VPF management is highly concentrated in the US and new initiative will open up options for exhibitors not currently signed up to a VPF-based network. Currently, the market is split between DCIP, which controls the conversion of the top three circuits and independent facilitator Cinedigm, which accounts for the vast remainder of circuits beginning to sign to full conversion, including members of the Cinema Buying Group (CBG). Other option is Sony's own VPF based programme, also operating in North America as well as other world regions.  Several US Studios have also linked with exhibitors independently, although the ability to have all VPF deals under one roof will undoubtedly help streamline the process. VPF networks no longer operational include those formerly launched by Technicolor and Kodak for North America. In comparison, in Europe, there are at least three major independent VPF based networks such as XDC, Arts Alliance Media and Ymagis, plus the same offer from Sony.  In Asia Pacific, GDC tech also has a regionally-based VPF scheme and signed two significant Japanese circuits.

 The move for Christie into VPF provision is not entirely new and comes after its initial set up with the formerly named AccessIT  (now Cinedigm) to form Christie/AIX as far back as 2005; but its then role was limited to equipment provider.  However, the link between equipment providers and financing or VPF support roles is certainly not new . However, Christie's arguably later stride into this arena, is perhaps more indicative of the opportunity  and existing  gap in the US market.  Similarly too, rival projector company Barco launched a vendor financing scheme, which it extended earlier in 2011, but this was linked to Cinedigm and based on the financing for conversion, rather than the mechamism (VPF) to recoup certain costs over time. The move follows a similar reassessment of strategy from other projectors companies, again Barco, which recently acquired the assets of XDC's CineStore sever in a bid to position company as a full service equipment resource. At end H1 2011, there were around 19,000 active d-screens in the US market, up from 10,000 at the same period in 2010.