Digiplex is a growing movie theater circuit focused on acquiring and improving theaters. It currently owns 19 theaters with 184 screens across 6 states. Digiplex aims to grow its footprint to 100 theaters and 1,000 screens located primarily in top markets. The company pursues an acquisition strategy of purchasing cash flow positive theaters at reasonable multiples. It also seeks to increase theater utilization and revenue through alternative programming events. Digiplex is led by an experienced management team with deep industry expertise.

1. A Peek Into The Future of Theatrical Exhibition
NASDAQ: DCIN
www.digiplexdest.com

2. Forward-Looking Statements
Certain statements and estimates in this presentation are "forward-looking statements" within
the meaning of the Private Securities Litigation Reform Act of 1995. They include, for example,
statements about: expected benefits from the conversion to digital cinema; and the Company’s
ability to successfully pursue its strategies. These forward-looking statements are not guarantees
of future performance. They are based on management's expectations that involve a number of
business risks and uncertainties, including the risks set forth under the heading “Risk Factors” in
our 10-K for the year ended June 30, 2013, any of which could cause actual results to differ
materially from those expressed in or implied by the forward-looking statements. Any estimates
or other forward-looking statements provided in this presentation speak only as of the date they
were made, and, except to the extent required by law, we undertake no obligation to update or
review any estimate and/or forward-looking statement because of new information, future
events or other factors.
2

3. Investment Highlights
 Growth Story: Fastest growing public company in the theater exhibition space
 Revenues have grown 3.7x year over year
 Potential for significant multiple expansion as company grows in size and liquidity improves
 Strong Acquisition Pipeline: Favorable M&A landscape in the theater exhibition industry
provides wealth of opportunities
 Management has relationships, dialogues, and business history with a vast number of theater owners / prospective
acquisition candidates
 Content Play: Emphasis on alternative content provides innovative strategy to drive
incremental growth and improve capacity utilization
 Focused on acquiring proprietary content that can drive customers to theaters at non-peak times
 Strong Management Team: Executive team of industry veterans provides outsized
experience and knowledge base relative to company size
 Pioneers in the digital cinema industry (Clearview / Cinedigm legacy)
 Most of the current management team has worked together for over a decade at previous enterprises
 Strategic Alliances: Digiplex has meaningful relationships with key industry players, providing
material credibility at an early growth stage
3

4. Industry Overview
4

5. Long-Term Industry Box Office Success and Stability
Cinema Has Performed Well Over Decades
 2012 broke all-time domestic box record
set in 2009 by ~$240 million, for a total of
$10.8 billion
U.S. Annual Box Office Performance (billions $US)
2012
$10.8
$12
$11
5% Box Office CAGR* (1970-2011)
$10
$9
 Stable industry with consistent pricing
power, despite technological advances
 Inexpensive out-of-home entertainment
option typically resilient to economic
pressures
 Average ticket price has grown from $5.66
in 2001 to $7.96 in 2012
$8
$7
$6
$5
$4
$3
$2
$1
$0
Commercial Penetration of New Media Forms “Competing” With Box Office:
Cable
VCR
Internet
DVD
Sources: Box Office Mojo, Box Office Magazine
5

6. Film Remains the Most Popular and Affordable Out-of-Home Entertainment
$350
$300
Average Cost
$250
$200
Theme Parks
$150
$100
$50
Cinemas
$-
200
400
600
800
1,000
Popularity (Attendance)
1,200
1,400
Source: MPAA – Theatrical Market Statistics, 2012
6

7. Corporate Strategy
7

8. Strategic Overview
 Acquisition Plan: Opportunistically expand Digiplex ’s national footprint by
identifying and acquiring solid performing theaters in accretive transactions at
reasonable cash flow multiples (approx. 4.5x – 6x, including initial CapEx)
 Improve the Theater-Going Experience: Further enhance acquired theaters with
additional investments in digital technology and focus on customer enjoyment
 Increase Utilization: Drive theater-level utilization rates with proprietary and
alternative programming to attract targeted niche customers to events at off-peak
times
 Long-term Goals:
 100 theaters/1,000 screens in 75/100 top DMAs
 Become a media company: As the platform grows, Digiplex will be increasingly focused on pushing
proprietary content through its platform and to other non-owned affiliates
 Goal of alternative content reaching 20% of total revenue at high margins, with minimal risk
8

9. Screen Acquisition Landscape
Favorable Industry Trends
Approximately 40,000 Screens Domestically
~ 20,000
Owned by Top 4 Exhibitors
(AMC, Regal, Cinemark, Carmike)
~8,000
Regional
Circuits
~12,000
Disaggregated
Independents
 Industry has a significant number of smaller-scale
regional and “Mom n’ Pop” theatre owners
 Ongoing digital conversion of domestic screen base
requires significant investment on behalf of owners to
stay relevant; often exceeding capital access
 These factors have produced significant opportunities
in the acquisition pipeline
Disciplined Approach
 Price: ~4.5x-6x Theater-Level Cash Flow
Our Opportunity:
We believe that there is a substantial number of
theaters within this subset of screens that are
ripe for acquisition. We seek acquisition
candidates that fit the following:
• Cash Flow Positive
• High Quality Assets
• Located in Top 100 DMA
• Owners Seeking Exit Opportunity
 Includes initial CapEx and cost of improvements
 Location: methodical targeting of free zones in top100 DMAs
 Focus on creating media distribution network
better tailored to local tastes
 Early stage of roll-up allows us to be more
opportunistic than our competition
geographically
9

10. Digiplex Footprint Overview
 Current Footprint:
 19 Theaters / 184 Screens
 Located in six states (AZ, CA, CT, NJ, OH, PA)
 15 of Digiplex’s 19 locations are in top 30 DMAs
 100% digital screen base (including 35-40% 3D capable)
 Long-Term Goal: Grow to become a national circuit featuring 100 theaters / 1,000 screens in 75 of the
Top 100 DMAs
 Added 165 screens since the Company’s IPO in April 2012
 Additional Positives:
 Joint Venture with Start Media provides acquisition vehicle / capital
 The size of DCIN’s footprint allows for better acquisition opportunities (smaller theaters at
preferred pricing / purchase multiples)
10

11. Digiplex Acquisition History
Bloomsburg
Camp Hill
Reading
Selinsgrove
Williamsport
Lisbon Theater
Acquisition 4
Lisbon
Surprise Point 14
Apple Valley
Mission Marketplace
Temecula Tower
Poway
Mission Valley
River Village
Acquisition 5
Surprise
Apple Valley
Oceanside
Temecula
Poway
San Diego
Bonsall
Sparta
Acquisition 6
Sparta
Solon
Acquisition 7
Solon
Torrington
Acquisition 8
Torrington
ND
$163,636
1
8
8
$0.1
1.0x
$12,500
5
11
12
10
12
9
54
$13.9
4.8x
$257,407
1
12
12
$6.6
6.0x
$550,000
7
14
14
13
10
10
7
6
74
$12.8
5.0x
$172,973
1
3
3
ND
ND
ND
1-Feb-13
Cinema Center of Bloomburg
Cinema Center of Camp Hill
Cinema Center of Fairground Mall
Cinema Center of Selinsgrove
Cinema Center of Williamsport
Acquisition 3
$1.8
1-Jan-13
Bloomfield
2
6
5
11
1
16
16
ND
ND
ND
1
6
6
$0.6
ND
$105,751
New Jersey
New Jersey
Bloomfield 8
Acquisition 2
TTV/
Screen
11-Dec-12
Westfield
Cranford
TTV /
TLCF
29-Sep-12
Rialto
Cranford
Acquisition 1
Transaction
Value ($MM)
20-Apr-12
State
# Screens
17-Feb-11
Location
# Theaters
31-Dec-10
Theatre
Acquisition Date
Connecticut
Pennslyvania
Pennslyvania
Pennslyvania
Pennslyvania
Pennslyvania
Connecticut
Arizona
California
California
California
California
California
California
New Jersey
Ohio
Connecticut
19-Jul-13
Mean
9.6
4.2x
$210,378
Median
10.0
4.9x
$168,305
11

12. Improve Utilization: Alternative Programming
 Strategy: Schedule wide range of alternative programming, building awareness and attendance gains through active
targeted marketing and comprehensive social media customer engagement initiatives
 Long-term goal: Generate 20% of total box receipts from alternative content, improving attendance metrics at ~50%
higher ticket price…replacing underperforming Hollywood titles on screen
 Progress Update: Continuing to introduce DCIN’s alternative programming, targeted marketing platform, and active,
low-cost social-based outreach strategies that were successfully implemented in its first 3 locations to its newly
acquired facilities
 Alternative programming as a % of total fiscal Q4’13 admissions revenues averaged ~3% at locations owned for
more than one year (6% in Q3 ‘13 – less contribution from Hollywood content)
Procure Content
 A diverse range of programming that
appeals to wide array of audiences
Schedule Programming
 Ideally Mon.-Thurs., when average
cinemas operate at <10% capacity
 Digital content allows for timely and
targeted schedule and content
optimization
Market Events
 Create awareness/interest through
DCIN’s consumer engagement
initiatives: customer targeting,
relationship building, fostering a
two-way dialog with guests
12

13. Improve Utilization: Alternative Programming Successes
Sample Content and Event Grosses
Alternative programming consistently outperforming lowest
(and often highest) grossing movies…at higher prices
Day of
the Week
Monday
Event Offered
Opera Encore: Die Walkure
Movie Classic: Star Trek 25th Anniversary
Opera Encore: Wagner’s Dream
Event Gross
that Day
$453
$911
$389
Highest Grossing
Movie that Day
$250
$284
$360
Lowest Grossing
Movie that Day
$0
$169
$0
Event Ticket
Price (1 adult)
$12.50
$12.50
$12.50
Tuesday
Ballet: Nutcracker Live
Concert: Rolling Stones Live in 1978
Ballet: Le Corsaire
$1,345
$672
$566
$125
$90
$125
$0
$9
$0
$20.00
$12.50
$15.00
Wednesday
Broadway: West Side Story
Broadway: Love Never Dies
Opera: La Traviata
$2,425
$1,422
$1,340
$73
$108
$93
$56
$0
$0
$12.50
$12.50
$20.00
Thursday
Movie Classic: Singin’ in the Rain
Art Show: Leonardo Live
Movie Classic: Singin’ in the Rain
$2,603
$1,592
$955
$608
$272
$235
$48
$20
$28
$12.50
$12.50
$12.50
Saturday
Opera Live: Don Giovanni
Opera Live: La Traviata
Sports: Mayweather vs. Ortiz
$7,073
$3,850
$1,817
$530
$1,169
$2,037
$21
$48
$44
$25.00
$12.50
$18.00
Sunday
Opera Live: Phantom of the Opera
Ballet: Le Corsaire
Los Angeles Philharmonic
$1,104
$976
$479
$282
$309
$309
$28
$8
$8
$18.00
$15.00
$18.00
$783.31
$497.05
$76.41
$15.01
Averages:
13

14. Conceptual Overview: Alternative Content to Drive Utilization
Weekly Box Office Contribution (Historical)
Goal for Alternative Content
30%
 Long-Term Goal: Achieve 20% Box
Office Contribution from Alternative
Content
 High Margin / Low Risk
25%
 Benefits of Alternative Content:
20%
 Drive incremental weekday
attendance
15%
10%
 Smooth out the daily demand curve
5%
 Generate attractive admission
premiums
0%
Mon
Tues
Wed
Thurs
Fri
Sat
Sun
Source: BoxOfficeMojo.com, 2012 daily domestic box office data
 Longer-term downstream revenue
opportunities
14

15. Using Digital Technology to Serve Diverse Audience
 DigiNext Value-Creation Opportunity
 Unique, specialty content joint venture with Nehst Studios featuring a curated series of documentaries and indie features (hand-selected
from world’s leading film festivals) shown on Digiplex circuit and at friendly, non-competing theaters
 Forged unique alternative content distribution alliance with cinema advertising giant

potential platform of 14,000+ Screenvision theater network auditoriums across the US
 DCIN receives 50% of all net downstream/ancillary revenues including DVD, digital downloads and international broadcast rights
 Additional features and unique benefits of DigiNext:
 Opportunity for innovative live Q&A between audience and cast members
 Affordable pricing ($7.00 per ticket, or $6.00 if 5-title subscription purchased)
 ‘Pay it Forward’ – a charitable program allowing Digiplex patrons to give back to their community
 ~Ten releases/year (excluding high-traffic ‘holidays’)
February 2013
March 2013
April 2013
August 2013
December 2013
 Leveraging digital technology in innovative ways to enhance entertainment options
 Select DCIN theater locations have started presenting special engagements of major Hollywood movie releases with both Spanish and English
sound tracks
 Participating locations include, Apple Valley and San Diego, CA, and Reading, PA
 DCIN plans to expand this entertainment option to include more locations and to feature Asian and other foreign language presentations in
addition to Spanish
15

16. Experienced Management Team of Industry Pioneers
Digiplex Corporate Officers
 Bud Mayo, Chairman and CEO (Board Member): Industry veteran with over two decades of experience. Previously,
Bud founded and led both Cinedigm Digital Cinema Corp., the pioneer and leader in digital cinema, and Clearview
Cinema Group, a top U.S. theater circuit. In recognition of his efforts within the industry, Bud received the distinct
honor of being inducted into the film exhibition Hall of Fame at the industry's 2010 ShowEast conference.
 Brian Pflug, CFO (Board Member): Former Controller at Clearview Cinemas and former SVP of Accounting and Finance
at Cinedigm Digital Cinema Corp. Mr. Pflug has worked with Bud Mayo since 1998, when Brian was controller at
Clearview Cinemas. The two then worked together at Cinedigm Digital Cinema Corp. where Brian rose to senior vice
president of Accounting and Finance, his most recent position before Digiplex.
 Chuck Goldwater, Senior Vice President (Board Member): Industry veteran with over two decades of experience.
Former CEO of Digital Cinema Initiatives, the major studio consortium that set digital standards; and was the former
Head of Cinedigm’s digital cinema unit. Chuck has held senior management positions at a number of leading theater
exhibitors including USA Cinemas, National Amusements and Loews Theatres, and he served as President/CEO of
Mann Theatres and President at Clearview Cinemas.
 Jeff Butkovsky, Chief Technology Officer: Jeff has an extensive background in digital cinema and over 25 years in
technology management, software development and technology sales. He was Cinedigm Digital Cinema Corp.’s Senior
Vice President and Chief Technology Officer from October 2000 to July 2010.
16

17. Case Study: Clearview Cinemas
 Bud Mayo co-founded Clearview with four theaters and sold the company to Cablevision four years later
 Attractive exit price for IPO investors:
Share Price Aug 21, 1997 (market open):
$ 8.00
Sold for Share Price Dec 8, 1998 (on or about 12/8):
$24.25
Hold Time (# of days):
~ 474
Return on Investment (approximate):
233%
Clearview Cinemas Corporate Timeline
1995: Acquired 3
theaters and 11
screens
1994
Sep. 1994: Co-founded
by Bud Mayo with 4
theaters and 8 screens
1995
Dec. 1994: Received
equity from CMNY
Capital and added 3
screens
1996: Acquired 9
theaters and 39
screens
1996
May 1996: Received
equity investment of
$4.5M from MidMark
Capital
Aug. 1997: IPO – Sold
1.15M shares for $9.2M
gross
Jan. – Sep. 1998: Acquired 11
theaters and the right to
operate one theater for a total
of 54 screens
1997
1997: Acquired 14 theaters with
79 screens, added 6 screens to
acquired theaters and
constructed a 5-screen theater
1998
Dec. 1998: Sale to Cablevision
(NYSE: CVC) for $160M, including
New York City’s Ziegfeld Theatre
PAST PERFORMANCE IS NOT INDICATIVE OF FUTURE RESULTS: The above information is presented solely for informational purposes, and no representation, warranty or guarantee is being made relative to the
future performance of the Company or the trading price of its Class A common stock whatsoever.
17

18. Carmike Cinemas Case Study
Carmike Cinemas
Digital Cinema Destinations
Share Price Relative to Screen Count
Share Price Relative to Screen Count
DCIN Screen Count
CKEC Screen Count
DCIN Return
CKEC Return
70.0%
200
70.0%
2600
60.0%
180
60.0%
2550
50.0%
160
50.0%
40.0%
140
40.0%
30.0%
120
30.0%
2500
2450
10.0%
80
2350
20.0%
2300
Screen Count
100
Share Price Return
20.0%
Screen Count
Share Price Return
2400
10.0%
2250
0.0%
60
0.0%
2200
-10.0%
40
-10.0%
-20.0%
20
-20.0%
0
-30.0%
Apr-12
-30.0%
Apr-12
Jul-12
Oct-12
Jan-13
Apr-13
Jul-13
2150
2100
2050
Jul-12
Oct-12
Jan-13
Apr-13
Jul-13
18

19. Key Strategic Partnerships
Joint Venture Partner
•Up to $20MM in
acquisition capital
•Alternative Content
Distributor
On Screen Advertising
Partner
•14,000 screen network
•($0.17 per patron, ~50/50 split)
•Content through Fathom
Specialty Content JV
Point-of-Sale Software
•Integrated with EMS and ERP
•Provides documentaries and
indie features
Exhibitor Management
Services Platform
Negotiating Partner with Film
Distributors
•EMS tracks ticketing, receipts,
revenue, payments, scheduling
•Monthly flat fee for license fee
negotiations
19

20. Start Media Joint Venture
 Formation: December 10, 2012
 Purpose: To acquire, refit and operate movie theaters
 Start Media has committed to contribute up to $20 million.
 Agreement:
 JV is managed by a four person board of managers (equal representation)
 As of June 30, 2013, Digiplex and Start Media owned 33% and 67% of the equity of JV, respectively
 JV has a first right of refusal to acquire any theaters DCIN wishes to acquire, except for any theaters
within a ten mile radius of existing Digiplex owned theaters. If JV does not exercise its right of first
refusal, DCIN has the right to make the acquisition independently.
 Agreement for ten years, optional renewal of terms in 2022
 Progress Update:
 Digiplex has contributed 961,393 shares of Class A common stock
 Start Media has contributed approximately $10.3 million in cash to date
 Capital contributions were used for the UltraStar acquisitions, the Torrington theater acquisition,
and to fund anticipated capital expenditures for JV-owned theaters
20

21. Financials
21

22. Selected Financials and Operating Metrics
($ in thousands)
Admission revenue
Concession revenue
Other
Three Months Ended
June 30,
2013
2012
Twelve Months Ended
June 30,
2013
2012
%∆
%∆
7,578
3,301
322
2,651
1,032
113
186%
220%
185%
21,305
8,889
990
4,738
1,646
287
350%
440%
245%
Total Revenue
11,201
3,796
195%
31,184
6,671
367%
Net Loss
(1,209)
(1,002)
NM
(5,256)
(1,967)
NM
Gross Margin Analysis
Box office less exhibition cost gross margin
Concession gross margin
47.3%
82.0%
44.0%
81.9%
8%
0%
49.8%
83.2%
49.6%
82.1%
0%
1%
Theatre level cash flow (1)
Adjusted EBITDA (1)
1,922
888
701
32
174%
NM
5,633
2,366
1,251
(410)
350%
NM
Key Operating Metrics
Theaters
Average Screens
Total attendance (in thousands)
Average attendance per screen
18
178
1,009
5,667
8
62
339
5,506
125%
187%
198%
3%
18
130
2,852
22,014
8
30
570
19,331
125%
333%
400%
14%
$ 7.92 $ 7.82
$ 3.45 $ 3.04
$ 11.37 $ 10.86
1%
13%
5%
8.31
2.89
11.20
(6%)
13%
(1%)
Average admission per patron
Average concessions sales per patron
Sales Total Per Patron
$
$
$
7.83 $
3.27 $
11.10 $
(1) Theater level cash flow and Adjusted EBITDA are supplemental non-GAAP financial measures. These metrics as shown above are net of Start Media’s share of these items.
22

23. Selected Financials and Operating Metrics
Assets
($ in thousands)
Cash and Equivalents
Accounts Receivable
Inventories
Deferred financing costs, current portion
Prepaid expenses and other current assets
Twelve Months Ended
June 30,
2013
2012
Liabilities and Equity
($ in thousands)
Property and equipment, net
Goodwill
Intangible Assets
Security deposit
Deferred financing costs, long-term portion, net
Other Assets
Total Assets
2,037
238
78
381
Accounts payable
Accrued expenses
Payable to vendor for digital systems
Notes payable, current portion
Capital lease, current portion
6,296
2,734
29,171
3,156
6,186
205
1,225
9
15,432
980
4,114
3
14
46,248
23,277
2,478
3,964
1,373
121
851
1,088
3,334
1,000
-
Earnout from theater acquisition
296
79
Deferred revenue
Total Current Assets
3,607
697
191
357
1,444
Twelve Months Ended
June 30,
2013
2012
305
31
8,537
6,383
8,615
239
159
407
190
83
Total Current Liabilities
Notes payable, long-term portion
Capital lease, net current portion
Unfavorable leasehold liability, long-term portion
Deferred rent expense
Deferred tax liability
Total Liabilities
Preferred stock
Class A Common Stock (20,000,000 shares authorized,
5,511,938 and 4,519,452 issued and outstanding as of June
30, 2013 and 2012)
Class B Common Stock (900,000 shares authorized,
865,000 and 900,000 issued and outstanding as of June 30,
2013 and 2012)
Additional paid in capital
Accumulated deficit
Total stockholder equity
Noncontrolling Interest
Total Equity
199
39
18,156
6,695
-
-
55
45
9
9
25,816
(7,049)
19,285
(2,757)
18,831
16,582
9,261
-
28,092
16,582
23

24. Digiplex Model Summary – “Cinema Reinvented”
TRANSFORM
CONVERT & INVEST
ACQUIRE
 Cash flow positive theaters
 Top DMAs
 Pay reasonable cash flow multiples
(including initial CapEx)
 Convert analog systems
 Integrate into DCIN digital platform
 Add additional screens where
feasible/profitable
 Theaters to entertainment
destinations
 Innovative programming + social
media = increased seat utilization
(especially on slow weeknights)
 ex: Sporting Events, Opera,
Ballet
INCREMENTAL REVENUES
PRE-SHOW ADVERTISING
COST REDUCTIONS
 Software systems provide
flexibility/efficiency/lower expenses
 Virtual print fees (VPF) benefit
theater level cash flows, offsetting
film rent
 Participation on NCM national
pre-show ad network (19K+
screens)
 Generating guaranteed per
attendee minimum rate…or better
 Attendance gains lead to
enhanced concession revenues at
attractive gross margins (>80%)
 3D (36% of footprint is 3D
compatible)
 Alternative programming (~50%+
higher ticket prices)
 Ad revenues of 17¢ per patron is
NCM minimum guarantee
24

25. Investment Highlights
 Growth Story
 Strong Acquisition Pipeline
 Content Play
 Strong Management Team
 Strategic Alliances
25