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Despite the fact that today, virtually all global movie theaters have converted their screens to digital cinemas, some major motion pictures even as of are shot on film.

In addition to the equipment already found in a film-based movie theatre e. Promotional trailers arrive on a separate hard drive and range between GB and GB in size.

Regardless of how the DCP arrives, it first needs to be copied onto the internal hard drives of the server, usually via a USB port, a process known as "ingesting".

DCPs can be, and in the case of feature films almost always are, encrypted, to prevent illegal copying and piracy. The necessary decryption keys are supplied separately, usually as email attachments and then "ingested" via USB.

Keys are time-limited and will expire after the end of the period for which the title has been booked.

They are also locked to the hardware server and projector that is to screen the film, so if the theatre wishes to move the title to another screen or extend the run, a new key must be obtained from the distributor.

The original version OV is used as the basis of all the other playback options. Version files VF may have a different sound format e.

The playback of the content is controlled by the server using a "playlist". As the name implies, this is a list of all the content that is to be played as part of the performance.

The playlist will be created by a member of the theatre's staff using proprietary software that runs on the server.

In addition to listing the content to be played the playlist also includes automation cues that allow the playlist to control the projector, the sound system, auditorium lighting, tab curtains and screen masking if present , etc.

The playlist can be started manually, by clicking the "play" button on the server's monitor screen, or automatically at pre-set times.

The specification ensures that 2K content can play on 4K projectors and vice versa. Smaller resolutions in one direction are also supported the image gets automatically centered.

For the sound component of the content the specification provides for up to 16 channels of uncompressed audio using the "Broadcast Wave".

Details about encryption, key management , and logging are all discussed in the specification as are the minimum specifications for the projectors employed including the color gamut , the contrast ratio and the brightness of the image.

While much of the specification codifies work that had already been ongoing in the Society of Motion Picture and Television Engineers SMPTE , the specification is important in establishing a content owner framework for the distribution and security of first-release motion-picture content.

In particular, NATO's document details requirements for the Theatre Management System TMS , the governing software for digital cinema systems within a theatre complex, and provides direction for the development of security key management systems.

It was clear by that point in time that HDTV did not provide a sufficient technological basis for the foundation of digital cinema playback.

D-Cinema projectors are similar in principle to digital projectors used in industry, education, and domestic home cinemas, but differ in two important respects.

First, projectors must conform to the strict performance requirements of the DCI specification. Second, projectors must incorporate anti-piracy devices intended to enforce copyright compliance such as licensing limits.

For these reasons all projectors intended to be sold to theaters for screening current release movies must be approved by the DCI before being put on sale.

They now pass through a process called CTP compliance test plan. Because feature films in digital form are encrypted and the decryption keys KDMs are locked to the serial number of the server used linking to both the projector serial number and server is planned in the future , a system will allow playback of a protected feature only with the required KDM.

Manufacturers of DLP-based cinema projectors can now also offer 4K upgrades to some of the more recent 2K models. Although based on the same 2K TI "light engine" as those of the major players they are so rare as to be virtually unknown in the industry.

They are still widely used for pre-show advertising but not usually for feature presentations. TI's technology is based on the use of digital micromirror devices DMDs.

The surface of these devices is covered by a very large number of microscopic mirrors, one for each pixel, so a 2K device has about 2.

Each mirror vibrates several thousand times a second between two positions: In one, light from the projector's lamp is reflected towards the screen, in the other away from it.

The proportion of the time the mirror is in each position varies according to the required brightness of each pixel.

Three DMD devices are used, one for each of the primary colors. The 'forward' reflected beam from the three DMMDs is then re-combined and focused by the lens onto the cinema screen.

Unlike DLP projectors, however, SXRD projectors do not present the left and right eye images of stereoscopic movies sequentially, instead they use half the available area on the SXRD chip for each eye image.

However, largely due to ongoing failure issues with their SXRD devices, Sony decided in late April, that they would no longer manufacture digital cinema projectors.

In late , interest in digital 3-D stereoscopic projection led to a new willingness on the part of theaters to co-operate in installing 2K stereo installations to show Disney's Chicken Little in 3-D film.

The technology combines a single digital projector fitted with either a polarizing filter for use with polarized glasses and silver screens , a filter wheel or an emitter for LCD glasses.

RealD uses a " ZScreen " for polarisation and MasterImage uses a filter wheel that changes the polarity of projector's light output several times per second to alternate quickly the left-and-right-eye views.

Another system that uses a filter wheel is Dolby 3D. The wheel changes the wavelengths of the colours being displayed, and tinted glasses filter these changes so the incorrect wavelength cannot enter the wrong eye.

XpanD makes use of an external emitter that sends a signal to the 3D glasses to block out the wrong image from the wrong eye. RGB laser projection for digital cinema: producing the purest colors and the brightest images.

MicroLED allows for the elimination of display bezels, creating the illusion of a single large screen. This is possible due to the large amount of spacing in between pixels in MicroLED displays.

Sony already sells MicroLED displays as a replacement for conventional cinema screens. Digital distribution of movies has the potential to save money for film distributors.

In addition hard drives can be returned to distributors for reuse. With several hundred movies distributed every year, the industry saves billions of dollars.

The digital-cinema roll-out was stalled by the slow pace at which exhibitors acquired digital projectors, since the savings would be seen not by themselves but by distribution companies.

The Virtual Print Fee model was created to address this by passing some of the saving on to the cinemas. As of 4 May , 37, screens out of a total of 40, screens in the United States have been converted to digital, 3, screens in Canada have been converted, and 79, screens internationally have been converted.

Realization and demonstration, on October 29, , of the first digital cinema transmission by satellite in Europe [43] [44] [45] of a feature film by Bernard Pauchon, [46] Alain Lorentz, Raymond Melwig [47] and Philippe Binant.

Digital cinemas can deliver live broadcasts from performances or events. This began initially with live broadcasts from the New York Metropolitan Opera delivering regular live broadcasts into cinemas and has been widely imitated ever since.

The Royal Opera House, Sydney Opera House, English National Opera and others have found new and returning audiences captivated by the detail offered by a live digital broadcast featuring handheld and cameras on cranes positioned throughout the venue to capture the emotion that might be missed in a live venue situation.

In addition these providers all offer additional value during the intervals e. In the last ten years this initial offering of the arts has also expanded to include live and recorded music events such as Take That Live, One Direction Live, Andre Rieu, live musicals such as the recent Miss Saigon and a record-breaking Billy Elliot Live In Cinemas.

Live sport, documentary with a live question and answer element such as the recent Oasis documentary, lectures, faith broadcasts, stand up comedy, museum and gallery exhibitions, TV specials such as the record-breaking Doctor Who fiftieth anniversary special The Day Of The Doctor , have all contributed to creating a valuable revenue stream for cinemas large and small all over the world.

Subsequently, live broadcasting, formerly known as Alternative Content, has become known as Event Cinema and a trade association now exists to that end.

Ten years on the sector has become a sizeable revenue stream in its own right, earning a loyal following amongst fans of the arts, and the content limited only by the imagination of the producers it would seem.

Theatre, ballet, sport, exhibitions, TV specials and documentaries are now established forms of Event Cinema. Event Cinema is defined more by the frequency of events rather than by the content itself.

On occasion more successful events have returned to cinemas some months or even years later in the case of NT Live where the audience loyalty and company branding is so strong the content owner can be assured of a good showing at the box office.

The digital formation of sets and locations, especially in the time of growing film series and sequels, is that virtual sets, once computer generated and stored, can be easily revived for future films.

A broad choice of effects can be sampled simply and rapidly, without the physical constraints posed by traditional cut-and-stick editing.

Low-cost cameras and computer-based editing software have gradually enabled films to be produced for minimal cost. The ability of digital cameras to allow film-makers to shoot limitless footage without wasting pricey celluloid has transformed film production in some Third World countries.

Unlike celluloid film, there is no projection mechanism or manual handling to add scratches or other physically generated artefacts.

Provincial cinemas that would have received old prints can give consumers the same cinematographic experience all other things being equal as those attending the premiere.

Russell [55] and Quentin Tarantino [55] have publicly criticized digital cinema and advocated the use of film and film prints.

He attempted at one stage to release Indiana Jones and the Kingdom of the Crystal Skull solely on film. Moreover, 4K post production was becoming more common as of Each frame has greater detail.

Owing to the smaller dynamic range of digital cameras, correcting poor digital exposures is more difficult than correcting poor film exposures during post-production.

A partial solution to this problem is to add complex video-assist technology during the shooting process. However, such technologies are typically available only to high-budget production companies.

The speed and ease of modern digital editing processes threatens to give editors and their directors, if not an embarrassment of choice then at least a confusion of options, potentially making the editing process, with this 'try it and see' philosophy, lengthier rather than shorter.

Because of the quick speed in which they are filmed, these stories sometimes lack essential narrative structure.

The evolutions of adding sound and wide screen could largely be accommodated by bolting on sound decoders, and changing lenses.

This well proven and understood technology had several advantages 1 The life of a mechanical projector of around 35 years 2 a mean time between failures MTBF of 15 years and 3 an average repair time of 15 minutes often done by the projectionist.

On the other hand, digital projectors are around 10 times more expensive, have a much shorter life expectancy due to the developing technology already technology has moved from 2K to 4K so the pace of obsolescence is higher.

The MTBF has not yet been established, but the ability for the projectionist to effect a quick repair has gone.

The electronic transferring of digital film, from central servers to servers in cinema projection booths, is an inexpensive process of supplying copies of newest releases to the vast number of cinema screens demanded by prevailing saturation-release strategies.

Theaters have been reluctant to switch without a cost-sharing arrangement with film distributors. Petit court metrage pour publiciser le premier anniverssaire de Kino Sherbrooke.

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