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APAC is 2nd largest market for digital movie screens in H1

Posted: 26 Sep 2012 ?? ?Print Version ?Bookmark and Share

Keywords:IHS? digital movie screen? APAC? digital projection technology?

IHS has found that Asia-Pacific (APAC) in 1H12 became the world's second-largest region for movie theatre screens equipped with digital projection technology. The market research firm added that APAC's strong growth and in other emerging markets boosted the global market to expand 21 per cent during the period.

The number of digital screens in APAC expanded by 28 per cent in H1. This caused the region's share of global digital cinema screens to rise, putting it ahead of Western Europe at 23.6 per cent, and behind North America at 41.1 per cent.

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Figure: Total Number of Digital Cinema Screens Worldwide
Source: IHS iSuppli Research, September 2012.

A total of 77,021 digital cinema screens globally were in place at the close of H1, up from 63,825 at the end of 2011. More than 13,000 screens converted during this six month period to digital cinema, a process that uses digital technology and equipment to show motion pictures, supplanting the conventional 35mm projectors of old. As a result of the latest boost, global digital-cinema penetration has now reached 60 per cent, up from 52 per cent at year-end 2011.

Although growth in 1H12 was slower than the 32 per cent increase during the same period in 2011, the expansion was still robust on the strength of rising digital cinema installations in emerging economies.

Among all the regions, North Americacomprising the Canadian and U.S. marketscontinued to claim the largest number of digital cinema screens overall at the end of H1. Owing to the high penetration of digital cinema in the region, however, North America had the slowest growth during the period, up 15 per cent from the end of 2011.

Individual territories with the highest percentage of growth for the first six months of this year included Morocco, the United Arab Emirates, the Philippines and Mexico. The increases are due in part to a previously low digital base in those markets, as well as the emergence of so-called Virtual Print Fee (VPF) deals, or funding transactions backed by distributors that help movie exhibitors everywhere to purchase digital equipment more easily.





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