Introduction…

IMAX 3D Dhaka,
House No. 22, Road No. 39
Gulshan Avenue,
Gulshan 2,
Dhaka.

Co-owners : Ehtiaz Karim, Adel Wahid, Nahian Shahed, Rizvia Hossain

Description of IMAX.
IMAX is a motion picture film format and projection standard created by the Canadian IMAX Corporation. The Company’s activities include the design, leasing, marketing, maintenance and operation of IMAX film and digital theatre systems as well as the development, production, post production and distribution of IMAX motion pictures.
IMAX has the capacity to record and display images of far greater size and resolution than most conventional film systems. A standard IMAX screen is 22 × 16.1 m (72 × 52.8 ft), but can be larger. IMAX theatres are described as either "Classic Design," (Purpose-built structures designed to house an IMAX theatre) or "Multiplex Design." (Existing multiplex auditoriums that have been retrofitted with IMAX technology). The world's largest cinema screen (and IMAX screen) is in the LG IMAX theatre in Sydney, New South Wales. It is approximately 8 stories high, with dimensions of 35.73 × 29.42 m (117.2 × 96.5 ft) and covers an area of more than 1,015 m2 (10,930 sq ft).
IMAX is the most widely used system for special-venue film presentations. As of December 2009[update], there were more than 400 IMAX theatres in over 40 countries. IMAX Corporation has released four projector types that use its 15-perforation, 70mm film format: GT (Grand Theatre), GT 3D (dual rotor), SR (Small Rotor), and MPX, which was designed to be retrofitted in existing multiplex theatres. In July 2008, the company introduced a digital projection system, which it has not given a distinct name or brand, designed for multiplex theatres with screens no wider than 21.3 m (70 ft). All IMAX projectors, except the standard GT system, can project 3D.

Company History:
Imax Corporation, founded in 1967 and headquartered in Mississauga, Canada, is the pioneer and leader of giant-screen, large-format film entertainment, as well as the industry leader in the creation and production of high-end rides and attractions. Successful products include IMAX Simulator Rides and IMAX Ridefilm Systems. These breakthrough innovations combine IMAX projection technology with sophisticated motion programming and digital sound to create a truly unique and captivating experience. The following three subsidiaries are fundamental to the activities of Imax: Ridefilm Corporation, which manufactures and produces motion simulation theaters or movie rides; Sonics Associates, a world leader in sound system design and manufacturing, which manufactures headsets for shutter glasses at Imax theaters; and David Keighley Productions, a leader in the field of image quality assurance and laboratory postproduction, based in Los Angeles.
In 1999 there were more than 180 permanent IMAX theaters operating in 24 countries, of which only four in North America were owned and operated by IMAX: Vancouver, Calgary, and Winnipeg in Canada; and Scottsdale, Arizona. The rest are licensed to zoos, aquariums, shopping malls, theme parks, and related venues. A key focus for Imax is the production of high-quality films for the exclusive IMAX theater network. The organization has extensive in-house experience in producing critically acclaimed and broadly appreciated films. By 1999 films produced or distributed included Africa's Elephant Kingdom, Blue Planet, Cosmic Voyage, Destiny in Space, Fires of Kuwait, The Hidden Dimension, The IMAX Nutcracker, Into the Deep, L5: First City in Space, Mission to Mir, Mountain Gorilla, Primiti Too Taa, Race the Wind, The Secret of Life on Earth, Special Effects, Survival Island, Titanica, and T-REX: Back to the Cretaceous, just to name a few.
Young Filmmakers, 1965--67
Founded in 1967 by a group of five filmmakers and inventors who wanted to show off the beauty of the medium, Imax Systems, as it was known then, has since consistently delivered the world's premiere cinematic experiences on huge screens. However, the company had inauspicious beginnings. Independent filmmaker Graeme Ferguson had attended Galt Collegiate Institute in Galt, Ontario, Canada, where he met Robert Kerr and Bill Shaw, and the three men founded a student newspaper together. Ferguson went on to the University of Toronto, where he began making films. One summer, he was selected to be an intern at the National Film Board of Canada (NFB), and he went on to become an independent filmmaker, eventually working in New York. In 1965, Ferguson was asked by the Canadian Expo Corporation to do a film for Expo '67 in Montreal, but it had to be produced by a Canadian company. Kerr was at the time serving as mayor of Galt and still managing the printing company he had sold. Ferguson approached him about setting up a film production company. Kerr agreed, and they produced the film Polar Life for Expo '67.
Meanwhile, film producer Roman Kroitor had also been a summer intern at NFB. He began working there full-time after finishing college. In 1965 he suggested the board form a committee to produce a multiple-image, experimental film for the 1967 Expo. Kroitor's concept was selected, and he produced Labyrinth.
Expo '67 proved to be the birthplace of big-screen movie production. Other forerunners in big-screen production were in attendance there, including Colin Low, Kroitor's codirector on Labyrinth; Christopher Chapman; Francis Thomson; and Alexander Hammid, all of whom Ferguson would turn to as Imax Corporation developed.
A New Company, 1967
In 1967 Fuji Bank of Japan asked Kroitor to produce a film for Expo '70, to take place in Osaka, Japan, with partial financing provided by Fuji. Kroitor turned to Ferguson and Kerr to help him do it. Multiscreen Corporation was created, with Ferguson as the president. In order to showcase the new film, the company would have to create new technology for it, including a new camera to shoot images on a film frame ten times larger than the normal 35mm format, new equipment to project those larger frame images onto a six-story-high screen, and other accoutrements such as new lenses, sound equipment, lighting, and seating arrangements.
Norwegian-born inventor Jan Jacobson, located in Copenhagen, designed a new camera to use 65 mm film horizontally, in less than three months. But the projector proved to be a tougher issue to handle. The company acquired a patent for a Rolling Loop projector from Ronald Jones, a machine shopowner in Brisbane, Australia, but it needed to be adapted to handle the larger size film. The partners turned to old friend Bill Kerr. Kerr had gone to work for Ford Motor Company for a few years as an engineer, eventually moving on to CCM, a sporting goods and bicycle manufacturing company. Kerr and Jones worked together via airmail across two continents to develop the projector. Meanwhile, Kroitor moved to Japan, along with Canadian director Donald Brittain and cameraman Georges Dufaux, to work with Asuka Productions to develop the movie they would show. Despite drawbacks, cash flow problems, and bouts of frustration, the projector and film were finished, and Tiger Child played on the big screen at Expo '70, while the audience was carried through the theater continuously on a large rotating platform, each observer viewing the endless film from a different starting point.
In 1971 Ontario Place, a government-sponsored theme park in Toronto, included Cinesphere, a theater showcasing new technology. Ontario Place bought the Expo '70 projector, which was brought back from Japan, refined a bit, and installed in the spring of 1971. That first IMAX projector was still running at Ontario Place at the end of the 20th century. The first film shown there, North of Superior, was produced by the company, which quickly gained a reputation for its projectors and sound systems, as well as for showing educational films created by institutions such as The Kennedy Space Center and Grand Canyon National Park. Over the next decade, the company would not only change its name several times, but change leadership and ownership as well, nevertheless while building more Imax theaters and creating more movies for the medium.
Competition Grows, 1983
In 1983 special effects wizard (2001: A Space Odyssey; Close Encounters of the Third Kind; Star Trek: The Motion Picture) and director (Brainstorm) Douglas Trumbull, along with restaurant and hotel mogul Robert Brock (Brock Hotels, Park Inns International Inc.), founded Showscan Film Corporation, a competitor of Imax. Showscan revolutionized the industry, releasing a new cinematographic technique in February 1984 that offered three-dimensional picture without viewers having to wear the infamous blue-and-red glasses. Showscan began showing films at 60 frames per second, rather than the normal 24 frames per second. The company built four prototype theaters, including one in Dallas, connected with Brock's Showbiz Pizza Place restaurant outlets, and began showing a movie called New Magic. In August 1990, the company changed its name to Showscan Corporation. Meanwhile, in 1986, Iwerks Entertainment Inc. sprang up in California, reincorporating in Delaware in October 1993 under the same name. A year later, Iwerks acquired Omni Films International Inc. for approximately $19.17 million.
At Expo '90, also held in Osaka, the company unveiled its new 3-D technology, Imax Solido, which gave new life to a medium plagued with terrible 3-D renditions. The film shown there, the first of many to be produced eventually by the company, was Echoes of the Sun, a mostly computer-generated picture coproduced with Japanese company Fujitsu, and shown on a wrap-around screen and viewed with battery-powered goggles. The first 3-D Imax theater was built in Vancouver that year.
New Owners, 1994
In August 1994, competitor Showscan changed its name to Showscan Entertainment Inc. to reflect its more comprehensive focus. That year, WGIM Acquisition Corporation (made up of investment group Wasserstein Perella & Company, owned by Bruce Wasserstein and Joseph Perella, both formerly of First Boston; Cheviot Capital Advisors, led by Bradley J. Wechsler and Richard L. Gelfond; and some private investors such as Douglas Trumbull), bought out IMAX's five original owners and The Trumbull Company Inc. for approximately $100 million. Later that year, the company went public, selling its stock for $13.50 per share.
With the acquisition of Trumbull, Imax also acquired Trumbull subsidiary Ridefilm Theaters, a motion simulator company known for its creation of rides based on movies. Douglas Trumbull was the creative mastermind behind the design of IMAX Ridefilm, described by the company as "the most immersive, dynamic and realistic simulation product available.' The 18-person modular system featured 180-degree, spherically-curved screens; proprietary orthogonal-motion base technology; high-speed, high-resolution projector technology; and six-track DTS sound. The attraction remained unparalleled by the end of the century, leaving Imax as the industry leader over competitors such as Iwerks and Showscan, with more than 20 ride locations throughout the world, including the United States, China, France, Japan, Korea, the United Kingdom, Thailand, Norway, Canada, Brazil, Argentina, and the Philippines. Entertainment produced on the rides included features such as Asteroid Adventure; Crashendo; Dolphins--The Ride; Fun House Express; In Search of the Obelisk; and ReBoot: The Ride and ReBoot: Journey into Chaos, based on the computer-animated television program of the same name.
Using the most advanced motion picture and special effects technology, IMAX HD Dome and motion simulation, IMAX Simulator Rides revolutionized the attractions industry. In 1997 the company built its first motion simulator theater ride in Thailand, at Major Cineplex's entertainment complex on Sukhumvit Road, near the city of Ekamai. By this time, the company already featured simulator rides in Germany, at Caesar's Palace in Las Vegas, and at Universal Studios in both Los Angeles and Orlando, showing such features as Race for Atlantis, Asteroid Adventure, and Back to the Future--The Ride. Meanwhile, in July 1997, Showscan Entertainment acquired 15 percent of Reality Cinema Pty. Ltd. in Darling Harbour, Sydney, Australia.
Also in 1997, in order to allow more than one theater to open per year, the company hired Toronto-based Young & Wright Design Architects to design a prototype theater which could be duplicated across the country, a move many other companies were preparing as well. Additionally that year, the company was awarded the only Oscar Award given for Scientific and Technical Achievement by the Academy of Motion Picture Arts and Sciences. Total revenue for 1997 reached $158.5 million.
In January 1998, despite the Asian economic crisis, interest in the entertainment industry in that region of the world was increasing. Early in the year, Imax Corporation entered into an agreement to build a 600-seat IMAX 3D theater in Bangkok, Thailand (the first in that country). The theater was to be operated by Cinema Plus Limited, Imax's Australian licensee, and Major Cineplex Company Limited, a 40-year-old company operating in the areas of entertainment, retail, and real estate, with 75 screens in Thailand.
That March, the company revolutionized three-dimensional cinema again with a new prototype theater, the IMAX 3D SR, located at the Arizona Mills shopping mall in Tempe, Arizona. It was the first of 12 3D screens to be built by the joint venture between IMAX Theater Holdings Inc. of Canada and Ogden Film & Theater Inc. of New York. The addition of the $7 million, 59- by 82-foot screen and 22,000-square-foot theater made the greater Phoenix area the only marketplace supporting two IMAX theaters; the other, a regular IMAX screen, was located in Scottsdale, Arizona, another suburb of Phoenix. Two other 3D screens opened that year in Nyack, New York, and Miami, Florida, marking another milestone for the company: the first time it had featured multiple-screen openings in one year. The new technology offered both two-dimensional, regular movie format, and three-dimensional features requiring the use of a headset and cordless ski-goggle type headsets containing liquid-crystal lenses which worked in sync with the projector lenses.
As of early 1999 there were more than 180 permanent IMAX theaters in 25 countries, with a backlog of more than 75 theater systems scheduled to open in 15 new countries during the next few years. Over 500 million people had seen an IMAX presentation since the medium premiered in 1970, and the company had forged strategic alliances and relationships with some of the most prominent corporations in the world, including The Walt Disney Company, Famous Players Inc. (a subsidiary of Viacom Inc.), and Loews Cineplex Corporation, to name a few. The agreement with Famous Players included building IMAX 3D theaters in ten of Famous Players' new and existing theaters in Canada. For fiscal 1998, total revenue climbed again, reaching $190.4 million, with a net income of $1.8 million.
At the beginning of 1999, the company estimated that more than 65 million people worldwide were expected to attend an IMAX theater during the calendar year, and with more theaters opening around the world, the company moved into the 21st century with lots of potential to continue dominating its niche markets, especially since it signed a deal with Disney subsidiary Buena Vista Pictures for the exclusive giant-screen release of Fantasia 2000, a remake of the classic animated feature.
Principal Subsidiaries: David Keighley Productions 70 MM Inc.; Ridefilm Corporation; Sonics Associates, Inc.
The desire to increase the visual impact of film has a long history. In 1929, Fox introduced Fox Grandeur, the first 70 mm movie format, but it quickly fell from use, In the 1950s, CinemaScope (introduced in 1953) and VistaVision (1954) widened the image projected from 35 mm film, and there were multi-projector systems such as Cinerama (1952) for even wider presentations. While impressive, Cinerama was difficult to set up, and the seams between adjacent projected images were difficult to hide.
The IMAX system was developed by Graeme Ferguson, Roman Kroitor, Robert Kerr, and William C. Shaw.
During Expo 67 in Montreal, Kroitor's In the Labyrinth and Ferguson's Man and the Polar Regions both used multi-projector, multi-screen systems. Each encountered a number of technical difficulties that led them to found a company, initially called "Multiscreen", with a primary goal of designing and developing a simpler approach. The single-projector/single-camera system they eventually settled upon was designed and built by Shaw, based upon a novel "Rolling Loop" film-transport technology purchased from the Australian inventor Ronald Jones. Later, when it became clear that a single, large-screen image had far more impact than multiple smaller ones, Multiscreen changed its name to IMAX.
Tiger Child, the first IMAX film, was demonstrated at Expo '70 in Osaka, Japan.[8] The first permanent IMAX system was set up in the Cinesphere at Ontario Place in Toronto in 1971, and is still in operation. During Expo '74 in Spokane, Washington, a very large IMAX screen that measured 90 × 65 m (300 × 213 ft) was featured in the US Pavilion (the largest structure in the expo). About 5 million visitors viewed the screen, which covered a person's total field of vision when looking directly forward. This easily created a sensation of motion for nearly everyone, and motion sickness in a few viewers. However, it was only a temporary screen for the six-month duration of the Expo. An IMAX 3D theatre also is in operation near the former Expo 67 site at the "Montreal Science Centre" in the Port of Old Montreal.
The first permanent IMAX Dome installation, the Eugene Heikoff and Marilyn Jacobs Heikoff Dome Theater at the Reuben H. Fleet Science Center, opened in San Diego's Balboa Park in 1973. It doubles as a planetarium. The first permanent IMAX 3D theatre was built in Vancouver, British Columbia for Transitions at Expo '86, and was in use until 30 September 2009. It was located at the tip of Canada Place, a Vancouver landmark.
IMAX Entertainment Format
The use of the IMAX format in the U.S. has traditionally been limited to specialty applications. The expense and logistics of producing and presenting IMAX films has dictated a shorter running time compared to conventional movies for most presentations (typically shorter by about 40 minutes). The majority of films in this format tend to be documentaries ideally suited for institutional venues such as museums and science centers. IMAX cameras have been taken into space aboard the Space Shuttle, to Mount Everest, to the bottom of the Atlantic Ocean, and to the Antarctic to film such documentaries. An IMAX documentary about the success of the Mars Exploration Rovers was released in 2006, titled Roving Mars and used exclusive data from the Rovers.[2]
One of the first attempts at presenting an entertainment film in the IMAX format was The Rolling Stones: Live at the Max (1991), an 85-minute compilation of concert footage filmed in IMAX during the band's 1990 Steel Wheels tour, edited to give the impression of a single concert.
Later in the 1990s, there was increasing interest in broadening the use of IMAX as an entertainment format. More entertainment IMAX short films were created, notably T-Rex: Back to the Cretaceous (directed by Brett Leonard), which had a successful run in 1998 and Haunted Castle, released in 2001 (both of these were IMAX 3D films). In 1999, The Old Man and the Sea became the first fully-animated film to be released on IMAX screens and proceeded to win an Oscar. The same year, Disney produced Fantasia 2000, the first full-length animated feature released exclusively in the IMAX format (the film later had a conventional theatrical release). Disney also released the first 2D live action native IMAX entertainment film, Young Black Stallion, in late 2003.
The intent of IMAX is to dramatically increase the resolution of the image by using a much larger film frame. To achieve this, 65 mm film stock is run horizontally through the cameras. While traditional 65 mm film has an image area that is 48.5 × 22.1 mm (1.91 × 0.87 in) (for Todd-AO), in IMAX the image is 69.6 × 48.5 mm (2.74 × 1.91 in) tall. In order to expose at standard film speed of 24 frames per second, three times as much film needs to move through the camera each second.
Drawing the large format 70mm print film through the projector was a difficult technical problem to solve; conventional 70 mm systems were not steady enough for the 586× magnification. IMAX projection involved a number of innovations. William Shaw of IMAX adapted an Australian patent for film transport called the "rolling loop" by adding a compressed air "puffer" to accelerate the film, and put a cylindrical lens in the projector's "aperture block" for the film to be vacuumed up against during projection (called the "field flattener" because it served to flatten the image field), because the film actually touches the "field flattener" lens. The lens itself is twice the height of the film and is connected to a pneumatic piston so it can be moved up or down while the projector is running. This way, if a piece of dust comes off the film and sticks to the lens, the projectionist can switch to the clean side of the lens at the push of a button. The lens also has "wiper bars" made of a felt or brush-like material which can wipe the dust off the lens as it moves up or down to keep the show clean. IMAX projectors are pin stabilized, meaning four registration pins engage the perforations at the corners of the projected frame to ensure perfect alignment. Shaw added cam-controlled arms to decelerate each frame to eliminate the microscopic shaking as the frame "settled" onto the registration pins. The projector's shutter is also open for around 20% longer than in conventional equipment and the light source is brighter. An IMAX projector is therefore a substantial piece of equipment, weighing up to 1.8 t (2.0 short tons) and towering at over 178 cm (70 in) tall and 195 cm (77 in) long. The xenon short-arc lamps are made of a thin layer of fused quartz and contain xenon gas at a pressure of about 25 atmospheres (367 PSI); because of this, projectionists are required to wear protective body armor when changing or handling these in case the lamp breaks (e.g., due to a drop to the floor) because the flying quartz shards could be deadly when combined with the high pressure of the Xenon gas within.
IMAX uses a stronger "ESTAR" (Kodak's trade name for PET film) base. The reason is not for strength, but precision. Developing chemicals do not change the size or shape of Estar, and IMAX's pin registration (especially the cam mechanism) is intolerant of either sprocket-hole or film-thickness variations. The IMAX format is generically called "15/70" film, the name referring to the 15 sprocket holes per frame of 70 mm stock. The bulk of the film requires large platters rather than conventional film reels. IMAX platters range from 1.2m diameter to 1.83m diameter to accommodate 1 to 2.75 hrs of film. Platters with a 2.5 hour feature film will weigh 250 kg.
In order to use more of the image area, IMAX film does not include an embedded soundtrack. Instead, the IMAX system specifies a separate six-channel 35 mm magnetic film synchronized to the film. (This original "mag-stripe" system was commonly used to "dub" or insert studio sound into the mixed soundtrack of conventional films.) By the early 1990s, a separate digital 6-track source was synchronized using a more precise pulse generator as a source for a conventional SMPTE time code synchronization system. This development presaged conventional software. The software works in a similar style as the DDP except that instead of the audio file being based on discs, it is instead played directly off a hard disk drive in the form of a single uncompressed audio file containing the 6 channels which are distributed directly to the amplifiers rather than using a decoding method such as Dolby Digital. Many IMAX theatres place speakers directly behind the screen, as well as distributing the speakers around the theatre to create a three-dimensional effect.
IMAX theatre construction also differs significantly from conventional theaters. The increased resolution allows the audience to be much closer to the screen; typically all rows are within one screen height; conventional theatre seating runs 8 to 12 screen heights. Also, the rows of seats are set at a steep angle (up to 30° in some domed theatres) so that the audience is facing the screen directly.
In the late 1960s the San Diego Hall of Science (now known as the Reuben H. Fleet Science Center) began searching North America for a large-format film system to project on the dome of their planned 76 ft (23 m) tilted dome planetarium. One of the front-running formats was a double-frame 35 mm system, until they saw IMAX. The IMAX projector was unsuitable for use inside a dome because it had a 12 ft (3.7 m) tall lamp house on top. However, IMAX Corporation was quick to cooperate and was willing to redesign its system. IMAX designed an elevator to lift the projector to the center of the dome from the projection booth below. Spectra Physics designed a suitable lamphouse that took smaller lamps (about 18 inches long) and placed the bulb behind the lens instead of above the projector. In 1970, Ernst Leitz Canada, Ltd. (now ELCAN Optical Technologies) won a contract to develop and manufacture a fisheye lens projection system optimized to project an image onto a dome instead of a flat screen.
The dome system, which the San Diego Hall of Science called OMNIMAX, uses films shot with a camera equipped with a fisheye lens on the camera that squeezes a highly distorted 180° field of view onto the 65 mm IMAX film. The lens is aligned below the center of the frame and most of the bottom half of the circular field falls beyond the edge of the film. The part of the field that would fall below the edge of the dome is masked off. When filming, the camera is aimed upward at an angle that matches the tilt of the dome. When projected through a matching fisheye lens onto a dome, the original panoramic view is recreated. OMNIMAX wraps 180° horizontally, 100° above the horizon and 22° below the horizon for a viewer at the center of the dome. OMNIMAX premiered in 1973 at the Reuben H. Fleet Space Theater and Science Center showing two OMNIMAX features, Voyage to the Outer Planets (produced by Graphic Films) and Garden Isle (by Roger Tilton Films) on a double bill.
IMAX has since renamed the system IMAX Dome. However, some theaters may continue to call it OMNIMAX.
OMNIMAX theatres are now in place at a number of major North American museums, particularly those with a scientific focus, where the technical aspects of the system may be highlighted as part of the theme interest. The projection room is often windowed to allow public viewing and accompanied by informational placards like any exhibit. Inside the theatre, the screen may be a permanent fixture, such as at the St. Louis Science Center (which also plays a short educational video about the OMNIMAX system just before the feature film) and Boston's Museum of Science; or lowered and raised as needed, such as at the Science Museum of Minnesota (where it shares an auditorium with a standard IMAX screen). Before the feature begins, the screen is backlit to show the speakers and girders behind the screen. IMAX Dome screens may also be found at several major theme parks. While the majority of OMNIMAX theatres in museums focus on educational and documentary films, on special occasions, as with the release of Charlie and the Chocolate Factory at the Oregon Museum of Science and Industry, major studio releases are also shown. The largest IMAX Dome Theatres in North America are at the Liberty Science Center in Jersey City, NJ and the Telus World of Science in Vancouver, BC, both of which have dome screens that are 88 feet in diameter.

IMAX 3D
To create the illusion of three-dimensional depth, the IMAX 3D process uses two camera lenses to represent the left and right eyes. The two lenses are separated by an interocular distance of 64 mm (2.5 in), the average distance between a human's eyes. By recording on two separate rolls of film for the left and right eyes, and then projecting them simultaneously, viewers experience seeing a 3D image on a 2D screen. The IMAX 3D camera is cumbersome, weighing over 113 kg (250 lb). This makes it difficult to film on-location documentaries.
There are two methods of creating the 3D illusion in the theatre. The first involves polarization. During projection, the left and right eye images are linearly polarized as they are projected onto the IMAX screen. By wearing special eyeglasses with lenses polarized in their respective directions to match the projection, each eye can only see the image intended for that eye since the lens's polarization will cancel out the other eye's image.
The other method for 3D projection involves the use of LCD shutter glasses. The projectors display each frame of film alternately for each eye (while one projector's image is displayed, the other is blocked), at an effective rate of 48 frames per second. The glasses contain LCD panels that alternately block the light in one eye while allowing the other to see the image. The shutters flash back and forth in sync with the projector, such that each eye only sees the image intended for it.
Several films produced in the RealD 3D process for release in conventional theatres have also been presented in IMAX 3D, including DreamWorks' Monsters vs. Aliens, U2 3D, Avatar, and Toy Story 3.
Some IMAX theaters further enhance the illusion of immersion in the movie by using seat movements and vibration at specific points in the film.

Feature films partially shot on IMAX cameras
Some recent features have utilized IMAX for selected scenes. These films have been released theatrically both in 35mm and in IMAX.
The Dark Knight featured six sequences (a total of 30 minutes) shot using 15/70mm IMAX. According to the movie's press notes, this was the "first time ever that a major feature film has been even partially shot using IMAX cameras".
Michael Bay's 2009 film Transformers: Revenge of the Fallen also had some scenes shot in IMAX. The slightly longer version playing in IMAX theatres included about nine minutes of footage shot using IMAX cameras.
Director John Woo has announced he will be using IMAX cameras to film his upcoming film Flying Tigers, saying “It has always been a dream of mine to explore shooting with IMAX cameras and to work in the IMAX format, and the strong visual element of this film is incredibly well-suited to the tastes of cinemagoers today [...] Using IMAX for Flying Tigers would create a new experience for the audience, and I think it would be another breakthrough for Chinese movies.”
Director Christopher Nolan has announced that he will film the next Batman film The Dark Knight Rises entirely in the IMAX format, making it possibly the first major Hollywood motion picture to be filmed entirely for the format.

IMAX Digital Theatre System
A digital version of IMAX started rolling out in 2008. The new system is a projection standard only. Digital IMAX systems can show either 2D or 3D content in DCI or IMAX digital format (which in itself is a superset of DCI). The digital system alleviates the need for film reels and facilitates inexpensive distribution of IMAX features.
Despite those advantages, one big disadvantage is the resolution of the picture, which is much lower than the resolution of the normal IMAX film, estimated to be about 12000 × 8700 theoretical pixels or 6120 × 4500 actually discernible pixels. The screens used by IMAX multiplex locations range in size from 47' x 24' to 74' x 46' and those in classic IMAX locations range from 51' x 37' to 117' x 96'. The digital installations have drawn some confusion based on poor consumer differentiation to the traditional 15/70 IMAX.
IMAX digital currently uses two 2K-resolution Christie projectors with Texas Instruments Digital Light Processing technology alongside parts of IMAX's proprietary technologies. The two 2K images are projected over each other, producing an image that is potentially of a slightly higher resolution than common 2K digital cinema. Originally, IMAX had been considering using two Sony 4K projectors. Some reviewers note that this approach may not produce image quality higher than using one 4K projector, which are available for some non-IMAX theaters, including AMC's own.

Financing
Initial Financing requested is Tk 4616650 which will be paid back in 4.21 years. This debt will cover Property, plant and equipment, Initial rent, Rent in advance, Insurance, Office supplies, Miscellaneous expenses, Utilities, Salary and Film Assets.

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Executive Summary…

We are planning on franchising an IMAX 3D theatre in Dhaka. Due to the increasing popularity of contemporary entertainment in the entertainment industry of the city and the urban locality, this approach is likely to give us an opportunity to operate favorably in the market. An additional benefit is the brand name and recognition of the IMAX experience which will also give us an upper hand in the market as we are bringing IMAX 3D which is yet to be matched by other offerings from the traditional movie theatres which are the current players in the market.
Just to give an example of our core competency IMAX has the capacity to record and display images of far greater size and resolution than most conventional film systems. A standard IMAX screen is 22 × 16.1 m (72 × 52.8 ft), but can be larger. IMAX theatres are described as either "Classic Design," (Purpose-built structures designed to house an IMAX theatre) or "Multiplex Design." (Existing multiplex auditoriums that have been retrofitted with IMAX technology). The world's largest cinema screen (and IMAX screen) is in the LG IMAX theatre in Sydney, New South Wales. It is approximately 8 stories high, with dimensions of 35.73 × 29.42 m (117.2 × 96.5 ft) and covers an area of more than 1,015 m2 (10,930 sq ft). Our main competitor is Star Cineplex which is the first and only international standard multiplex cinema theatre in Bangladesh . The Cineplex hosts arrays of modern features like Digital Cinema Sound with Dolby Digital and DTS Sound system, State of the Art Projection Systems with automation, most comfortable and ergonomic stadium seating arrangement in three (3) halls of 262 seats each, aesthetic interior and concession stands packed with pop-corn, soft drinks and wide verities of knickknacks at level 8 at Bashundhara City Mall.
As far as the entertainment industry analysis is concerned,The Bangladeshi economy continues to perform strongly and one of the key sectors that benefits from this fast economic growth is the Entertainment & Media industry. This is because the Entertainment & Media industry is a cyclical industry that grows faster when the economy is expanding. It also grows faster than the nominal GDP during all phases of economic activity due to its income elasticity wherein when incomes rise, more resources get spent on leisure and entertainment and less on necessities. Further, consumption spending itself is increasing due to rising disposable incomes on account of sustained growth in income levels, and this also builds the case for a strong bullish growth in the sector.
The television industry continues to dominate the Entertainment & Media industry by garnering a share of over 42 percent, which is expected to increase by a further 9 percent to reach about 51 percent. The share of the film industry, which currently stands at 19 percent, is not expected to change materially over the next five years. Print media, which stands at over 31 percent, is projected to lose some of its share in favor of the emerging segments.
IMAX Corporation's biggest revenue source is its large-format theater systems. The IMAX theater systems traditionally include a rolling loop 15/70-format projector; a six-channel, digital sound system delivering up to 12,000 watts; a screen with IMAX coating technology, and, if applicable, 3D glasses cleaning equipment. As part of the arrangement to sell or lease its theater systems, IMAX provides advice on theater planning and design, and supervision of installation services. Theater systems are also leased or sold with a license for the use of the IMAX brand. IMAX primarily offers its theater systems in four configurations: the GT projection system for the largest IMAX theaters; the SR system for smaller theaters; the IMAX MPX system, which is targeted for multiplex complexes, and a fourth category of theater systems featuring heavily curved and tilted screens that are used in dome-shaped theaters. From FY 2008 to FY 2009, IMAX Systems revenue increased 85%, due to the increased demand for 3-D film experiences.
To effectively run our operations we have to have effective human resources so that we can deliver our value to our viewers who are our sole customers . Time management will be very important in our business. We can recruit the sales and marketing management people who previously worked for similar company so that we could gather their strategies from them. This way, we can have an experienced sales, marketing and overall strong management backbone for our venture and operate efficiently. Employees at our company should be enjoying their work and should be given the opportunity to contribute in the creative side of the business aspect. They will be given the flexibility to plan the innovation for providing value and curtail services for customers and find the ways to attract and retain a loyal customer base.
Regarding our marketing and promotion strategy, we will extensively promote during the first 3 months of operation. Promotion will mainly focus on advertising during this time period. Press ads will be our primary target with advertisements being given in the most popular and widely circulated newspapers in the country ( ie. The Daily Star and Prothom Alo), print ads will also be given in popular lifestyle and entertainment magazines. Outdoor advertising will also be given emphasis during this period, by advertising in billboards in premium areas of the city. They will also appear in areas where there are more frequency of people travelling or visiting, such as areas in Gushan, Banani, Dhanmondi, Panthapath etc. The advertisements of IMAX will also be shown in the LCD screen in the Gulshan 2 roundabout. Television advertising will also take place featuring a 1 minute spot featuring the IMAX experience and our IMAX 3D Theatre. Ads will also be featured in popular radio stations where RJs will talk about our IMAX 3D Theatre and generate a positive word of mouth among the audience. As the format of FM radio is gradually becoming one of the most popular form of entertainment and media to reach a message to a wider audience (especially the younger crowd), we are hopeful that it will generate positive buzz marketing amongst our target market. In the latter operating periods the advertising frequency will be slowed down and it will primary focus on outdoor mediums such as billboards and there will frequent press ads in magazines and newspapers featuring new films that will be shown in the theatre.

Industry Analysis…

Bangladeshi Entertainment and Media Industry… The Entertainment & Media (E&M) industry generally tends to grow faster when the economy is expanding. The Bangladeshi economy has been growing at a at a steady pace over the last few years, and the income levels too have been experiencing a high growth rate. Above that, consumer spending is also on the rise, due to a sustained increase in disposable incomes, brought about by reduction in personal income tax over the last decade. All these factors have given an impetus to the E&M industry and are likely to contribute to the growth of this industry in the future. Besides these economic and personal income-linked factors, there are a host of other factors that are contributing to this high growth rate. Some of these are enumerated below:

A. Low media penetration in lower socio-economic classes (SEC)
Media penetration varies across socio-economic classes. Though media penetration is poor in lower socio-economic classes, the absolute numbers are much higher for these classes. Hence, efforts to increase the penetration even slightly in these lower socio-economic classes are likely to deliver much higher results, simply due to the higher base.

B. Low ad spends
Bangladeshi advertising spends as a percentage of gross domestic product (GDP) – at 0.34 percent –is abysmally low, as opposed to other developed and developing countries. Advertising revenues are vital for the growth of this industry. While today the low ad spends may seem like a challenge before the E&M industry, it also throws open immense potential for growth. This potential can be estimated by the fact that even if Bangladesh was to reach the global average, the advertising revenues would at least double the current advertising revenues.

Current status of the industry and its growth potential
The Bangladeshi economy continues to perform strongly and one of the key sectors that benefits from this fast economic growth is the E&M industry. This is because the E&M industry is a cyclical industry that grows faster when the economy is expanding. It also grows faster than the nominal GDP during all phases of economic activity due to its income elasticity wherein when incomes rise, more resources get spent on leisure and entertainment and less on necessities. Further, consumption spending itself is increasing due to rising disposable incomes on account of sustained growth in income levels, and this also builds the case for a strong bullish growth in the sector.
The television industry continues to dominate the E&M industry by garnering a share of over 42 percent, which is expected to increase by a further 9 percent to reach about 51 percent. The share of the film industry, which currently stands at 19 percent, is not expected to change materially over the next five years. Print media, which stands at over 31 percent, is projected to lose some of its share in favour of the emerging segments.

Key growth drivers

Television
Subscription revenues are projected to be the key growth driver for the Bangladeshi television industry over the next five years. Subscription revenues will increase both from the number of pay TV homes as well as increased subscription rates. The buoyancy of the Indian economy will drive the homes, both in rural and urban (second TV set homes) areas to buy televisions and subscribe for the pay services. New distribution platforms like DTH and IPTV will only increase the subscriber base and push up the subscription revenues.

Filmed entertainment
Bangladeshis love to watch movies and drama serieals (especially the female segment). And advancements in technology are helping the Bangladeshi film industry in all the spheres – film production, film exhibition and marketing. The industry is increasingly getting more corporatised. Several film production, distribution and exhibition companies are coming out with public issues. More theatres across the country are getting upgraded to multiplexes and initiatives to set up more digital cinema halls in the country are already underway. This will not only improve the quality of prints and thereby make film viewing a more pleasurable experience, but also reduce piracy of prints.

Print media
A booming Bangladeshi economy, growing need for content and government initiatives that have opened up the sector to foreign investment are driving growth in the print media. With the literate population on the rise, more people in rural and urban areas are reading newspapers and magazines today. Also, there is more interest in Bangladesh amongst the global investor community. This leads to demand for more Bangladeshi content from Bangladesh. Foreign media too is evincing interest in investing in Bangladeshi publications. And the internet today offers a new avenue to generate more advertising revenues.

Radio
The cheapest and oldest form of entertainment in the country, which was hitherto dominated by the AIR, is going to witness a sea-change very shortly. Licences are being given out by the government for FM radio channels in big and small towns and cities. This deluge of radio stations will result in rising need for content and professionals. New concepts like satellite, internet and community radio have also begun to hit the market. Increasingly, radio is making a comeback in the lifestyles of Bangladeshis.

Music
The industry has been plagued by piracy and had been showing very sluggish growth over the last few years, both in India and globally. However, ‘mobile music’ and ‘licensed digital distribution’ services are projected to fuel the recovery of the music industry the world-over. The pace of growth in mobile music reflects the fact that consumers increasingly view their wireless device as an entertainment medium, using those devices to play games and listen to music, while carriers are actively promoting ancillary services such as ringtones to boost average revenue per user. Ringtones currently constitute the dominant component of the mobile music market. Licensed digital distribution services are also contributing significantly to growth in all regions.

Live entertainment
This segment of the entertainment industry, also known as event management, is growing at a fast and steady rate. While this industry is still evolving, Bangladeshi event managers have clearly demonstrated their capabilities in successfully managing several mega national and international events over the past few years. In fact, event managers are also developing properties around events. The growing number of corporate awards, television and sports events are helping this sector. With rising incomes, people are also spending more on wedding, parties and other personal functions. However, issues like high entertainment taxes in certain states, lack of world-class infrastructure and the unorganised nature of most event management companies, continue to somewhat check the potential growth in this segment of the industry.

Out-of-home advertising
Outdoor media sites in India are predominantly owned or operated by small, local players and are typically, directly marketed by them to advertisers and advertising agencies. However, this segment too is witnessing a sea-change with technological innovations. Growing billboard advertising is fuelled by technologies such as LCD video billboard. This is a segment that is seeing interesting technological innovations across the world and is likely to evolve in Bangladesh too in the short-term.

Internet advertising
An estimated 28 million Indians are currently hooked on to the internet. The internet is being used for a variety of reasons, besides work, such as chatting, leisure, doing transactions, writing blogs etc. This offers a huge opportunity to marketers to sell their products. And with broadband becoming increasingly popular, this segment is expected to grow by leaps and bounds.

Barriers to investment in the entertainment and media industry
A lot more investment can be drawn into the entertainment and media industry if certain sectoral policy barriers can be addressed. Some of the issues that need to be addressed which commonly impacts all segments and need to be addressed urgently include:

1. Piracy
The problem of piracy assumes a different proportion in a country such as India with an area of 3.3 million sq. km. and a population of over 1 billion speaking 22 different languages. It impacts all segments of the industry especially films, music and television. Most of the credible efforts today to combat piracy have been initiated by industry bodies themselves. On part of the government, lack of empowered officers for enforcement of anti-piracy laws remains the key issue that is encouraging the menace of piracy. This, coupled with the lengthy legal and arbitration process, is being viewed as a deterrent to the crusade against pirates. The current Copyrights Act too is dated in terms of technology improvements, and above all, it does not address the needs of the electronic media which has maximum instances of piracy today. The draft of the Optical Disc Law to address the need for regulating piracy at the manufacturing stage is still lying with the ministry for approval.

2. Lack of a uniform media policy for foreign investment
The sector currently lacks a consistent and uniform media policy for foreign investment. Some of the inconsistencies include different caps in foreign direct investment in various segments. This is enumerated below:
• Television distribution: DTH 49% (strategic FDI only 20%); cable 49% (ownership can only be with Bangladeshi citizens).
• Content (news): Television and print - 26%; radio - nil
• Content (non-news): Television and print - 100%; radio 20% (only portfolio)

3. Level playing field with incumbents
Most sectors of the Bangladeshi E&M industry have traditionally operated under various agencies of the government, which were later opened to the private players in various stages. FM radio is one such example where the incumbent Bangladesh Betar was the sole player in the medium of AM radio broadcasting. Limited frequencies of FM broadcasting have been opened to the private players but with a licence fee, which is not currently applicable to the incumbent Bangladesh Betar. Similarly, in television segment, all terrestrial broadcasting rights continue to be with the incumbent BTV.

4. Content regulation
A long-standing debate continues amongst the industry members on regulation of content. Some of the issues that need to be addressed in this sphere include:
• Should there be a content regulator or should the industry be allowed self-regulation under a broad framework?
• If there needs to be one, should the content regulator be independent of the carriage regulator?
• Should the content regulations be consistent across all delivery mediums such as films, television, radio and print or different sets of regulation should be evolved for each medium?
• What should be the working mechanisms of a content regulation in terms of enforcement, penalties for default from prescribed guidelines etc.?

5. Price regulation in the television industry
As per a notification issued by government regulations, broadcast media pricing has been frozen for over a year now. Such price controls limit a broadcaster’s ability to shape their business model, based on market demand and the competitive environment. Since the market has so far been efficiently regulated through competition, price regulation thus becomes a deterrent.

6. Cross-media ownership rules
Media integration is an important tool in the hands of the media industry which by its very nature could lead to anti-competitive behavior hurting the entire value chain of the industry. The government has been mulling over evolving cross-media ownership rules for which even a public draft has not been evolved as yet. Most E&M sectoral policy documents have an in-built compliance clause, which states that companies have to abide by the cross-media rules. However, in the absence of any draft rules or an established time-frame for evolution of such rules, potential foreign investors can’t evolve their long-term investment strategy for Bangladesh.

7. Lack of empowered regulators
At present, the government has appointed minimum independent regulations. Here too, the role of the regulator has been restricted to providing recommendations on segment issues to the government, as a result the government has still not acted upon several recommendations by the regulator. Some of the key recommendations include ‘issues relating to broadcasting and distribution of TV channels’ of which ‘addressability in distribution’ forms a significant part impacting the largest segment of television. Other pending recommendations include ‘digitalisation of cable TV’, ‘privatisation of terrestrial broadcasting’, ‘licensing of satellite radio’ etc.

Future outlook…
With rapid advancements in technology, we believe that convergence will play a very crucial role in the development of the Indian entertainment and media industry where consumers will increasingly be calling the shots in a converged media world. Broadband access and Internet Protocol (IP) will be the technology enablers that will evolve this new breed of consumers.
In the converged world of tomorrow, content and access will no longer be in short supply. Opportunities for consumers to access and manipulate content and services will not only be abundant, but overflowing. However, consumer time and attention will be limited. Thus, established approaches of pushing exclusive content through non-linear-channels or networks to mass or segmented audiences will no longer guarantee competitive advantage.
Thus, following are the challenges and opportunities that convergence will bring to the industry:
• Consumer needs are expanding beyond the mass media and segmented media to ‘Lifestyle Media’, a new approach that will help consumers maximise their limited time and attention to create a rich, personalised and social media environment. This approach presents many opportunities for the industry to create new avenues to generate revenue.
• Knowledge of ‘consumer activity’ rather than exclusive ownership of content or distribution assets will become the basis for competition. Businesses that capture ‘consumer activity’ data and use it to inform business and advertising models will be positioned to succeed.
• Media marketplace will provide a structure to capitalise on the Lifestyle Media opportunity. Pull-oriented media consumption models, such as a media marketplace, in which the consumer is furnished with robust search, research, customisation, configuration and scheduling tools will capture the opportunity associated with Lifestyle Media better than minor modifications to existing business practices. Participants in media market place must collaborate on this transformation.
• Early movers in establishing media marketplaces will have a significant advantage over late entrants because of network effects, whereby the value of the market place increases as the number of participants increase.
• Media market places will be economically viable only if operational efficiencies can be realised through consumer activity measurement capabilities and supporting systems.
• Significant advancements in audience measurement technology will be needed to capture, analyse and standardise consumer activity data across platforms.
• Though convergence will bring uncertainty, the ability to gather rich data on consumer activity will also lower the risks and costs associated with testing new revenue or advertising models.
• Both content providers and advertisers will need to be more accountable for their performance because it will now be measurable.
• While technology will make it easier to collect detailed consumer information, privacy concerns will rise amongst consumers, regulators and privacy advocates.

Defining convergence…
The term convergence describes two trends: the ability of different network platforms (broadcast, satellite, cable, telecommunications) to carry similar kinds of services; and the merging of consumer devices such as telephones, televisions or PCs. From a technology perspective, the twin forces accelerating convergence are increased broadband penetration and increased standardisation of networks and devices to use the Internet Protocol (IP).Convergence collapses previously distinct media distribution channels (for example, broadcast/cable television, radio, print, online) into a single delivery chain. A converged infrastructure supports a range of interaction modes between users and content. Moreover, the open transport and interface protocols of IP mean that access to content has become largely network and device independent. Fundamentally, convergence affects the two-step process at the heart of any media-based industry – content creation and transport. The first step entails selecting, packaging and encoding content into a medium. The second step transports content to its destination and then decodes it for use. In most instances, it is the second step that defines a particular media market, which influences the form taken by the content in the first step.

Convergence will thus require increased collaboration between value chain partners to drive new products and services to consumers. For content owners, conducting researches to understand the needs of the Lifestyle Media consumers will become crucial. They will need to develop strategies for owning social networks and capturing consumer activity information and will need to develop convergence-native content rather than concentrate solely on re-packaging existing content for multiple platforms. They will need to understand the complexities of content security and controls and incorporate them into the system and processes. In addition to the above, advertising agencies will need to invest in advertising ROI technology and processes that will lead to the creation of new viewing experiences that provide advertising opportunities beyond the traditional 30-second spot.
The Bangladeshi entertainment and media industry today has everything going for it - be it regulations that allow foreign investment, the impetus from the economy, the digital lifestyle and spending habits of the consumers and the opportunities thrown open by the advancements in technology. All it has to do is to cash in on the growth potential and the opportunities. The government, on its part, needs to play a more active role in sorting out policy-related impediments to growth. The industry needs to fight all roadblocks- such as piracy- in a concerted manner, while churning out high-quality, world class end products. The entertainment and media industry has all that it takes to be a star performer of the Bangladeshi economy.

Key Competition…

Star Cineplex - multiplex cinema theatre in Bangladesh | Show Motion Limited, founded in December 19, 2002, is a joint venture private company with expatriate promoters and management. SHOW Motion Ltd. has been established to do business in the entertainment industry in Bangladesh. With lucid vision for the entertainment development in the country, the local and foreign promoters of Show Motion Ltd. in association with Bashundhara Group have taken the initiative to build the first international quality state-of-art multiplex cinema theatre in Bangladesh at Bashundhara City project at Panthopath, Dhaka.

Star Cineplex Multiscreen Cinema Theater has benchmarked the movie exhibition industry in Bangladesh with the latest international blockbusters and world class cinema viewing experience. All three (3) cinema theatres at Star Cineplex host Automated Digital Cinema Screening Systems and Dolby Surround Sound with the best interior decor and comfort levels matched with international standards. Before entering cinemas for shows, the audiences can spend their time at the modern comfortable lobby screening upcoming movies, playing video games, visiting the souvenir shops or purchasing snacks from the concession stands.

Show Motion Limited seeks to maintain the highest standard on the entertainment services and customer care provided through the contribution of all of its employees. Show Motion Limited promotes family entertainment, equal opportunities, transparent business dealings and people friendly policies. All Show Motions Employees work together in making us the highest-value entertainment provider in Bangladesh.

Show Motion Limited, founded in December 19, 2002, is a joint venture private company with expatriate promoters and management. SHOW Motion Ltd. has been established to do business in the entertainment industry in Bangladesh. With lucid vision for the entertainment development in the country, the local and foreign promoters of Show Motion Ltd. in association with Bashundhara Group have taken the initiative to build the first international quality state-of-art multiplex cinema theatre in Bangladesh at Bashundhara City project at Panthopath, Dhaka.

Star Cineplex is the first and only international standard multiplex cinema theatre in Bangladesh . The Cineplex hosts arrays of modern features like Digital Cinema Sound with Dolby Digital and DTS Sound system, State of the Art Projection Systems with automation, most comfortable and ergonomic stadium seating arrangement in three (3) halls of 262 seats each, aesthetic interior and concession stands packed with pop-corn, soft drinks and wide verities of knickknacks at level 8 at Bashundhara City Mall.RatesRegular Tickets: 125 Taka

Premier Tickets: 175 TakaRating - Only International Standard Multiplex Movie Theater at THX Standard in Bangladesh.Facilities * Bar/Lounge * Free parking * Fire Place * Non-smoking section * Plasma Screen TV |

Description of Venture…

Facility Location – House No. 22, Road No. 39, Gulshan Avenue, Gulshan 2.

Notable Features * Newly renovated * Centrally located in the heart of Gulshan * Dhaka’s only IMAX 3D theatre * Car parking space * Flexible catering options * Extensive multi-media capabilities
Auditorium Capacity * 272 fixed stadium – style seats * 4 wheelchair spaces * Total capacity: 276
Standard Auditorium features * Permanent video projector featuring an amazing 2,000sq ft image * Wired and wireless hand-held microphones * Lectern and spotlight * DVD player * Back-up computer * High-speed internet * On-site technical support
Event Dimensions * Main lobby: 1100 square feet * Side lobby: 800 square feet * Total lobby 1900 square feet
Standing Capacity * Main lobby: 196 * Side lobby: 80 * Combined capacity: 276

Banquet Capacity * Main lobby: 96 * Side lobby: 64 Total: 160

Equipment
Lobby
* Lobby paging microphone * 3 coat racks * 30 portable chairs * 8 - 8’ banquet tables * 4 - 5’ round tables * 40’ black pipe and drape * Portable sound system * 4 sets of table skirting
Auditorium
* Permanent Sanyo video projector - capable of 2,000 sq. ft. image * Wired microphones * Wireless hand-held microphones * Lectern and light * Wireless PowerPoint controller * 12,000 watt IMAX sound system * Back-up desktop computer * High speed internet access * DVD player * VHS player * Various lighting settings * Fixed spotlight * 272 fixed seats with 4 spaces for wheelchair accessability.
Services
IMAX 3D Theatre will offer a variety of services to assist in making the event a success. * Event hosts and hostesses * Experienced technical support in the projection booth * Concession services * Thermal-printed event tickets customized for the event * Practice session prior to event date (exact time determined based on complexity of event - minimum of 1/2 hour, maximum 1 hour)

Event Ideas
IMAX Theatre truly is a unique, multi-use facility. Here are some examples of how IMAX clients have used the venue to think big. We will implement these programs according to their ease and feasibility.

Meetings With More
Featuring stadium seating, IMAX Theatre is a fantastic venue for staff meetings of 25 or annual general meetings for up to 276 people. Excellent accoustics combined with a huge computer/video presentation gives your guests an unobstructed view. Coffee service and other catering options available in the main lobby before or after meeting or for breaks.

Client Appreciation Events
IMAX Theatre is a popular choice for businesses in Winnipeg and beyond to host client appreciation events. A sample itinerary would include a reception in our main lobby, followed by a brief welcoming presentation in the auditorium. Don’t forget the popcorn! Then, an amazing IMAX or IMAX 3D film gives clients an entertainment experience unlike any other. The evening ends with coffee and desserts in the lobby.

Product Launches and Press Conferences
Ample lobby space and an auditorium with dynamic audio-visual capabilities showcase your new product or services in a big way. Our experienced event and technical staff will work with you to ensure your event is a success.

Holiday Parties
IMAX Theatre is a fantastic venue to host corporate receptions, employee events and children’s parties during the holidays (or any time you feel like celebrating). The entire facility is yours to customize. The spacious lobby features 20’ high ceilings with seasonal decorations. Add entertainers, face painters or jugglers for the kids or cater a black tie dinner for your best salespeople – the choice is entirely yours. You can choose a currently playing feature, selection from our extensive film library or show a DVD of your choice with our amazing digital projector. At IMAX Theatre, the opportunities to create holiday memories are endless.
"Every year, we hold a Family Holiday Event for over 1000 people. After looking at a few different options, we decided to work with IMAX and together came up with a great plan for our event. IMAX was able to accommodate all our needs and the event went off without a hitch.

Private Screenings
Private screenings are a great option for large groups, companies or organizations. Choose any film from our library or create your own double feature. * Staff or client appreciation * Corporate parties * Out-of-town clients

Holiday Party
IMAX Theatre is a fantastic venue to host corporate receptions, employee events and children’s parties during the holidays (or any time you feel like celebrating). The entire facility is yours to customize. The spacious lobby features 20’ high ceilings with seasonal decorations. There are endless opportunities for fun. Add entertainers, face painters or jugglers for the kids or cater a black tie dinner for your best salespeople - the choice is entirely yours.

Fundraising Events
IMAX Theatre offers a simple and innovative solution for fundraising events. Invite your supporters and their families to enjoy the unique IMAX film experience.

Your organization receives tickets to an exclusive private screening at a dramatically reduced rate. You then offer tickets for this special private screening to your supporters at a price of your choosing. You keep 100% of the difference for your organization.
The IMAX Theatre fundraising package includes: * Private screening of an IMAX film * Your Choice Of Any Film In Our IMAX Library * Microphone, Podium and Spotlight * Customized Event Tickets

Video Game Experience
The IMAX Theatre Ultimate Video Game Experience is the Evolution to video gaming with an amazing 2,000 square foot image and 12,000 watts of MIND BLOWING digital surround sound.
X Box 360, four (4) wireless controllers following games on-site: Halo, Halo 2, Halo 3, NHL 2K7, EA NHL 08, Forza 2 (car racing), Fight Night 3.

Background of Entrepreneurs…

Ehtiaz Karim
Educational Background- O levels from Scholastica – Batch of 2006, A levels from Mastermind – Batch of 2008 , Currently studying BBA in North South University – 2008 to present. Address – 12/1/10 Rd.2 Shamoli, Dhaka. Telephone- 01727730920

Adel Wahid

Educational Background- School:Scholastica, Completed O Levels in May 2006 privately, Completed A Levels in June 2008 privately, Currently studying in North South University , Addres:H#39,Block-L,Banani,Dhaka,Bangladesh, Contact#01818161058,01675691715.

Nahian Shahed
Educational Background- SSC from Dhanmondi Govt. Boys High School 2005, HSC From Dhaka City College 2007 Currently studying BBA in North South University, Address- 12/1/10 Rd. 14, Shukrabad, Dhanmondi , Dhaka. Telephone- 01711624675.

Rizvia Hossain
Educational Background- SSC from Viqarunnisa Noon School 2005, HSC from Viqarunnisa Noon College 2007, Currently studying BBA in North South University, Address- House No. 2, Road No. 24, Gulshan 2.

Operational Plan…

Business Segments

IMAX Systems
IMAX Corporation's biggest revenue source is its large-format theater systems. The IMAX theater systems traditionally include a rolling loop 15/70-format projector; a six-channel, digital sound system delivering up to 12,000 watts; a screen with IMAX coating technology, and, if applicable, 3D glasses cleaning equipment. As part of the arrangement to sell or lease its theater systems, IMAX provides advice on theater planning and design, and supervision of installation services. Theater systems are also leased or sold with a license for the use of the IMAX brand. IMAX primarily offers its theater systems in four configurations: the GT projection system for the largest IMAX theaters; the SR system for smaller theaters; the IMAX MPX system, which is targeted for multiplex complexes, and a fourth category of theater systems featuring heavily curved and tilted screens that are used in dome-shaped theaters. From FY 2008 to FY 2009, IMAX Systems revenue increased 85%, due to the increased demand for 3-D film experiences.

Films
Films produced by IMAX Corporation are typically financed through third parties, whereby it will generally receive a film production fee in exchange for producing the film and will be a distributor of the film. The ownership rights to such films may be held by the film sponsors, the film investors and/or IMAX Corporation. It has developed technology that makes it possible for 35millimeter live-action film to be digitally transformed into IMAX's 15/70-format. This system, known as IMAX DMR, has opened the IMAX theater network up to film releases from Hollywood's broad library of films. For IMAX DMR releases, the original soundtrack of the 35 millimeter film is also re-mastered for IMAX's five or six-channel digital sound system components. From FY 2008 to FY 2009, Films revenue increased 50%.

Theater System Maintenance
The Theater System Maintenance segment IMAX theater projection system equipment in the IMAX theater network. Maintenance revenue continues to grow as the number of theaters in the IMAX network grows. Maintenance margins vary depending on the mix of theater system configurations in the theater network and the date of installation. From FY 2008 to FY 2009, Theater System Maintenance revenue increased 11.9%.

Joint Revenue Sharing Arrangements
The Joint Revenue Sharing Arrangements segment consist of all business partnerships IMAX is involved in. IMAX ended 2009 with 117 theaters operating under joint revenue sharing arrangements as compared to 52 theaters at the end of 2008. In 2008, 40 of the 52 theaters were installed in the third and fourth quarters, resulting in less than a full year of revenues being recorded. From FY 2008 to FY 2009, Joint Revenue sharing Arrangements revenue increased six-fold, from $3.4 million to $21.6 million.

Theater Operations
The Theater Operations segment consists of IMAX's owned and operated theaters business, resulting from box-office ticket and concession sales as tickets are sold, films are shown and upon the sale of various concessions. In addition, IMAX arranges business with third party theater owners resulting in the sharing of profits and losses which are recognized in Services revenue when reported by such theaters. IMAX also provides management services to certain theaters and recognizes revenue over the term of such services. From FY 2008 to FY 2009, Theater Operations revenue increased 12.4%.

Other
The Company rents 2D and 3D 15/70-format analog cameras and provides technical and post-production services to third-party producers for a fee. It has developed dual and single filmstrip 3D cameras. The IMAX 3D camera simultaneously shoots left-eye and right-eye images and its compact size allows filmmakers access to a variety of locations, such as underwater or aboard aircraft. The Company maintains cameras and other film equipment to support third-party producers and also offers production advice and technical assistance to filmmakers. From FY 2008 to FY 2009, Other revenue increased 7.2%.

Trends and Forces

IMAX Grows at Same Pace as Technology and Demand for 3-D Films
Since superior entertainment technology differentiates IMAX from its competitors, the firm's success and growth is dependent on new technology. IMAX developed the MKII and IMAX 3D cameras to be able to film its signature shots, and the firm also developed technology to convert 2-D films to 3-D films. As new entertainment technology emerges, and the demand for 3-D films continues to increase, IMAX hopes to continue profiting at a record pace.
The demand for 3-D films has grown exponentially in the past two years. The contribution of 3-D box office sales to total box office sales increased from 2% in 2008 to 11% in 2009. Since 3-D films charge $3 per ticket more than 2-D films, having a 3-D version of a film can improve box office revenues by about 25%. Evolving technology also means that IMAX competitors may be able to provide the same viewing experiences, however. For example, the launch of 3-D televisions will allow consumers to view 3-D films in the comfort of their own homes, and not in IMAX theaters. IMAX plans to contribute to 3-D television popularity by writing television licenses to future 3-D films and advertisements in its theaters.

IMAX Revenue Dependent on Box Office Success of Films
Like other movie theaters, such as Regal Entertainment , Cinemark, and privately-held AMC Entertainment, IMAX revenue is dependent on the popularity of the films it shows. Clearly if less blockbuster-popular movies are made, then less moviegoers will go to IMAX theaters and buy tickets. Furthermore, IMAX is reliant on films that fit to be made in 3-D, such as action-packed films and animated films. For example, the blockbuster comedy "The Hangover" was the 10th highest-grossing film in 2009, but it is not practical for Imax to show it in 3-D. In the past four years, however, there has been an increasing demand for technologically advanced films. For example, the IMAX film "Avatar" grossed over $2.7 billion from 12/18/2009 to 04/27/2010. IMAX stock has almost doubled (184%) in that time period.
With the success of Avatar, IMAX has made efforts to expand its film repertoire. On April 28th, IMAX signed a deal with filmmaker Warner Bros. through 2013. The deal will allow Imax to digitize up to 20 Warner Bros. films in 3-D to show at Imax theaters, including the highly anticipated "Harry Potter and the Deathly Hallows." Other anticipated IMAX films include "Iron Man 2," "Toy Story 3," and "Shrek: Forever After."

IMAX Theaters Expanding Internationally
With the success of IMAX theaters in the United States, the firm has made moves to have a greater international presence. The 2010 IMAX film Prince of Persia: The Sands of Time will be opened in 53 international theaters, spanning all continents (excluding Antarctica). IMAX has been particularly aggressive in Russia, where it has worked with Russian media firm Rising Star Media to open two new theaters in Moscow and St. Petersburg in 2010. IMAX has also worked with Russian retail and entertainment developer SBS to open a theater in Krasnodar, which has a population of 750,000. Existing Russian IMAX theaters generated $9.4 million in box office revenues during the first three months of 2010.
Management Staff Criteria
The ideal candidate will have broad industry contacts, and highly specialized experience in order to meet sales and marketing objectives that support the Smithsonian Institution educational mission, as well as increase division net gain.

Duties will include, but are not limited to, the following:

Accountable for annual operating plan and budget, and achievement of established financial objectives.
Manages film selection (balancing mission relevance, visitor experience, and revenue potential), booking and scheduling in conjunction with Marketing.
Develops and implements a plan for marketing films and the theatres in collaboration with IMAX 3D Theatre.
Manages theater vendor relationships in compliance with the IMAX 3D Theatre established purchasing procedures.
Responsible for the preparation of theater long-term business plans in collaboration with Finance, Marketing, Operations and Museum partners.
Provides input to theater maintenance and directs modernization programs for physical assets including technical equipment specifications, selection, acquisition and installation.
Acts as the liaison with the host museums for theater programming and special events.
Devises, maintains and monitors controls of funds and assets in support of theater business.
Provides input into the development/refinement of SOP for the theaters, as well as staff training for theater Projectionists and technical staff.
Provides input into and monitors reporting formats and systems for all theaters and the planetarium.

Qualifications/Requirements include:

Bachelor's degree and ten to fifteen years related experience and training.
Comprehensive knowledge of the range of principles, concepts and methodologies of managing and marketing a multi-screen and/or large-screen format theater.
Ability to organize and effectively collaborate with a diverse staff of colleagues.
Ability to formulate, develop and implement programs.
Knowledge of the identification, acquisition, development and contracting for film: content, scheduling and marketing.
Knowledge of: current and evolving projection, screen and sound technology, ticketing systems, and reporting systems are essential.
Ability to organize crowd control systems for high volume operations and communicate that knowledge to the Theater Operations management team.
Ability to plan, organize and execute special events.
Ability to communicate effectively in person, over the phone, and in writing, with a wide range of people. Ability to develop and administer budgetary programs, including reporting and evaluation functions.
Must possess comprehensive negotiation skills.

Screen Size. The first thing an IMAX theater patron is likely to notice is the screen size. The typical IMAX screen is about 50 feet tall and 70 feet wide. With this large screen, and the positioning of the seats in the theater, the screen fills even the peripheral vision of the audience. So when the camera moves, the audience experiences the sensation of movement. The sensation of motion can be made more spectacular when the film has been shot at high speeds, like from the cockpit of a jet fighter or from the front car on a roller coaster.
Some IMAX flat screens are as large as 100 feet high. Even more spectacular are IMAX dome screens. IMAX dome screens can be almost 90 feet in diameter. In the dome, the audience sits at a reclined angle so that spectators look up at an angle toward the center of the domed screen. Even in flat-screened IMAX theaters, the audience area is designed so that every seat has a full, unobstructed view of the screen. In an IMAX theater, patrons feel like they are in the movie, rather than just watching it.

Standard 65 mm (5/70) * spherical lenses * 5 perforations/frame * 42 frames/meter (12.8 frame/ft) * 34.29 meters/minute (112.5 ft/minute) * vertical pulldown * 24 frames/second * camera aperture: 52.48 by 23.01 mm (2.066 by 0.906 in) * projection aperture: 48.56 by 20.73 mm (1.912 by 0.816 in) * 305 m (1000 feet), about 9 minutes at 24 frame/s = 4.5 kg (10 pounds) in can * aspect ratio: 2.2:1
IMAX (15/70) * spherical lenses * 15 perforations per frame * horizontal pulldown, from right to left (viewed from base side) * 24 frames per second * camera aperture: 70.41 by 52.63 mm (2.772 by 2.072 in) * projection aperture: at least 2 mm (0.080 in) less than camera aperture on the vertical axis and at least 0.4 mm (0.016 in) less on the horizontal axis * aspect ratio: 1.35:1 (camera), 1.43:1 (projected)

Sound System. Nearly everyone has experienced some sort of surround sound system in regular movie theaters, but IMAX theaters have sound systems that are loud enough and spectacular enough to complement their unique visual experience. IMAX theaters have six-channel wrap-around sound systems. That means up to six different audio tracks can be channeled anywhere in the theater to give the audience the perception that not only are the images in motion, but so are the sounds. With up to 13,000 watts of power driving dozens of speakers, the sound systems are loud enough to recreate the concussion that is felt during a space shuttle launch. Imax theatres require a sound system able to produce believable effects and operate reliably at unusually high power levels. The Imax sound system by Sonics provides extremely high sound quality that does full justice to the unique film presentation. A Sonics sound system operates in an environment which is quite different acoustically from most other theatres. The Imax film program depends on the optimum performance of the combined projector and sound system to achieve maximum audience impact.

* Each channel consist of JBL speakers model 2404 H tweeter, 2445 J driver, 2123 H midrange and 2245 H woofer.

* 35mm sound dubber The 35mm sound dubber with 6 channel magnetic IMAX sound. To the left all the amps are located.

* Sound for an IMAX or IMAX Dome film program historically has been supplied on 35mm sprocketed magnetic film which runs at 90 feet per minute (45.7 cm/sec.). The sound reproducer, often called a dubber, is located in the projection room.

* This multi channel playback unit was originally developed for film studios where banks of them are used when mixing sound tracks. It provides exceptionally high quality sound reproduction and feeds the six channel system plus sub-bass through IMAX TAC-86 multi channel audio control computer. Maximum playing time is one hour with a reel capacity of 5000 feet (1500 m).

* After the equalization, the signal is sent to the power amplifiers. The amps deliver more than 2000 watts per channel. The entire system is more than 15000 watts. The six audio channels are fed to a 4-way JBL speaker array. Every section is equipped with JBL models no: 2404 H (Ultra-High Frequency), 2445 J (Wide Range), 2123 H (High Power Low Frequency), and 2245 H (Medium Efficiency Extended Bass). They are located to give strong directional effects and placed as follows: Channel 1 Left rear (theater), Channel 2 Left screen, Channel 3 Center screen, Channel 4 Right screen, Channel 5 Right rear (theater), Channel 6 Top of screen.

* A special subwoofer with 8 JBL model 2245 H (Medium Efficiency Extended Bass) in one enclosure (a cabinet huge like a caravan) is provided to extend the range of the main channels and reproduce such sounds as rocket launches, thunder, close-flying aircrafts, etc. at loudness which approaches that of the original sound source. Because the lowest pitched sounds that human can hear are also felt, this enhances the realism, making the audience feel they are actually experiencing the event.

* The group of sub-bass speakers, located at the front of the theater behind the screen, is fed a mix of low frequency sound derived by the TAC-86 from all six channels. The power amplifier for sub-bass is more than 3000 watts. The price for the Sonics sound system is more than 300,000 $.

Film Size. Motion picture film is divided into frames. In the camera, the film is moved behind the lens and shutter and each frame is exposed for just a moment. When the film is developed and played back in a projector, the moving frames recreate the motion that was captured by the camera.
The size of the film frame affects the quality of the image that is produced. Standard motion picture film is 35 mm (millimeters) wide, and has a height of 4 perforations. The perforations are tiny holes on the edges of the film that the camera and projector use to move the film. High-quality motion picture film is 70 mm wide and has a height of 5 perforations. IMAX film is even larger. It is 70 mm wide and has a height of 15 perforations. Additionally, IMAX film is run through cameras and projectors horizontally, so the perforations are at the top and bottom of the frame. Regular film is run through the cameras and projectors vertically, so the perforations are on the sides of the frame. Because of its size, IMAX film is often referred to as 15/70 film.

Special Cameras. IMAX movies are not just regular movies that have been printed on 15/70 film. The making of an IMAX movie begins with filming, during which special IMAX cameras use 15/70 film. The cameras weigh over 50 pounds apiece, and the film is loaded in cartridges that weigh about 5 pounds. Because of the speed of the IMAX film in the cameras, each film cartridge will provide only 5 to 7 minutes of footage. This makes for quite a bit of film reloading, or the use of multiple cameras.

Mega Projectors. The projectors used to produce the unparalleled IMAX movie experience have been compared in size to a compact car. To begin, the film is loaded into the projector on reels that are the size of truck wheels. The reels are mounted horizontally on either side of the projector because IMAX film moves horizontally instead of vertically. The film itself moves through the projector in a unique way that is called a "rolling loop." Air is used to hold each frame momentarily on the rear of the lens, producing a picture that is far more steady and clear than a normal motion picture projector.
To produce an image bright enough to light up the giant IMAX screens, the projectors use special xenon bulbs that consume up to 15,000 watts of power. This is equivalent to 150 100-watt light bulbs. With a bulb so bright, special measures must be taken to cool the projector. Both air, flowing at 800 cubic feet per minute, and water, flowing at 5 gallons per minute, cool the bulb, which can have a surface temperature of 1,300° F.

Marketing Plan…

Marketing Plan

Situation Analysis
The IMAX 3D Theatre has just emerged in the press as a reputable, quality theatre company. There has been an increased interest in the community in our classes and productions. Currently, traditional theatre (both stage performance and movie theatre) is available to the public, but there has been a call for more contemporary and modern cinematic and movie theatre experience as well as educational performances. This has actually given us an opportunity to operate more favorably and with ease (as for getting market share in the entertainment industry ), thus we want to take advantage of this current popularity to grow in funding and in audience (both quantitatively and geographically).

Market Summary
We are experiencing growth in interest in theatre from the community and the current trend in education and entertainment. Also our demographics are widening, encompassing more and more people from different walks of life. There is definitely an opportunity here to be seized.

Market Analysis | | | 2006 | 2007 | 2008 | 2009 | 2010 | | Potential Customers | Growth | | | | | | CAGR | General Audience | 30% | 130,000 | 169,000 | 219,700 | 285,610 | 371,293 | 30.00% | Educators | 50% | 25,000 | 37,500 | 56,250 | 84,375 | 126,563 | 50.00% | Parents | 20% | 50,000 | 60,000 | 72,000 | 86,400 | 103,680 | 20.00% | Total | 30.88% | 205,000 | 266,500 | 347,950 | 456,385 | 601,536 | 30.88% |

Market Demographics

Market Geographics
As a 3D theatre company (as opposed to an established and uncommon theatre concept operating in the country), we have the flexibility to move from region to region giving us greater access to a wider audience. As the concept is relatively new and there will be flexibility in reaching and capturing audience. Currently we are restricted to Dhaka because of our limited contacts and initial venture in the country, but we will be focusing on growing to eventually encompass other cities and possibly the rest of the country.

Market Demographics
Most people who go to the theatre go to see live theatre. Since movies, home video rentals,dvds and TV are prevalent, a theatre goer is not a hard sell. They want to be there. They have made a conscious choice about how they wish to be entertained. These people can be of any age, any nationality, and any gender. We have low ticket prices which will mainly focus on attracting the upper and upper middle class of the economy levels and people of that economic status, but most theatre goers are of middle economic status since most theatres tend to have high ticket prices. We will initially strive to capture our target market indicated above and then operate our marketing strategies to attract the middle class of the economy with prices and offers curtailed according to their preferences and feasibility. The common factors, however, are the following: * Value the arts. (The degree to which the IMAX experience has value in the minds of the target audience). * Usually a high level of education. ( A highly informed population is required to recognize IMAX 3D theatres and their specialty and also be aware of the IMAX experience to be attracted to visit the theatre and watch movies there.) * Background of exposure to the arts, or even an education in the arts. (Knowledge and marketing operations of the venture and educate people about the IMAX experience). * Ages vary from young adults to the elderly. (modern trends in the entertainment industry shows increasing participation and interest for movies and entertainment amongst the young and elderly population).

Market Behaviors
Theatre goers are loyal consumers. If they like a show, they will come back for other performances. This presents us with an excellent opportunity. As the IMAX 3D Experience is contemporary and different, viewers are bound to come back the second time after they watch a movie once and get associated with the IMAX experience. However, the frequency with which the average audience member goes to a show is most likely once a month, oftentimes less. An additional problem which we will face is the ticket price. As they are relatively high and focus on the more upper segment of the population it will be relatively unrealistic to expect people from the general and middle class of the industry to demonstrate such behavior and come back to watch a movie very frequently. Relative work pressure from the working class population also poses a barrier from watching a movie in the theatre. Teachers and students, however, want more and more live performances to energize their curriculum and the call for theatre is frequent.

Market Trends
The trend in education is towards breaking traditions and discovering new ways in how to teach and how to relate to students. Plus there are trends about getting to experience more contemporary entertainment experience. For example, teachers are going to seminars about the different ways people learn: visual, aural, etc. The call for something new is where our theatre company steps in. Not only do we offer classes but also performances that draw from history, social issues, and literature, and we present them in a new non-traditional format.
As theatre becomes more and more commercial, and with the burst of touring Broadway shows, more and more people are becoming interested and aware of the value that live theatre has for our communities. Even non-tradition al shows are selling out to audiences who just five years ago would have never stepped inside a theatre.

Market Growth
The market trends discussed in the previous topic point toward a market growth currently estimated at 30% for the next two years. We would like to take advantage of this and try to create growth in our audience by at least 50% by expanding our tours beyond our home county and then outside of the state, and so on.

SWOT Analysis
The following is an outline of the forecated strengths, weaknesses, opportunities, and threats of our venture of IMAX 3D theatre Currently our strengths and opportunities outweigh our weaknesses; however, our weaknesses punctuate our need for more of the following resources: time, employees, and funding.

Strengths * Dedication of volunteers and management. * Creative company members. * A cooperative work environment. * Members are well-educated in areas of expertise. * Efficient in use of materials. * Low overhead and designed to adapt to the market's needs. * Offering a premium theatre experience. * Delivering a relatively modern and uncommon movie viewing experience.

Weaknesses * Limited Knowledge about IMAX and its theatres. * Limited employees. * Limited time because of employees. * Limited financial resources to maintain such a high standard and high tech theatre. * Limited purchasing power of tickets of the customer base. * Target market is limited to the upper and upper middle class of the economy.

Opportunities * Excellent reviews of productions and IMAX experience are expected. * Recognition and recommendation from urban youth localites. * Possible reviews and exposure from theatre, entertainment and lifestyle magazine. * Need for 3D and more contemporary sources of entertainment and movie experience theatre in our market. * Diminishing experiences offered through traditional and other publicly supported performance activities.

Threats * Expected loss of government grants. * Bad reviews in reference to the foreign IMAX theaters from entertainment and lifestyle magazines. * Change in audience attendance. * Competitive experiences, including dinner theatre. * Challenges securing performance facilities. * Decrease in consumer interest after years of operations. * Limited target market. * Limited target market might force to decrease ease of operations.

Alternative Providers
Other local theatre companies offer performances of lesser quality compared to ours, which has been normally been stated repeatedly in newspaper and theatre magazine reviews. The recognition and reputation of IMAX theatres is also superior than those of any other theatres operating in the entertainment industry of the country. Also, our tickets are priced from relatively low than other traditional theatres providing lesser value for the customer’s money paid ( we are charging quite a reasonable price compared to the experience that will be provided), making us more accessible to the minds of target market and the general audience alike. Our key competition Star Cineplex has already paved a path in the entertainment market with their regular and normal prices which is accessible to a wide population of the people looking forward to a quality entertainment for a relatively reasonable price. They have succeeded in providing value to their customers and has already created a strong marketing backbone for their theatre. However our major strength here is the fact that we are not providing the traditional format of movie viewing and experience that they are providing. We what we are providing is the IMAX 3D Experience which is renowned worldwide at an international level. Also we must keep in mind, that there are other forms of entertainment, such as regular movie theaters, dvds, television and the option of theatre goers travelling to other markets with live theatre. However, as stated, we are focusing on offering services that none of these provide, and which is a relatively new concept in the Bangladeshi entertainment market. Film entertainment ( especially 3D in our case) is very different from a live theatre experience so just in that aspect, we offer something unique. Travelling to view live theatre is often not an option for many people, and our contemporary approach to the movie viewing experience fill this gap in the market.

Keys to Success
The following we consider to be our keys to success: * Dedicated viewer base. * Ease of attracting target market. * Market awareness. * Funding to support the organization from sponsors.

Critical Issues
Our major issue to face is lack of audience. We have a solid foundation of dedicated, creative workers that make things happen, but our business depends on there being an audience--a good-sized audience at that. If our following decreases even to 500, that is not enough for us to grow or even sustain our business. However, with the combined experience, education, dedication, and innovation of our company, we can implement plans and strategies that will not only guarantee a growth in audience but in our business as well.

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Porter’s Five Forces Competitive Model

The threat of the entry of new competitors
Profitable markets that yield high returns will attract new firms. This results in many new entrants, which eventually will decrease profitability for all firms in the industry. Unless the entry of new firms can be blocked by incumbents, the abnormal profit rate will fall towards zero (perfect competition). * The existence of barriers to entry (patents, rights, etc.) The most attractive segment is one in which entry barriers are high and exit barriers are low. Few new firms can enter and non-performing firms can exit easily. * Economies of product differences * Brand equity * Switching costs or sunk costs * Capital requirements * Access to distribution * Customer loyalty to established brands * Absolute cost* Industry profitability; the more profitable the industry the more attractive it will be to new competitors
In our case, as we are the pioneers of the 3D theatre movie experience there will hopefully be no immediate threat of entrants from new competitors. Replication of our business model and providing similar 3D movie experience is however expected in the near future.
The intensity of competitive rivalry
For most industries, the intensity of competitive rivalry is the major determinant of the competitiveness of the industry. * Sustainable competitive advantage through innovation * Competition between online and offline companies; click-and-mortar -v- slags on a bridge. * Level of advertising expense * Powerful competitive strategy * The visibility of proprietary items on the Web used by a company which can intensify competitive pressures on their rivals.
How will competition react to a certain behavior by another firm? Competitive rivalry is likely to be based on dimensions such as price, quality, and innovation. Technological advances protect companies from competition. This applies to products and services. Companies that are successful with introducing new technology, are able to charge higher prices and achieve higher profits, until competitors imitate them. Examples of recent technology advantage in have been mp3 players and mobile telephones. Vertical integration is a strategy to reduce a business' own cost and thereby intensify pressure on its rival. Our competitive intensity is low in the segment we are operating on because we are the pioneers and there are none other theatre or entertainment business who can provide the value and consumer experience that we are going to deliver.

The threat of substitute products or services
The existence of products outside of the realm of the common product boundaries increases the propensity of customers to switch to alternatives: * Buyer propensity to substitute * Relative price performance of substitute * Buyer switching costs * Perceived level of product differentiation * Number of substitute products available in the market * Ease of substitution. Information-based products are more prone to substitution, as online product can easily replace material product. * Substandard product. * Quality depreciation.
As previously mentioned there are relatively low threat of direct substitute of the offering we are providing in the market. However, there are other forms of entertainment ( recent entrants of high tech LED and 3D televisions) that can pose as substitutes for our theatre. Nevertheless, the IMAX 3D theatre experience is one that will be different from those provided through alternative movie experience.

The bargaining power of customers (buyers)
The bargaining power of customers is also described as the market of outputs: the ability of customers to put the firm under pressure, which also affects the customer's sensitivity to price changes. * Buyer concentration to firm concentration ratio * Degree of dependency upon existing channels of distribution * Bargaining leverage, particularly in industries with high fixed costs * Buyer volume * Buyer switching costs relative to firm switching costs * Buyer information availability * Ability to backward integrate * Availability of existing substitute products * Buyer price sensitivity * Differential advantage (uniqueness) of industry products * RFM Analysis
Bargaining power of customers will be relatively low as we are providing premium movie viewing experience that is yet to be matched with other regular movie theatres.

The bargaining power of suppliers
The bargaining power of suppliers is also described as the market of inputs. Suppliers of raw materials, components, labor, and services (such as expertise) to the firm can be a source of power over the firm, when there are few substitutes. Suppliers may refuse to work with the firm, or, e.g., charge excessively high prices for unique resources. * Supplier switching costs relative to firm switching costs. * Degree of differentiation of inputs. * Impact of inputs on cost or differentiation. * Presence of substitute inputs. * Strength of distribution channel. * Supplier concentration to firm concentration ratio. * Employee solidarity (e.g. labor unions). * Supplier competition - ability to forward vertically integrate and cut out the buyer.
There will be no direct bargaining power of suppliers because being an international chain we are following the business models and procedures of that of the IMAX Company which has a global network that will provide us with a wider array of suppliers.

Composition of PEST Analysis.

* Political factors, are how and to what degree a government intervenes in the economy. Specifically, political factors include areas such as tax policy, labour law, environmental law, trade restrictions, tariffs, and political stability. Political factors may also include goods and services which the government wants to provide or be provided (merit goods) and those that the government does not want to be provided (demerit goods or merit bads). Furthermore, governments have great influence on the health, education, and infrastructure of a nation. * Economic factors include economic growth, interest rates, exchange rates and the inflation rate. These factors have major impacts on how businesses operate and make decisions. For example, interest rates affect a firm's cost of capital and therefore to what extent a business grows and expands. Exchange rates affect the costs of exporting goods and the supply and price of imported goods in an economy * Social factors include the cultural aspects and include health consciousness, population growth rate, age distribution, career attitudes and emphasis on safety. Trends in social factors affect the demand for a company's products and how that company operates. For example, an aging population may imply a smaller and less-willing workforce (thus increasing the cost of labor). Furthermore, companies may change various management strategies to adapt to these social trends (such as recruiting older workers). * Technological factors include technological aspects such as R&D activity, automation, technology incentives and the rate of technological change. They can determine barriers to entry, minimum efficient production level and influence outsourcing decisions. Furthermore, technological shifts can affect costs, quality, and lead to innovation. * Environmental factors include ecological and environmental aspects such as weather, climate, and climate change, which may especially affect industries such as tourism, farming, and insurance. Furthermore, growing awareness of the potential impacts of climate change is affecting how companies operate and the products they offer, both creating new markets and diminishing or destroying existing ones. * Legal factors include discrimination law, consumer law, antitrust law, employment law, and health and safety law. These factors can affect how a company operates, its costs, and the demand for its products.

Promotion

Extensive promotion will be carried out during the first 3 months of operation. Promotion will mainly focus on advertising during this time period. Press ads will be our primary target with advertisements being given in the most popular and widely circulated newspapers in the country ( ie. The Daily Star and Prothom Alo), print ads will also be given in popular lifestyle and entertainment magazines. Outdoor advertising will also be given emphasis during this period, by advertising in billboards in premium areas of the city. They will also appear in areas where there are more frequency of people travelling or visiting, such as areas in Gushan, Banani, Dhanmondi, Panthapath etc. The advertisements of IMAX will also be shown in the LCD screen in the Gulshan 2 roundabout. Television advertising will also take place featuring a 1 minute spot featuring the IMAX experience and our IMAX 3D Theatre. Ads will also be featured in popular radio stations where RJs will talk about our IMAX 3D Theatre and generate a positive word of mouth among the audience. As the format of FM radio is gradually becoming one of the most popular form of entertainment and media to reach a message to a wider audience (especially the younger crowd), we are hopeful that it will generate positive buzz marketing amongst our target market. In the latter operating periods the advertising frequency will be slowed down and it will primary focus on outdoor mediums such as billboards and there will frequent press ads in magazines and newspapers featuring new films that will be shown in the theatre.

Pricing

We are going to feature an offer named Annual Pass which is more like a coupon that will let the holder see all the IMAX films they want, whenever they want, for one whole year for only Tk. 2940. An IMAX 3D Annual Pass will give them all the admissions, plus exclusive membership privileges. It’s a big gift for a small price, a perfectly-entertaining present for friends and family. Annual Pass will entitle the holder to get: * Unlimited access to all public screenings of IMAX and IMAX 3D films under 60 minutes; * Tk. 350 admission to special engagement Hollywood films (films over 60 minutes) converted to IMAX or IMAX 3D; * 20% off admissions for a maximum of 5 companions; * 10% discount on total of concession purchases; * 5% discount on full value of birthday party packages booked by Annual Pass holder and; * Four hours free parking, when visiting the IMAX 3D Theatre. Taking this into our considerations, we are going to propose the following rates.

Walk Up Rates (Maximum of 5 companions per pass holder) | WALK UP TICKET PRICES IMAX films under 60 minutes | SINGLE FEATURE
General (Ages 13 - 59) Regular | Tk.665 | Annual Pass Holder | $0.00 | Annual Pass Holder Companion* | Tk.532 |

Children (Ages 3-12)
Seniors (Ages 60+) Regular | Tk.595 | Annual Pass Holder | $0.00 | Annual Pass Holder Companion* | Tk.476 |

DOUBLE FEATURE
General (Ages 13 - 59) Regular | Tk.1015 | Annual Pass Holder | $0.00 | Annual Pass Holder Companion* | Tk.812 |

Children (Ages 3-12)
Seniors (Ages 60+) Regular | Tk945 | Annual Pass Holder | $0.00 | Annual Pass Holder Companion* | Tk756 |

Toddler (36 months & under) – FREE | | (Films over 60minutes in length) estimated prices | General (Ages 14 - 59) Regular | Tk840 | Annual Pass Holder | Tk.350 | Annual Pass Holder Companion* | Tk.672 | | Seniors and Child (13 & under Ages 60+) Regular | Tk.700 | Annual Pass Holder | Tk.350 | Annual Pass Holder Companion* | Tk.560 | | |

Organizational Plan…

Organizational Plan

To effectively run our operations we have to have effective human resources so that we can deliver our value to our viewers who are our sole customers . Time management will be very important in our business. We can recruit the sales and marketing management people who previously worked for similar company so that we could gather their strategies from them. This way, we can have an experienced sales, marketing and overall strong management backbone for our venture and operate efficiently. Employees at our company should be enjoying their work and should be given the opportunity to contribute in the creative side of the business aspect. They will be given the flexibility to plan the innovation for providing value and curtail services for customers and find the ways to attract and retain a loyal customer base.

Key Issues
Human resource base of our company will play a crucial role in the success of the organization. Employees need to feel the belongingness for the organization and thus should be pro-actively working for the success of the whole work execution. The organizational culture is demonstrated only by the attitude of its employees, therefore the company culture should be very flexible, timely, customer responsive and innovative. The employees will be given the platform to contribute in generating idea and improving the performance of the organization as a whole. The employees will also be able to recognize their contribution in the organization and thus will be motivated to generate better output through their performance.

Staff Requirements
The top management of our company will comprise of four of the partners. We are all qualified and experienced individuals in our own fields. Production manager will supervise the general, management and supervisory staff.
Marketing manager will develop marketing plans and foster sales through intermediaries. These people have to have adequate knowledge in how to have customer attention. There will be 1 Admin Officer who will be responsible for administration of our office building at which will adjoin with the theatre.

Structure
The top management of the company till the ground level workers will maintain this hierarchy. The following chart consist the required hierarchy and the chain of command maintained by the human resources for running the operation efficiently and smoothly.

Board of Director
32% share
Board of Director

Board of Director
42% share

Operation Dept. and Marketing & Sales Dept.

Finance & Accounting Dept.

Administrative officer

Production supervisor

Managment Staff

Figure: Organizational structure

Expectations
The expectation from the employees will be to meet the company objectives and act accordingly. They should have a clear and thorough knowledge of IMAX theatres both as a theatre and organization and be aware of their international activities and marketing and management trends. They should adjust with the working environment and act in a timely manner and also be customer responsiveness. As time goes by, it is expected from them to learn from the past experience and perform in an effective manner.

Reinforcements:

The employees will be paid on a monthly basis. The production supervisor will be paid Tk.15, 000 initially. This will be raised as time goes by and also based on return on investment. The management staff will be paid Tk.15, 000 per month. In order to improve their performance, they will be given feedback periodically. The Admin Officer will be paid Tk. 14,000, and the regular staff (required for utilities and general operations) will be paid Tk. 6,000 monthly.

Smooth Communications and Working Environments:

In the company, we will have to have smooth and continuous communications between all the levels. There will be a process where all the employees can contribute and give inputs, such as, new ideas in management designs, strategic changes and in other decision making criteria. If this exists, they will feel themselves important and it will motivate them to put efforts to make company work for betterment. They will feel comfortable and will feel like home while working for the company.

Financial Projection…

For financial projection, pro forma income statement is very important. It is used to provide a company’s forecasted sales, cost of goods sold, operating expenses, other expenses, and net profit.

PRO FORMA BALANCE SHEET(In thousands of BDTK) | 2011 | 2012 |

ASSETS | | | Cash | 1891190 | 1405670 | Acconts recievables | 1608740 | 2635640 | Financing recievables | 3929660 | 4380950 | Inventories | 1387540 | 718970 | Prepaid expense | 139860 | 182630 | Film assets | 274610 | 225260 | Property,equipment | 2758350 | 3837400 | Other assets | 1125180 | 1059800 | Goodwill | 2731890 | 2731890 | Other intabgible assets | 159670 | 149940 | TOTAL ASSETS | 16006690 | 17328150 | | | | LIABILITIES | | | Bank Indebtness | 1400000 | 3500000 | Accounts payable | 1105300 | 1176210 | Accrued liabilities | 4073930 | 5449710 | Deffered revenue | 5001640 | 4051530 | Senior notes | 11200000 | 9809783 | TOTAL LIABILITIES | 22780870 | 14177450 | | | | SHAREHOLDERS EQUITY | | | Capital stock | 19910880 | 19603360 | Other equity | 362810 | 423080 | Deficit | (17290630) | (16939160) | Accumulated other comprehensive income | 63420 | 63420 | Total shareholder’s equity defieciency | 6774180 | 3150700 | Total liabilities and shareholders equity(deficiency) | 16006690 | 17328150 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |

IN COME STATEMENT( in thousands of BDTK)

| 2011 | 2012 | | | | Revenues: | | | Equipment and predict sales | 1949710 | 4011280 | Service | 4303390 | 5744060 | Rentals | 574490 | 1803060 | Finance income | 301000 | 296450 | Other | 61670 | 130340 | | 7190260 | 11984770 | Cost and expense applicable to revenues | | | Equipment and product sales | 1202740 | 2032800 | Service note and rentals | 2853970 | 3492370 | Other | 493010 | 706510 | | 4561550 | 44450 | Gross margin | 2628710 | 6276130 | Selling expenses | 3070270 | 5708640 | Research and development | 522270 | 3934490 | Ammortization of intangibles | 36820 | 262850 | Recievables | 138390 | 38220 | Asset impairments | | 12600 | | | | Earning (loss) from operations: | (1126440) | 1385790 | Interest income | 26670 | 6860 | Interest expense | (1239490) | (969150) | Loss on repurchase of senior notes | (40530) | 40530 | Earning from continuing operations before income taxes | (2339260) | 382970 | Provision for income taxes | (6440) | (12320) | Earning (loss) from continuing operations | 234570 | 363790 | Eranings from discontinued operations | (6440) | (12320) | Net earnings (loss) | 2352140 | 351470 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |

CASH FLOW STATEMENT(in thousands of BDTK)

| 2011 | 2012 | Cash provided by operating activities | | | | | | Net cash provided by (used in) operating activities. | (458360) | 964740 | | | | Net cash used in investing activities | (1569260) | (1929620) | | | | Net cash provided by using financing activities | 2731330 | 502670 | | | | Effects of exchange rate on cash | 4410 | (23310) | | | | Decrease(increase) in cash and cash equivalents during the year | 708120 | (485520) | | | | Cash and equivalents ,beginning of the year | 1183070 | 1891190 | | | | Cash and equivalents ,end of the year | 1891190 | 1403670 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |

INITIAL INVESTMENT(In thousand BDTK)

Property,plant and equipment | 4000000 | Initial rent | 1000 | Rent in advance | 10000 | Insurance | 500 | Office supplies | 100 | Misclellaneous expenses | 1000 | Utilities | 50 | Salary | 40000 | Other intangible assets | 500000 | Film Assets | 100000 | TOTAL | 4616650 | | | | |

PAYBACK PERIOD-(In thousands of BDTK)

INITIAL INVESTMENT-Tk 4616650

The projected cash flows for some of the coming years are tk 1891190,tk 1403670,tk 507652,tk 672094,tk 993039,tk 987365,tk1187643,tk 1234544,tk 1092437

The payback period is 4.21 years.

Appendix…

APPENDIX

http://www.pillardata.com/tag/imax/ http://www.careermarketplace.com/JobSeeker/Director_IMAX_Theaters_WJ496316.aspx http://www.fundinguniverse.com/company-histories/Imax-Corporation-Company-History.html

http://www.imaxwinnipeg.com/specifications http://en.wikipedia.org/wiki/IMAX http://www.pwc.com/en_IN/in/assets/pdfs/ficci-pwc-indian-entertainment-and-media-industry.pdf https://tickets.imaxwpg.com/TheatreManager/1/login&event=0 http://www.imaxwinnipeg.com/pricingdetail