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Harkness Perlux Screens and Christie 4K Projectors Help Reduce Total Cost of Ownership (TCO)

LAS VEGAS, MARCH 30, 2011Harkness Screens, the world’s leading manufacturer of cinema screens, andChristie®, a world leader in digital cinema projection, have teamed up to help exhibitors more easily transition from film to digital projection. With the transition to 3D well underway in many auditoria, exhibitors are now turning their attention to the remainder of their cinema estates and planning to convert their film auditoriums to digital. In doing so, exhibitors are making a tradeoff between the many known benefits of digital cinema and its higher costs.

With Harkness’ Perlux Screens and Christie’s 4K Projectors, exhibitors can help cut operating costs roughly in half, as gain screens use smaller lamps that are cheaper, last longer and consume less power. With almost 20,000 digital cinema projectors installed worldwide, Christie’s DLP Cinema solutions are tested and proven, with the most installations worldwide and an unmatched 99.999% reliability rating for the projector lamps – the key component of a digital cinema projector.

There is often too little known about the full cost burden, and it is primarily focused on the costs associated with equipment acquisition, often ignoring the impact on total cost of ownership (TCO). TCO, the ongoing cost of operating a digital cinema, is known to be higher than film projection, though the true extent may be hidden at the time of acquisition. Projector maintenance, lamp cost and rate of lamp replacement are all increased, as are lamp and HVAC power consumption and maintenance. These factors can all be managed by smart upfront design and rigorous manufacturing processes.

Christie’s manufacturing facilities are certified ISO 9001:2000 and ISO 14001 and its facilities house top of the line technology, equipment and employees. The manufacturing process is based on the Kaizen Lean Manufacturing philosophy that focuses on continuous improvement processes, and the 5S methodology. Among the firm’s many “firsts” are being the first licensee of DLP Cinema® technology (which is the first Digital Cinema technology to be adapted by the Hollywood community) and the first licensee of Texas Instruments Series 2 DLP® Cinema technology.

Perlux gain screens from Harkness complement Christie’s quality and low TCO. Because Perlux screens increase reflected light levels, they offer exhibitors the potential to use smaller lamps that are cheaper, last longer and consume less power. In fact, a gain screen can help cut operating costs roughly in half — which is good for not only the exhibitor, but the environment as well. For new builds and digital retrofits, a gain screen can pay for itself in under a year. For existing digital installations, a gain replacement screen can pay for itself in just two years. Gain screens can also be considered a “green” investment because they lead to less CO2 (lower power needs) and fewer lamps to recycle or scrap. Perlux Screens also offer exceptional surface consistency, invisible seams and greater light reflectance than matt white screens.

“We are thrilled to partner with Christie to educate further our customers on how to maximize their transition to digital,” says Andrew Robinson, Harkness Screens, managing director. “Through this collaboration we are able to offer a quality and cost-effective solution.”

Harkness Perlux® screens are considered by leading cinema exhibitors worldwide to be the premier gain projection surface. The Perlux® line of screens provides a choice of gain characteristics, high contrast, bright pictures, generous viewing angles and excellent colour temperature. The Perlux® 180 and 220 high gain screens are perfect companions for digital 3D systems that use non-polarised light, such as XpanD 3D and Dolby 3D.

Exhibitors and dealers interested in going digital are encouraged to stop by the Christie (1200A) and Harkness (904A)booths at CinemaCon in Las Vegas March 28-31 to learn more about what can be done to make their transition as smooth as possible.

Martin Palicki
Martin Palicki
Martin Palicki owns and publishes InPark Magazine. Started in 2004, InPark Magazine provides owners and operators the perspective from "in"side the "park." Martin has also written for publications like Sound & Communications, Lighting & Sound America, Attractions Management and others. Martin has been featured in Time Magazine, and Folio. Martin lives in Milwaukee, Wisconsin, USA.

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