Common Questions - Answered

1. Common Questions - Answered

2. “Is the system tested?” • Under the US rollout model, there will be an initial “plugfest” to ensure compatibility between equipment providers and content sources • Following this, a selection of combinations will be placed in a beta test – covering 180 to 240 screens in 3 to 4 projector-server combinations • This beta test will continue until Technicolor, the studios, and exhibitors are comfortable with the levels of reliability being achieved (est. 3-6 months) • For European deployments, beta testing will be assessed on a case-by-case basis (i.e., are the projectors and servers the same or different) • Given European deployments will likely occur after the US beta test, Technicolor is confident that its system will be fully tested by the time it is deployed in Europe

3. “Do all major studios support it?” • Firstly, the Technicolor rollout is and will remain fully compliant with the studio-driven DCI standard. • Currently 5 Studios have signed up, and a further 2 are committed to agree by the time of the beta test • In Europe, additional local distributors would need to agree to using the digital equipment, which is why it is important for Technicolor to have European content preparation capabilities – it will be able to provide digital prints for those local distributors

4. “Is alternative content use permitted?” • Exhibitors pay a secondary cost burden in the rollout model – the primary cost being borne by the studio through the payment of a virtual print fee (VPF). This exhibitor contribution is negotiated in part on the basis of the usage of the equipment • The exhibitor would either pay: a flat fee, a revenue share, or a combination of the two to cover alternative content and screen advertising usage • The exhibitor is then free to conduct its business directly with these non-theatrical content providers

5. “Who maintains it, and who owns it at the end?” • The exhibitor is responsible for maintenance, and the tested assumption is that maintaining a digital system should not be markedly more costly than a 35mm system • The exhibitor will be responsible for consumables (e.g. lamps) • At the end of the term, it is expected the exhibitor will own the equipment, purchasing it from Technicolor at a residual value

6. “Is it a closed system?” • An important feature of the system – one that the studios insisted upon – is its openness and separation between distributor and equipment usage • Any service provider able to deliver DCI compliant digital prints in the format accepted by the Technicolor system will be able to distribute content to the systems • Technicolor will also be providing these services and competing with those entities • Technicolor will also be competing to deliver content to digital systems other than its own

7. “Does the exhibitor lose control?” • Technicolor will never be in a position to control what screen you show a movie on, whether any showing is permitted; exhibitor master agreements with studios will need to be appropriately negotiated regarding security keys • Technicolor will not provide any screen specific information to studios other than that contractually agreed upon by you and the studios • Technicolor will gather operating and billing related data from the systems, which will be used in an aggregated manner

8. “Do you have the capital to fund this?” • Technicolor Digital Cinema is not a startup. It has a 90 year history serving the film industry, and is a division of Thomson, S.A., part of the CAC 40. • Thomson has extensive relationships with lender and leasing companies which have indicated a strong intent in providing Thomson the funding for our rollout. • We expect to have a definite financing structure in place as we exit the beta test.

9. Digital Screen Advertising

10. Screen Advertising Systems • In parallel to a digital cinema rollout, TDC won the contract to install and manage the network operations of the digital cinema advertising system for Screenvision US (HD, non-DCI system) • This network expertise is easily transportable, flexible, and upgradeable – the projector being the only barrier to 2K advertising • By working closely with screen advertising sales houses, TDC believes it will be an important participant in the digital screen advertising value chain in Europe • As D-cinema and E-cinema converge, TDC will be well placed to offer the most competitive distribution and management service to screen advertisers and exhibitors

11. Screen Advertising System Design • Customers • Exhibitors • National Advertisers • Regional Advertisers • Local Advertisers • Alternate Content Live broadcast transmission Activity Management Cinemas Playlist scheduling Traffic Management Media Asset Management Unencrypted digital advertising transmission Playlists Playdates Creative Services Post Production Encoding Internet Cinemas Content Unencrypted digital advertising transmission Technicolor Network Operations Web interface (TED) Technicolor Production Network (TPN) Tape/Hard Media Transmission Uplink Internet Cinemas Monitoring Support Exhibitor Broadband Backchannel to NOC

12. Summary

13. Technicolor’s Competitive Advantage • Proven expertise in delivering quality solutions in both analogue and digital environments • Single point of accountability from deployment through distribution services … enabling a zero defect environment • Deep technology experience … but technology agnostic • Legacy of trust and established ability to continuously provide service models that meet changing distributor and exhibitor needs • Has secured agreements with studios and now exhibitors in the US, and is looking to extend that model to Europe • Offers a seamless path from digital screen advertising to Digital Cinema

14. Thank You