2014 dome survey results summary blaze digitalcinemaworks_030814

2014 DOME SURVEY

Presentation of Survey ResultsIMERSA Summit, Denver, COMarch 8, 2014

Presented by: Paul Fraser, Blaze Digital Cinema Works

Survey Goals

1. To capture the similarities and differences between the world’s larger permanent fulldome theaters and the giant-screen film dome theaters

2. To better understand the potential for convergence of these two sectors.

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Survey Methodology• Self-administered online survey, using FluidSurveys’

application.• Sample description: operators of fulldome theaters and

giant-screen dome theaters, with at least one dome of 18 meters in diameter or larger.

• 210 individuals representing as many domes and 196 unique organizations, in 37 countries, were sent emails, inviting them to take the survey.

• Surveys were completed between February 1 – 18, 2014. • Total number of usable sets of responses received: 57

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Survey Design• Preamble to survey questions:Thank you for participating in this survey. It should take only about 10 -15 minutes to complete. We wish to capture the similarities and differences between the world’s larger (15+ meter) permanent fulldome theaters and the giant-screen film dome theaters, with the goal of understanding the potential for convergence of these two sectors. One possible outcome of this survey is that dome theaters such as yours may be better served by content suppliers and equipment vendors.

Your answers will remain anonymous. Please note that only one completed survey per organization can be accepted*, so if you think another person at your organization may be better-suited to answering these questions, please forward the email with the survey link to that person.

(* With the exception of 2 or more dome theaters at the same attractions; instructions for this scenario will be given later).

This survey is designed by Blaze Digital Cinema Works, with the assistance of and for the benefit of IMERSA and the GIANT SCREEN CINEMA ASSOCIATION. A summary of the survey results will be presented at the IMERSA Summit, which is being held in Denver, March 6 – 9, 2014. For those who complete this survey and provide an email address at the end of it, electronic of the presentation will be made available during the week of March 10. IMERSA and copies GSCA members will be able to download the summary from their respective websites by the end of March.

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Note to Reading the Following ChartsIn those cases in which there is likely a significant difference between how respondents(A) having a giant-screen (GS) film dome system,

versus(B) NOT having a GS film dome system,

answered a question:

Such differences are shown off to the side of the chart in this way: “(A/B)”….where “A” is the percentage or absolute number of respondents who belong to group A, and “B” is the comparable figure belonging to group B.

For instance, in Q.4 (slide #10), “(81/16)” means that 81% of those respondents with GS film systems have domes 21 meters or larger, whereas only 16% of those who do not have GS film systems have domes of this size.

If no “(A/B)” appears, it means there’s not likely to be a significant difference.

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Q1. Do you have more than one permanent dome theater at your venue?

n = 57

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Q2. What projection systems are installed and regularly used in your permanent dome? (check all that apply)

Response Chart PercentageDigital Fulldome 55%

Giant Screen Film (15/70, 8/70, or 10/70 film based)

46%

Starball Projector 23%

Other digital system projecting a rectangular image that fills a portion of the dome screen

21%

Other digital system, with a custom lens projecting a partial dome image that fills at least the area that would be covered by a giant screen film dome system

4%

Other media systems, please specify...

14%

n = 57

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Q3. Do any of your projection systems have 3D (stereographic) capability?

n = 57

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Q3i. If yes, which systems have 3D capability?

Response Chart PercentageDigital Fulldome 67%

Giant Screen Film (15/70, 8/70, 10/70 film based)

0%

Starball Projector 0%

Other digital system projecting a rectangular image that fills a portion of the dome screen

25%

Other digital system, with a custom lens projecting a partial dome image that fills at least the area that would be covered by a giant screen film dome system

17%

Other media systems, please specify...

0%

n = 12

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Q4. What size is your dome (diameter)?Response Chart Percentage

15.0 – 17.9 meters (approx. 50-59 feet)

13%

18.0 – 20.9 meters (approx. 60-69 feet)

39%

21 meters or larger (approx. 70 feet or larger)

48%

n = 56

(16/64)*

(81/16)

* See slide #5 for explanation of numbers in brackets

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Q5. How many seats does your theater have? (check the applicable range)

Response Chart PercentageFewer than 150 seats 9%

151–300 seats 67%

301–450 seats 25%

More than 450 seats 0%

n = 57

(43/4)

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Q6. What is your theater's seating configuration? (Check one)

Response Chart Percentage

Unidirectional 79%

Other, please specify... 21% (14/31)

n = 56

12

Q7. Is your dome screen tilted?

n = 57

(90/58)

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Q8. What audio channel configuration do you have?


stereo (2 channels) 7%

5.1 (6 channels) 42%

6.0 (six channels configured for IMAX)

37%

7.1 (8 channels) 7%

More than 8 channels 9%

n = 57

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Q9. Does your organization have plans for any major changes (upgrades, additions or replacements) to any of your dome theater systems?

n = 56

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Q9iii. Please describe the changes that are planned for your dome theater system

n = 27

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Q10. What type of content is regularly scheduled on your dome screen now? Please indicate the percentage of your average weekly show schedule.

- Pre-rendered fulldome shows produced originally for fulldome

Average percentage of schedule (26/56) n = 31

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- Giant screen film content (regardless of system used at your dome theater—it could be presented in large format film,

reformatted for fulldome, or another digital format)

Average percentage of schedule (92/15) n = 39

(80/9)

(0/58)

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Q10. What type of content is regularly scheduled on your dome screen now? Please indicate the percentage of your average weekly show schedule.- Comprised of real-time computer graphics,

with or without a live presenter n = 29

Average percentage of schedule (4/27)

19


- Other live presentations n = 29


20


- Other pre-rendered content n = 17


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Q11. What is the typical number of programming slots in any given week at your dome theater?

n = 52

14/46

71/38

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Q12: Does your dome theater play pre-rendered content of any kind, film or digital formats (e.g. 15/70 or digitized GS films, fulldome shows, or any other digital content)?

n = 52

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Q12i-i. Regarding pre-rendered content—films or fulldome shows: | i. What is your preferred running time?


24 minutes or less 0.0%

25 - 29 minutes 19%

30 - 39 minutes 26%

40 minutes or more 53%

n = 47

(75/36)

(5/32)

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Q12i-ii. Do you play shows that are notbased on astronomy or other space science topics?

n = 47

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Q12i-iia. If ‘yes’ (to playing non-astronomy topics), enter percentage of programming slots not based on astronomy or other space science.

n = 39Average percentages (72/31)

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Q12i-iii Regarding pre-rendered or pre-produced content, how many different titles do you play each year?

n = 42Average counts (7/12)

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Q12i-iv. Regarding pre-rendered content, how many different titles do you have on your public show schedule this week?

n = 41Average number of titles (4/7)

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Q12i-v. With regard to live-action versus CGI animation pre-rendered content, what are your programming preferences: Do you prefer -

Response Chart PercentageLive action only 2%

Live action, but not necessarily exclusively (some CGI or animation is alright)

24%

CGI animation only 0%

Animation, but not necessarily exclusively (some live action is alright)

16%

No preference—it does not matter. Other factors are more important, such as overall production value, editorial, etc.

58%

n = 45

(0/25)

(32/17)

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Q13. Does your theater have a fulldomesystem?

n = 49

(67/12)

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Q13i. Have you licensed shows that were re-formatted to digital fulldome from giant-screen films?

n = 28

(14/33)

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If yes, which shows? (please write all titles)

Forces of Nature

Sea Monsters

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Q13ii. Whether you have or have not licensed them, what is your opinion of the fulldome shows reformatted from giant-screen films?

n = 27

(40/55)

33

Q13iii. Do you produce original fulldomecontent for exhibition at your theater?

n = 30(29/70)

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Q13iv. Would you like to see fulldomecontent distributors offer variable license fees based on percentage of revenue or per-head charges?

n = 30

(100/84)

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Q14. Does your theater have a large format/giant screen film system?

n = 47

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Q14i. Are you interested in adding a fulldome system so you can play fulldomecontent?

n = 21

37

If no (to adding a fulldome system), why?

Response Chart Percentages

Already have a digital fulldome theater

25%

Not needed 25%

Unsure 50%

n = 8

38

Q14ii. Are you interested in adding live-presenter shows using real-time CGI content?

n = 21

39

If no, (to adding real time content) why?


Not a good fit 16%

Our flat screen theater can do this

16%

Our fulldome theater can do this

33%

Unsure 33%

n = 6

40

Q14iii. Would you like to see giant-screen film distributors offer fixed license fees?

n = 22

41

Q15. Is there a separate admission charge for your dome theater?

n = 48

(90/75)

42

Q15i. What is your current top adult admission price to one presentation (one film or show) in your dome theater?

n = 39($10.10/$9.22)

43

Q16. Do you now record, or are you capable of recording, attendance per show/film?

n = 46

(100/92)

44

Q17. How is your dome theater managed from a financial perspective? That is, does your organization…


…set budgets and account for the dome theater's share of revenues AND its costs

77%

…set budgets and account only for the dome theater’s costs

23%

n = 47

(19/28)

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Q18. On what basis do you license films or pre-rendered content? (check all that apply)

Response Chart PercentageVariable basis: License fees calculated on a percentage of revenue and/or a fee "per head"

59%

Fixed basis: Fixed license fees per title for the duration of the license period.

46%

Hybrid: A mix of the variable and fixed fee approaches above for the same license contract

25%

n = 44

(19/63)

(64/33)

(12/33)

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Q18.iii. If you checked "fixed basis" above, what factors are used in determining your fixed fee? (check all that apply)

n = 20

47

Q19a. What are your typical annual budgets for all …i. For licensing pre-rendered

content/films?(US Dollars)


ZERO 8%

$10,000 or less 11%

$11,000 - $50,000 32%

$51,000 - $99,000 18%

$100,000 - $199,000 21%

$200,000 - $300,000 8%

$600,000 3%

n = 38Average budget ($183,000/33,000)

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Q19a. What are your typical annual budgets for …ii. For your own in-house production(s)

(US dollars)


ZERO 50%

$5,000 or less 21%

$15,000 - $25,000 12.5%

$50,000 - $75,000 12.5%

More than $100,000 4%

n = 24Average budget ($5,600/$22,000)

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Q19b. How many new show or film titles do you typically license or produce per year for the budgets above (Q 19a)?

i. Number of new pre-rendered titles (films or shows) licensed per year

n = 42Average number of films/shows(3.7/2.4)

50

Q19b. How many new show or film titles do you typically license or produce per year?

ii. Number of new in-house productions per year:


1 33%

2 20%

ZERO 47%

n = 30Average number (2/1)

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Q20. On average, how many equivalent-to-full-time positions are required to operate your dome theater?


1 - 3 34%

4 - 6 52%

7 - 10 14%

n = 44 Average number of FT positions (5/4)

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Q21. Not counting your theater's or your organization's web/social media website, does your organization market shows at your dome theater or its shows using paid, external media?

n = 46

(75/50)

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Q22. Approximately how much does your organization spend annually on marketing your theater and/or shows on a per-head basis?

n = 22Average per head ($0.72/0.54)

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Q23. What media does your organization use to market the theater and/or its films/shows? (Check all that apply.)

Response Chart PercentageWeb (websites, web banners, social media)

100%

Out-of-home (billboards, transit advertising, banners in parks, etc.)

67%

Print (hard copy newspapers, magazines, etc.—not online versions of them.)

89%

Broadcast (television, radio) 63%

Sales collateral and direct marketing (brochures, rack cards, mail, email campaigns)

85%

Other, please specify... 11%

n = 27

(82/36)

(76/36)

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Q24. Do you present trailers before screenings of your scheduled films/shows?

n = 28

(93/67)

56

Q24i. If you don't present trailers, why?

n = 5

57

Q25i. Please check the box corresponding to the annual attendance of your attraction as a whole.

n = 43

(16/65)

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Q25ii. Please check the box corresponding to the annual attendance of your dome theater only.


Less than 30,000 5%

30,001 - 50,000 12%

50,001 - 70,000 12%

70,001 - 100,000 21%

100,001 - 150,000 19%

150,001 - 200,000 0%

200,001 - 300,000 14%

300,001 - 500,000 7%

500,001 or more 2%

n = 43 (42/91) up to 150,000

(58/9) 150,001+

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Q25iii. What percentage of your annual attendance to the dome theater is from organized school groups?

n = 45

(30/17)

(5/17)

60

Q26. How would you describe your recent attendance trends? | Dome theater only


Increasing 33%

Flat — neither increasing nor decreasing

47%

Decreasing 20%

n = 45

(30/13)

(25/42)

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Q26. How would you describe your recent attendance trends? | Entire attraction

n = 41

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Q27. In what type of attraction is your dome theater located?


Museum, science center, planetarium, observatory

93%

College, university, school 5%

Government/municipal building 0%

Theme park/commercial attraction 0%

Private company 0%

Other, please specify... 2%

n = 44

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SUMMARY – At a GlanceComparison of theaters with a Giant Screen Film Dome versus those with Giant-Screen-sized FullDomeand other systems

GS Film Domes

GS FD+others

Size of theater larger

Incidence of unidirectional seating

greater

Incidence of tilted domes slightly higher comparable

# of programming slots per week

higher

# of different titles ‘this week’, and per year

much higher

Preferred running times 40+ min. 25 – 29 min.

Incidence of playing any non-astronomy films

similar similar

% of schedule for non-astronomy films

much higher

Content type preference live action, but not exclusively

animation, but not exclusively.

License fee model mostly variable mostly fixed

Programming budgets much higher

GS Film Domes

GS FD +others

Programming budgets much higher

Marketing budgets much higher

Incidence of separate theater ticket

higher

Ticket pricing higher (+10%)

Incid’nce operating as a revenue (vs. cost)center

slightly higher

# of new film licenses per year

slightly higher

# of people needed to operate theater

slightly lower

Theater annualattendance

higher but trend is better

Host attraction annual attendance

higher

In a museum, science ctr, planetarium, obs’ry

similar –almost all

similar -almost all

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SURVEY CREDITSResearch design, analysis, presentation of results:

Blaze Digital Cinema Works LLC (Paul Fraser)

Online survey programming, data management: Giants Screen Cinema Association (Kelly Germain)

Field: IMERSA and Denver Museum of Nature & Science (Dan Neafus, Terry Moore )

Giant Screen Cinema Association (Tammy Seldon)

Thanks also for input on survey questions:Dan Neafus, IMERSA Annette Sotheran-Barnett, Sky-Skan; Micheal Daut, Evans & Sutherland

© 2014 Blaze Digital Cinema Works LLC. All rights reserved. Copies of this summary of research results may be distributed by: IMERSA to its delegates of the 2014 Summit and to its members; and by GSCA to its members.

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DISCLAIMERAlthough care has been taken to ensure complete and accurate survey results,recipients of this document accept the possibility of unintended errors or omissions.Statistical significance tests were not applied to the results, and the relatively small number of respondents answering some questions would make it difficult to find statistically significant differences in certain results. Survey respondents’ collectively under-represent the population of giant-screen sized film domes and fulldome theaters, likely due to language barriers. (The survey was fielded in English only). This project was conceived and implemented by Blaze Digital Cinema Works LLCon a pro bono basis - no fees were paid to Blaze by any organization or individual.

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BLAZE DIGITAL CINEMA WORKSBlaze is a consulting and project management firm specializing in business planning and development for clients with an interest in digital cinema, in virtually any of its forms - flat screen or dome, and in all functions - content development, distribution & exhibition.

Blaze serves clients in both the giant-screen (GS) and fulldome (FD) sectors. - for producers: development and other executive production services; - for distributors: territory-wide and individual theater licensing; - for exhibitors: planning for and overseeing acquisition of new digital systems - flat screen, fulldome, other digital domes. www.blazedigitalcinema.com

Blaze Digital Cinema Works LLC1771 Post Road East, #164Westport, Connecticut USA 06880

Attention: Paul Fraser, President(203) [email protected]

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2014 dome survey results summary blaze digitalcinemaworks_030814