many technical
issues. It’s easy to forget, but when you make it a
regular part of your routine, it helps ensure
everything runs smoothly. And, of course, if there’s
ever a problem—big or small—to give us a call.
We’re always happy to help, even if it’s just advice
over the phone.
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 55

Our Expertise.
Your Technology.
With the very best engineers across the UK,
keeping you on screen is even more cost-effective.
Omnex Locations
Omnex Warehouse
OUR SERVICE PLANS ARE MORE AFFORDABLE
WITH PAY-MONTHLY PLANS FROM JUST £59 PER MONTH
56 Q4 2024 www.omnex.co.uk mne
info@omnex.co.uk

National Cinema Support
In a nutshell? Our pay-monthly service plans are now more affordable than previous annual
service contracts and — for plans that don’t already include 24/7 callouts — we’ve made our
callout fees cheaper.
Our pay-monthly plans mean you don’t need to pay in full and up front on your service contracts
— a benefit we hope will really help you. And whether you choose to pay monthly or not, the
annual cost is the same — there’s no penalty for improving your cashflow.
Sign up to any of our monthly plans & the following are included:
1 2 3 4 5 6
Fully trained
and qualified
engineers
Remote intervention
& support;
8am - 10pm,
7-days a week
Unlimited
remote
support
Annual
projector
service
Annual audio
calibration (including
ATMOS calibration)
Software
updates
SERVICE PLANS SILVER GOLD PLATINUM
Price per screen £59 p/month £109 p/month £149 p/month
Remote Support Inclusive & unlimited Inclusive & unlimited Inclusive & unlimited
Annual Projector
Service
Annual Audio
Calibration
ATMOS
Calibration
Included Included Included
Included Included Included
Included Included Included
Software updates Included Included Included
Call-out Fee
We aim to save you money, improve
cashflow, and keep you on screen - all
for as little as £59 p/month.
You can sign up to a our Silver, Gold or
Platinum service plans, which combine
Omnex’s daily telephone support and
remote intervention.
Anytime 7-days p/week
£450.00
Mon-Fri, 8-5, off-screencall-outs
are free - ‘after
hours’, Sat & Sunday
£450.00
Our engineers are geographically
spread across the UK to provide outof-hours
support 8am - 10pm daily.
All of our support plans provide you
with access to our online shopping
portal for further discounts on Lamps
and sundries.
7-days p/week all offscreen
call-outs are
inclusive
Lamp Prices Discount against list price Discount against list price Discount against list price
Shipment of parts At cost At cost At cost
SUBJECT TO T&C’S. INFORMATION CORRECT AT TIME OF PRINTING
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 57 5

Meet the Heart and Soul
Behind Omnex
At Omnex, we’re more than a company; we’re a family of film tech enthusiasts, united by our
passion for bringing top-tier sound and projection to screens across the UK and Ireland. It’s
been a thrilling ride since our beginnings in 1986, and just like cinema itself, we’re all about the
sequels and the next big hits in tech evolution.
From our efficient Aylesbury warehouse team, to the broadest geographical spread of
engineers, we’ve blossomed to a crew of 17 dedicated members—each with a story,
each with a love for cinema. Add to that the sterling backup from our MPM
Engineering pals and the wizardry of our seating technicians, we’re geared up to
deliver support wherever you are, whenever you need us.
With thanks to our manufacturing partners and cinema clients, the co-stars
of our show! The spotlight’s on the future, and we’re buzzing with
excitement to roll out the next phase of the Omnex story with you.
SIMON TANDY
Managing Director, London
Simon started in cinema in
1995, working in indies and
multiplexes, then creating the
product LANsat for live events
and DCP delivery.
STEVE CASE
Technical Sales
Manager, London
“37-years man ‘n boy” Steve has
vast knowledge of mechanical
and digital systems to support
cinemas’ installations.
REBECCA RAU
Exhibitor Relations Manager
Having started her career in the
Motion Picture Dept. at Kodak,
Rebecca spent the last decade
at DCM managing independent
UK cinemas
RICHARD LYON
Warehouse Operations
Support
Rich supports our warehouse
operations and also provides
vital support to our service
engineers on bigger jobs.
CHANTAL GUTHRIE:
Head of Seating
Chantal manages a team of
nine seating technicians,
directing installations — as well
as managing more than 44,000
seating checks across Europe.
DANNY LOVERIDGE
Warehouse Operations
Supervisor
Danny started at Arts Alliance
Media in 2011 as a warehouse
assistant and is now
responsible for our Warehouse.
58 Q4 2024

Our team
DARREN BRIGGS
Head of Technical Services,
York,
Starting cinema life in 1999 at
City Screen, Darren trained
hundreds of projectionists in
the digital rollout nationwide.
NIGEL PRIEST
Operations Manager,
W. Midlands
Nigel’s first role in cinema was
as an usher at UCI, He joined
AAM in 2006, helping to roll out
digital projectors for the UKFC.
PETER KNIGHT
Cinema Services Technician,
South Wales,
With nearly 30-years of technical
cinema experience, Peter has led
training courses, premiers &
outdoor cinema projects.
GLEN WEST
Cinema Services Technician,
N. MIdlands
Glen brings his cinema
expertise from his time spent
at Odeon as he begins his foray
as a Cinema Service Technician
Mark Bailey
Cinema Engineer, London
Having been and engineer for
IMAX, Christie, Dolby Vision
and MPS premiers, we
welcomed Mark to the Team in
April 2023
TONY EVERETT-SPEARING:
Service Engineer, Suffolk
Based in Suffolk, Tony is an
experienced Omnex engineer
and considered our expert
wireman — he creates order out
of chaos in any installation.
BLADE FRAMPTON
Cinema Engineer, South
West
Starting as a projectionsit
some 25 years ago, Blade was
the Technical Manager for
Merlin Cinemas prior to joining.
KRIS BELL:
Cinema Engineer, Sussex
Starting out in technical theatre.
Today, as many cinemas
become more multi-functional,
Kris’ advice on live sound &
lighting is invaluable.
PETE NAPLES:
Senior Engineer, Scotland
Based in Dunfermline, Pete
has been a cinema engineer
since 1998. He has also worked
in television production and is
a keen photographer.
JOHN CASWELL:
Service engineer, Liverpool
John has been a field engineer
for more than a decade — prior
to that, he was the chief
projectionist for FACT in his
home town of Liverpool.
GEOFF NEWITT:
Service engineer, Oxford
Formerly head of tech ops at
Picturehouse, Geoff has been
working in projection rooms
since his student days; joining
Omnex in 2018.
www.omnex.co.uk mne info@omnex.co.uk Q4 2024 59

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