New Christie CP2000-M DLP Cinema Projector is World's Best "Lightweight Contender"

Christie, a global leader in Digital Cinema, introduces the most compact and lightest DLP Cinema projector in the world, the Christie CP2000-M. The latest addition to the celebrated Christie CP2000 series, it weighs in at a remarkable 95 pounds, yet delivers up to 12,000 ANSI lumens of output power, the most in its class. Ideal for screens 35 feet wide (10 meters), it is opening up a whole new universe of Digital Cinema excitement for smaller theaters, multiplexes, and post production facilities around the world. It can also be used for 3D presentations on its own or as part of the new Christie 3D2P dual projector system.

Based on Texas Instruments' new .98" DLP Cinema chip, the Christie CP2000-M incorporates proprietary Christie optics to produce an image of exceptional quality. Purpose built to meet the needs of the exhibitor, it features a rugged, all-in-one design that can be easily installed. Combined with its infinite installation flexibility, it represents the most cost-effective value proposition for exhibitors seeking power, performance and ease of use in a compact form for small to midsize theaters.

The Christie CP2000-M features a new motorized lensing system and a selection of eight new zoom lenses that guarantees the right lens for virtually any auditorium with absolutely no need for resizing or scaling. It incorporates a "universal" switching power supply that supports a high performance Xenon bubble arc lamp. HDCP decryption on both DVI inputs, standard on the Christie CP2000-M, allows the display of copy-protected alternate content, Blu-ray, and even outside HDTV broadcasts. It can be self-cooled or use external air extraction, depending on theater configurations and need, for greater installation options.

Source: DCinemaToday

All Digital, All the Time

This ShoWest 2008 marks approximately two years since the first serious rollout of DCI-capable digital-cinema systems in the U.S. Enough time has passed for us to look back at a few of the deployments to see what issues have been raised, how they have been resolved and, in general, how exhibitors are using the systems. We talked to a number of exhibitors and system integrators who have installed “all-digital” multiplexes and have come up with several views on how their deployments are going.

UltraStar Cinemas of Carlsbad, CA, made an early jump into digital in the fall of 2005 with the commitment to equip their entire 114 screens with digital projection through the AccessIT/Christie deployment plan. John Ellison, co-founder of UltraStar, has been a proponent of digital since 2002 when he was the first in California to install six 1.3K pre-DCI Boeing Digital Cinema systems for Star Wars: Episode I.

Ellison, a true believer in the power of marketing cinema amenities, was the first in the area to use THX certification and saw digital cinema as the next high-value attraction. As a result, in 2001 UltraStar developed their own “Pure Digital Cinema” marketing campaign to increase audience awareness. With the 2002 Star Wars release, Ellison found that his cinemas that were equipped and marketed as digital were earning up to twice the box office of his 35mm houses. Focused on maximizing his investment, and with marketing support from DLP Cinema and equipment vendors, Ellison was able to create a premium attraction that continues to pay off.

UltraStar completed its digital installations in all its screens in early 2006, but still has a few side-by-side film projectors for the occasional title not available in digital, but this is becoming rare. Ellison says, “In 2007, only two or three titles were not available to us in digital.” UltraStar has also added 3D and has six locations equipped with the Real D system. Looking back, Ellison declares, “I could not be more pleased with the way things have turned out. The AccessIT and Christie people have been excellent in making sure our transition to digital has been as smooth and painless as possible.”

Premiere Theaters, an independent ten-screen multiplex in Melbourne, FL, has also completely converted to digital. Getting started by converting a single screen to digital 3D with Disney's Chicken Little in the fall of 2005, Premiere's president Rob Kurrus quickly realized that he needed to transition the multiplex to fully digital as quickly as possible. Kurrus says, "It's all about enhancing the customer experience and we saw that digital, with its higher quality and flexibility, was the way to go."

After researching the various plans being offered, Kurrus selected the Dolby plan and their servers along with Barco projectors. Over a six-month period in mid-2006, Kurrus added digital systems until all his screens were equipped. Along with the original Real D 3D system, Kurrus has also recently added two Dolby 3D systems. "In hindsight, we probably left too many 35mm projectors in place, as we've found we really don't need them. Based on our experience, you only need 35mm in a few—at the most one-third—of the screens," Kurrus notes.

Kurrus admits the transition was not without its issues, particularly when he only had a few digital screens and had to move shows between auditoriums. During the transition, there were times when box-office revenues suffered because Premiere was not able to keep some popular titles in digital throughout the run. "There was a collective sigh of relief from the staff as the last Barco projector was installed," Kurrus recalls. "We have had virtually no problems getting our staff to understand the operation of the systems, as most our staff are fairly technically savvy. In fact, if anything, operating the 35mm projectors is a bigger challenge.”

Delivery of the security keys seemed to be an ongoing issue during the transition, but this smoothed out after a few months. An occasional problem still pops up. Most studios are still figuring out how to store and distribute digital content for repertoire titles. For example, after the digital run of one popular title, Premiere needed to bring back the title for a special-event showing. Although they still had the original digital file on the server, for some unknown reason the distributor could not reissue a valid key and had to send in a 35mm print for their event.

Rob Kurrus also feels a breakthrough in the simplification of their day-to-day screen operation came after Premiere installed the Dolby Library Server. Previously, titles had to be loaded into the individual players at each screen. The library server provides a single point for loading the titles used throughout the site. Shows can be scheduled, titles can be moved between screens, and the entire system monitored from a central point, or even remotely using a web browser.

Kurrus feels the remaining issues to be worked out are in the area of content and key delivery, and is looking forward to the day when all content arrives via satellite delivery and the keys are transparently loaded. He predicts, "Then the only reason to go into the booth will be to change the bulb.” Kurrus goes on to add, "The xenon bulb is the weakest link in the digital system. I would like to see some improvements there."

Megaplex Theatre of Sandy, UT, has converted 53 of its 69 screens at five sites to digital, with all digital projectors at its Gateway, Thanksgiving Point and Jordan Commons sites. Being in the Salt Lake City area, home of the Sundance Film Festival, Megaplex’s digital-cinema specialist Mike Renlund found that there is still a need for some 35mm equipment to accommodate titles from independent filmmakers, and he has converted several auditoriums to run both film and digital. Also, because of decreasing costs in mastering digital content, more and more independent filmmakers are making the switch to digital.

Renlund is pleased with the digital equipment and feels that most of the earlier transitional issues have been ironed out. “There were occasional problems in getting the right security keys,” Renlund notes. “Since we have both the Dolby 3D and Real D 3D systems, we initially had a few issues getting the right 3D files. Now that the distributors are supplying keys to all auditoriums, for the most part this seems to have been resolved.”

Megaplex has been aggressively using their new digital capability to attract new audiences by hosting business events, concerts and video-gaming events. For example, in conjunction with the Hannah Montana 3D release, Megaplex hosted a separate dress-up “Red Carpet Rock Star Event,” with a separate $15 ticket, that used the digital projectors to present live karaoke. Also, Megaplex has been using the digital auditoriums after hours to host X-Box Halo contests, according to Dave Bollard, Megaplex’s marketing manager. Megaplex has been able to fill auditoriums between midnight and 6 a.m. with teams competing between screens.

Malco Theaters of Memphis TN, also another early pioneer going back to the 2002 Star Wars deployment, has jumped into digital cinema in a big way. Partnered with Dolby as the system provider and server manufacturer, and with Barco projectors, Malco has approximately 60 digital systems installed of its expected 350-screen deployment. Mike Thomson, Malco’s VP of operations and technology, has been their driving force in making sure that each system is installed to deliver the best possible picture and sound.

Malco started by installing the new digital systems in its best-performing houses and intends to continue the upgrades at a manageable pace until all their screens are equipped. Thomson has developed an in-house technical staff of six who have been extensively trained by the manufactures in maintenance and operation of their equipment. Thomson admits that “digital is not as mature as film and still has a way to go. It’s not a cakewalk. However, we have a good operational record and have been able to deal with and learn from the issues as they come up.”

Malco has installed a few Dolby Digital 3D systems, and is impressed with the image quality of Dolby’s 3D process. Thomson likes the Dolby 3D system because of its conventional white screen and he feels their 3D image quality is the best in the market.

Thomson believes Malco’s success with digital is largely due to the strong relationships he has built with Dolby, Barco and other vendors and the investments made by Malco in developing the in-house staff to deal with installations, routine maintenance, and any unexpected issues. Thomson believes that the smaller exhibitors need to be prepared by either building up a strong in-house team, or working with service providers that can deliver the required support.

Rave Motion Pictures of Dallas, TX, has gone 100% digital in its 445 screens, with 37 equipped with Real D 3D. Rave partnered with AccessIT, using Christie projectors and Doremi servers in its digital rollout. At this point, Rave does not have any 35mm equipment and feels quite confident that there is enough mainstream content to support their exclusive “everything in digital” position.

Rave has also been an early adopter of 3D, with at least one Real D 3D installation in every complex. Of the 683 Hannah Montana play sites, Rave was able to capture almost five percent of the opening-weekend total box-office gross with its 28 3D screens. Jeremy Devine, VP of marketing, attributes the increase to an “intensive grassroots marketing campaign,” along with Disney’s phenomenal pre-release marketing to increase awareness of digital 3D. Devine has also been “shocked” by how successful the opera events have been, and is also experimenting with sporting events and other forms of alternative content. Rave has been attentive to scheduling the special events for afternoons and the relatively weak Tuesday and Wednesday nights. Overall, the success of Hannah Montana and other alternative content has affirmed Rave’s decision to be at the forefront of the digital and 3D rollout.

Brad Wardlow, Rave’s VP of operations, comments, “Rave made the digital transition over an 18-month period beginning in early 2005. We equipped in several ‘waves,’ initially starting with the higher-performing screens where we had booked the titles that we knew would be available in digital. By mid-2006, almost every title we were playing was available in the DCI format, so we decided to go ahead and replace the 35mm projectors on a site-wide basis. Having the building fully digital simplifies operation tremendously when compared to a split 35mm-digital site.

“We have certainly changed our staffing interview process since going digital,” Wardlow continues. “Previously, we would look for candidates that showed an aptitude for mechanical skills. Now, we focus on those that have an interest in computers and are familiar with software and menu-driven systems.” The next step in Rave’s digital implementation will be to integrate it with the box-office point-of-sale system, so there will be no need for manual show starts. This will eventually reduce staffing costs. Wardlow feels that while the digital projector’s operating costs may be higher than the conventional 35mm projector, the overall savings on a circuit-wide basis will be in the positive, after taking into consideration the savings in theatre operations.

In conclusion, all the exhibitors we spoke to were enthusiastic about their digital systems. All admitted they had been through a somewhat challenging learning process, but all said they had overcome any serious show-stopping issues, and felt they were delivering superior presentations. Common to all was the tremendous popularity of digital 3D, and all had developed innovative uses of alternative programming to raise attendance in off-hours. And finally, all seemed to emphasize the need to be prepared with either a well-trained in-house technical team or have a capable systems integrator working closely with them during the transition period."

By Bill Mead, Film Journal International

New Christie Dual Projector System for 3D Cinema Offers Best Value in the Industry

Christie, a global leader in Digital Cinema now offers the industry’s most cost-effective and flexible 3D Digital Cinema system. With the power of two Christie DLP Cinema projectors, the new Christie 3D2P offers more than double the brightness for presentations on screens of any size. Complete with an innovative stacking frame with rollers and adjustable racks, the system can be easily moved whenever and wherever needed within the complex.

The first to be installed in a commercial setting, the Christie 3D2P has been successfully deployed for groundbreaking 3D Digital Cinema features. The dual projector system is already winning praise from moviegoers at the widely acclaimed Krikorian Premiere Theatres, where it is presenting the latest 3D Digital Cinema releases.

“3D Digital Cinema is one of the most exciting developments in our industry. We looked at current single-projector 3D solutions and didn't like them for different reasons, including cost. We selected the Christie dual projector 3D2P solution because we can now screen the latest 3D features on any size screen in all of our complexes with no real concerns about light issues," remarks Todd Cummings, vice president of operations for Krikorian Theatres. “In fact, with the growing popularity of 3D, we will be utilizing the system on our larger 60-ft screens for 3D features. One of the distributors told us that they will be looking to increase the light through the polarized glasses by more than 30% for their future live action 3D films. Only a dual projector set-up can meet that requirement. A single projector system currently would not be bright enough to cover such a large screen.”

With the Christie 3D2P, exhibitors can utilize any of Christie’s comprehensive family of Digital Cinema projectors including their existing Christie projectors, in almost limitless combinations. The Christie CP2000 Series projectors also remain compatible with existing 3D technology providers.

Source: Christie

System Specifications for Digital Cinema in Germany

This document contains suggestions for structures and workflows introducing digital cinema in Germany. Consequences for producers, engineering firms, distributors, cinema operators and advertisement procedures will be taken into consideration. Special technical requirements of German market participants will be described. Furthermore this document contains system specifications and suggestions for equipment of cinemas, to benefit optimally from digital technology.

DCI specifications dated July 2005, DCI Compliance test plan (CTP) dated February 2007 as well as SMPTE standards of DC28 are the starting point for the introduction of digital cinema. They transfer hitherto screening technology to a digital cinema show. To clarify workflows and systems, existing specifications and standards will partly be explained. Within this document the scope will be broadened as well as substantiated on special requirements of German cinema. This also means future digital player systems have to be at least DCI-compatible.

The DCI specification does not include declarations about the distribution structure for DCPs, KDMs and Log records. Therefore this document will present a recommendation, for shaping these structures in Germany. Since DCI and SMPTE solely deal with realization of conventional cinema showings, this document includes also suggestion for equipment towards a further usage of the cinema with other digital media such as business events, live events, DVD screenings and so forth. Altogether this should add value to the cinemas. To what extent these possibilities will be used - thus what equipment is acquired - is left to the owner of the cinema.

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NATO Releases Digital Cinema System Requirements v2.0

The National Association of Theatre Owners (NATO) issued today a revised Digital Cinema System Requirements document (version 2.0). The requirements are a product of a group of committed NATO member company volunteers, working in conjunction with NATO's Digital Cinema Consultant Michael Karagosian.

The first revision to the now 2-year-old NATO Digital Cinema System Requirements, version 2.0 is targeted to standards committees, product manufacturers, and service providers in the digital cinema supply chain. NATO's System Requirements provides important direction for areas not covered in the DCI (Digital Cinema Initiative) spec.

These include:
- Operational requirements
- Maintenance operations
- Workflow requirements
- System requirements for support of the blind, deaf, and hard-of-hearing.

A fresh review of the entire document was conducted, deleting some requirements no longer needed, and expanding or creating new section topics.

Among the highlights:
- Exhibitor-driven universal theatre identification scheme introduced.
- Establishes the requirement for a commodity digital cinema server.
- New requirement for closed caption support.
- Workflow automation requirements introduced.
- TMS (Theater Management System) described in terms of 3 service functions, with detailed roles for each service.
- New requirements for exhibitor network security.

According to NATO digital cinema consultant, Michael Karagosian, “The document describes new areas where additional standards work is needed. Completion and implementation of in-theatre standards are important next steps in the development of digital cinema, and NATO will continue to actively pursue these goals.”

NATO President & CEO John Fithian added, "I applaud the dedication of these men and women to sensible digital cinema operations, and I encourage theater owners to make appropriate use of these requirements in their equipment purchasing policies.”

Source: DCinemaToday

JVC Joins the 4K Projection Club

"If you've been tuned into Digital Cinema Projection for the past couple of years, you'd know that when it comes to 4K projection (4Kx2K image), sony's SXRD series was pretty much the only game in town. DLP is limited to 2K and most of the projectors out there (Christie, Barco, NEC) are all 2K projectors.

A downside of Sony's projector is that although it is as hefty as a small car it only has a 2000:1 contrast ratio (measured less than that calibrated). Its rated aggresively for 40ft screens which is not nearly big enough for true cinema applications.

That was true until JVC announced their 1.27-inch 4Kx2K D-ILA (Direct-drive Image Light Amplifier) chip at InfoComm 2007. The chip can produce a 4096x2400 pixel image with a 20,000:1 contrast ratio. That's nearly 10x the contrast ratio of the Sony behemoth.

Major Specifications:
Device size: 1.27-inch diagonal
Number of pixels: 4096 x 2400
Pixel pitch: 6.8 µm
Gap between pixels: 0.25 µm
Aperture ratio: 93%
Device contrast ratio: 20,000:1
Response time (tr+tf): 4.5 ms

The DLA-SH4K, which packs the 4k D-ILA chip, touts a 4,096 x 2,400 resolution, 10,000:1 contrast ratio, 3,500 lumens, a dual-link DVI input, multiscreen mode, an Ethernet port for remote operation and RS-232 / USB connectors. It measures 660 x 827 x 340 mm and is slated for launch in the first half of 2008."

Source: Digital Cinema Buyers Guide

Digital Will Take Hold in 2008

"This week Access Integrated Technologies announced the completion of phase one of its digital cinema deployment and unveiled phase two, a three-year, 10,000-screen rollout that will commence in the first quarter of next year. Although the company’s release was short on details—which exhibitors and distributors would be participating in this second stage have yet to be revealed—the move is significant for a few reasons.

First, it solidifies what Boxoffice reported in the pages of its November issue—that 2008 is poised to be the year that a hypothetical chart of digital cinema installations goes into a steep curve toward complete conversion. AccessIT is the uncontested leader in North American deployment. Nearing 3,750 screens, the software firm and third-party integrator has digitized 10 percent of the U.S. marketplace. 10,000 more accounts for more than one-third.

Meanwhile, Digital Cinema Implementation Partners, a joint venture owned by top circuits AMC, Cinemark and Regal, is poised to pull the trigger on digitizing the 15,000 screens it represents in the first half of 2008. Technicolor Digital Cinema, another third-party integrator, expects to segue from its digital beta test to a larger deployment now that Digital Cinema Initiatives has announced a Compliance Test Plan for the integration of its technology specification. And Cinema Buying Group, a digital cinema co-op for independent exhibitors, met to discuss the responses to its Request for Proposals during ShowEast, with implementation possible as early as the first part of next year.

In 2008, digital will be coming more and more often to a theatre near you.

What’s particularly interesting to the industry about AccessIT’s announcement is that the new plan “will build on the valued relationships established with Christie USA and Doremi Labs Inc. ... while tapping into the substantial additional resources of other interested vendors.” When AccessIT Digital Cinema launched in June 2005 as Christie/AIX, the company had an exclusive agreement with its namesake projector manufacturer. Both firms deserve kudos for kick-starting the process, but the arrangement limited equipment options for exhibitors.

In my conversations with AccessIT execs over the past year or more, they’ve emphasized that Christie “has been and will continue to be a valued partner” but that the quantities of equipment that will be required for a phase-two deployment demand relationships with additional vendors. In addition, exhibitors may prefer to work with another supplier.

As a result, Barco and NEC, who, like Christie, are licensees of Texas Instruments’ DLP Cinema technology but have been shut out of the industry’s most aggressive rollout of digital cinema, may be able to join AccessIT’s deployment. And exhibitors may have the option of choosing Sony’s 4K-resolution projection system or Dolby’s 3D solution (versus Doremi-compatible Real D).

Note, however, that no additional vendors have been named yet.

Finally, AccessIT’s phase-two agreements with distributors, which use “substantially” the same virtual print fee model as in phase one, are “structured so they may be amended to international deployment as well.” The rollout of digital cinema overseas has been more challenging than in the U.S. due to more fragmented markets with less reliance on Hollywood studio product. That an international consideration has been worked into AccessIT’s phase two agreements indicates global digitization is one small step closer to being realized."

By Annlee Ellingson, Boxoffice

IMAX Sets Target Launch Date of Digital Projection Technology

"IMAX Corporation announced that it has moved up the launch date of its digital projection system in development to the second quarter of 2008 from its previously announced timeframe of the end of 2008 to mid 2009. The highly anticipated IMAX digital projection system will further enhance The IMAX Experience and help to drive profitability for studios, exhibitors and IMAX theatres by virtually eliminating the need for film prints, increasing program flexibility and ultimately increasing the number of movies shown on IMAX screens.

Under the current roll-out schedule, the company anticipates that three digital IMAX prototypes will be installed during the second quarter of 2008. Shortly thereafter, IMAX expects to install three additional prototypes. Once these prototypes meet performance specifications, IMAX expects to proceed with a full rollout during the second half of the third quarter and in the fourth quarter of 2008.

IMAX's digital projection system integrates a suite of proprietary IMAX intellectual properties with commercially available digital projection technology in a way that creates The IMAX Experience in a digital format. These properties, along with proprietary technology applied to the content, dramatically enhance the image fidelity, light output and contrast in both 2D and 3D to produce a stunningly crisp and bright image on the big IMAX screen and deliver the unparalleled image and sound quality that IMAX consumers have come to recognize and enjoy. In consumer testing conducted by Millward Brown, a respected market research firm, 98 percent of respondents who had seen IMAX before/were able to make the comparison, said that the prototype IMAX digital system fits with their expectations for the brand, and 46 percent said that the overall experience in the digital IMAX theatre was better than previous IMAX experiences.

The new system is configured for an IMAX MPX-style auditorium and is capable of showing Hollywood movies that have been digitally re-mastered using IMAX's proprietary DMR technology in both IMAX and IMAX 3D. The system will also be capable of showing original IMAX documentaries.

IMAX has already announced several multi-theatre agreements which are to include the new digital projection system. The company has also indicated that it intends to offer and sell upgrades to the new digital system to commercial operators who have IMAX MPX systems.

In North America, IMAX signed a joint venture agreement with Regal Cinemas for five systems, with three of the locations identified as direct to digital installs during the fourth quarter of 2008 and second quarter of 2009. Similarly, IMAX signed a joint venture agreement with Muvico Theaters for three systems, with the third targeted to be a digital install in Muvico's highly anticipated Xanadu complex in New Jersey. The Company also entered into a second multi-theatre agreement with Goodrich Quality Theaters, following the highly successful launch of the exhibitor's first two theatres. The new agreement includes a digital installation in a new multiplex planned for the fourth quarter of 2009.

Internationally, IMAX announced its largest ever multiple-theatre deal in Asia with China's Wanda Cinema Line Corporation. The agreement includes seven locations expected to utilize IMAX's digital projection system."

Source: IMAX

DCI Announces Completion of its Compliance Test Plan for Digital Cinema Validation and Compliance Testing

"Digital Cinema Initiatives (DCI) announced today the completion and availability of the DCI Compliance Test Plan (CTP). Six months ago, DCI engaged CineCert to finalize the CTP, which includes validated test procedures for the DCI Specification, version 1.1, including all referenced SMPTE standards. It details test procedures appropriate for each class of digital cinema device, such as projectors, servers, and media blocks.

With the availability of the CTP, DCI continues to promote its Digital Cinema System Specification, which sets forth the technical specifications developed by the six DCI member studios and serves as a guide to manufacturers, system integrators, exhibitors, and other stakeholders for digital cinema standardization, interoperability and quality.

DCI is considering several entities that have expressed interest in becoming licensed facilities to perform the tests detailed by the Compliance Test Plan. A selection process is underway, and testing entities are expected to be named in the near future."

Source: Digital Cinema Initiatives

Barco & Cinemeccanica Further Strengthening their Cooperation with a Value Added Partnership

"Barco and Cinemeccanica, are strengthening their existing collaboration with a Value Added Partnership.

With this agreement Cinemeccanica will have access to the new range of 0.98", 2K digital DLP Cinema projectors from Barco which will allow them to promote and develop the world of digital cinema together.

After two and half successful years of joint digital cinema market development, Barco and Cinemeccanica will further strengthen their partnership by establishing Cinemeccanica as a value added partner. Under the terms of the agreement, Cinemeccanica will have the prime responsibility to promote, sell and support the new range of Barco’s 2K digital cinema projectors for much of the southern part of Europe including France, Spain, Portugal and of course Italy.

With its headquarters in Milan, Italy, and a well established, extensive sales and service network, Cinemeccanica is one of the world’s leading suppliers of cinema equipment. Along with the current product line up, Cinemeccanica will now also sell and support the new DP-2000 and DP-1500 digital cinema projectors both of which incorporate Texas Instrument’s 0.98 inch DLP Cinema chip. This remarkable new 0.98 inch DMD (Digital Micro-mirror Device) offers the same pixel resolution (2048x1080) as its larger 1.2 inch counterpart, but its smaller size offers significant advantages. For the projector and the digital cinema facility itself, this new technology translates directly into a smaller, more compact package, lower power consumption, lower operating costs and longer lamp run-times — without sacrificing Barco’s renowned image quality, modularity or system flexibility.

The DP-2000 is Barco’s new platform for large and mid-market venues, and is designed for screens up to 20m (65') wide. The DP-1500 is Barco’s new mid and small-venue projector, designed for screens up to 15m (49') wide. In particular, the DP-1500 is ideal for applications that could not previously accommodate (or afford) a full 2K system.

As part of the agreement, Barco and Cinemeccanica may also - in the future - investigate other areas of cooperation such as co-development of value added functionality."

Source: BroadcastBuyer

Digital Cinema: Manufacturers on the Cutting Edge

"The year 2007 has been a good one for many digital-cinema vendors, with a number of significant milestones reached. For the first time, all movies grossing over $100 million were released in the DCI-specified digital format. According to Texas Instruments (TI), the leading projection technology provider, many of these titles were released simultaneously to more than 1,000 theatres and projected using their DLP Cinema technology. Such titles as Spider-Man 3, Meet the Robinsons in 3D, Pirates of the Caribbean: At World’s End, Shrek the Third, Ocean’s Thirteen, Fantastic Four: Rise of the Silver Surfer, Transformers and Harry Potter and the Order of the Phoenix are now thrilling audiences with full digital-cinema projection. By the summer of 2007, more than 4,300 theatres worldwide were equipped with projectors incorporating DLP Cinema technology.

At ShoWest 2007, TI announced a significant cost-saving development, a smaller, easier-to-implement version of its original 2K display device. Known as the .98 chip, the new device offers the same high-quality image as the previous 2K DLP Cinema chip, but is housed in a smaller, more efficient package, thereby reducing the overall cost of the projectors. Texas Instruments licenses its DLP Cinema technology to Christie, Barco and NEC, and each has expanded their product lineup to accommodate a wider range of screen size, thereby better matching the projector to that particular cinema’s needs. The new .98 chip enables TI projector partners to become more competitive by providing a variety of projector options at lower cost.

Barco Digital Cinema has already adopted the TI .98 smaller chip in its new DP-1500 and DP-2000 models. The DP-2000 is for large and mid-size venues, and is designed for screens up to 20m (65’) wide with a lumen output of 18,000. The DP-1500 is designed for screens up to 15m (49’) wide with a lumen output of 14,000. In particular, the DP-1500 is ideal for smaller projection booths that could not previously accommodate a full 2K system.

Barco's new DP-3000 is the brightest “large-venue” digital-cinema projector in the industry, with an extremely high screen illumination of 30,000 lumens. The DP-3000, with a 2000:1 contrast ratio, new lenses, a new optical design and high-efficiency 6.5kW lamps, is designed for screens up to 30 meters (98’) wide. The DP3000 debuted at ShoWest and had its cinema introduction with the world premiere of Transformers in L.A. this summer.

Christie Digital has also introduced a lower-cost version of its legendary CP2000 2K projector, which is now installed in over 3,000 cinemas. Christie’s new CP2000-ZX is intended for small to mid-sized screens, but is approximately 50% the size of the standard CP-2000. The CP200-ZX can accept a standard Christie bulb, which can be easily replaced at a cost similar to conventional 35mm bulbs. Brightness levels can be customized from 9,000 to 17,000 lumens, for screens up to 14 meters (45’).

NEC also completed its DLP Cinema projector family lineup with the introduction of its mid-sized NC1600C projector. The NC1600C ensures that midsize theatres with screens from 26 to 49 feet wide have a cost-effective, high-quality projector with the latest technologies designed specifically for their requirements. NEC is also particularly proud to point out that Regal Cinemas installed over 100 of its large NC2500 projector for the 3D presentations of Meet the Robinsons in March 2007. The systems were installed and setup verified by Strong Digital, NEC’s master reseller and system-integration partner. NEC has also supplied Technicolor Digital Cinema (TDC) with over 120 NC2500 projectors for the ongoing deployment with National Amusements, Wehrenberg Theatres and Zyacorp.

In the spring of 2007, the excitement surrounding 3D digital projection continued to grow with in anticipation of Disney’s Meet the Robinsons. This single title provided the impetus for exhibitors to increase the number of 3D cinemas to over 725 cinemas in time for the March 30 release. According to Real D, the leading provider of 3D equipment, 3D movies are a worthwhile investment for theatres because tickets are typically selling at three times the level as the same movie projected in regular 2D format. The next big 3D event will be the release of Beowulf in November; Real D already has commitments that will bring the total to over 1,000 3D screens.

All new 3D projection systems start with a standard 2D DCI-specific digital-cinema system. The current resurgence of 3D titles is made possible by the sharp and stable image delivered by today’s digital projectors. The stability of digital eliminates the classic problems associated with older 35mm 3D equipment. One single 2K DLP Cinema-grade projector can be easily converted to 3D with the addition of outboard equipment.

Sony continued its push for 4K with its SXRD technology with the release of Spider-Man 3 in 4K resolution at selected cinemas. Spider-Man 3 is the latest of a series of titles have been mastered and projected in full 4K resolution including Ocean’s Thirteen, The DaVinci Code and Poseidon.

In March 2007, Sony announced that Muvico Theaters will be equipping the new Chicago Entertainment complex with its newly announced SRX-R220 series projectors as the first step in equipping the entire chain with Sony equipment. The new Muvico 18-screen facility, scheduled to open in August 2007 in the suburb of Rosemont, Illinois, will have all of its theatres equipped with SXRD projectors using a combination of the SRX-R210 unit, a 10,000-lumen model, and the SRX-R220 model, an 18,000-lumen unit, as well as its LMT-100 media block system.

Sony has also been deploying trials installations of the SXRD 4K projectors with Cathay Cinemas in Singapore, with Odeon/UCI Cinemas at Guildford U.K., and also with the Norway Digital Interoperability in Cinemas (NORDIC) project.

Dolby Laboratories, the well-known cinema technology leader, has developed a multi-faceted approach to digital cinema. Not only is it an equipment supplier with its Dolby Digital Cinema system, Dolby is developing what promises to be a more economical approach to 3D. Dolby Labs has been quietly beta-testing its Dolby Digital 3D system with Malco Theatres in Madison, Mississippi. The new Dolby Digital 3D system is also being tested in various European locations in association with the Kinepolis Group in Belgium. Dolby hopes to have its 3D system ready for initial deployments with the fall release of Beowulf.

Currently, there are more than 400 Dolby Digital Cinema systems installed worldwide in 22 countries. Theatre chains such as National Amusements, Malco Theatres, Megaplex Theatres and Premiere Theaters have installed the Dolby Digital Cinema server in many of their primary locations. In addition, TDC has ordered 190 Dolby Digital Cinema servers for the North American digital-cinema beta test and for Belgium-based Kinepolis Group.

To facilitate creating movies in the DCI-specified digital format, Dolby has developed its DCC-2000 Secure Content Creator, a scalable mastering solution for JPEG 2000 digital cinema compression, encoding, packaging and encryption. Recently, the China Research Institute of Film Science & Technology (CRIFST) selected the DCC-2000 for its facilities, and additional installations are scheduled for the U.S., U.K., Japan, the Netherlands and Belgium.

Kodak has been busy deploying its JMN3000 Digital Cinema Content Player along with its new Kodak Theatre Management System with a number of key customers in Europe. Empire Cinemas, one of the U.K.’s largest privately owned cinema chains, has installed the Kodak JMN3000 along with the new Kodak Theatre Management System (TMS) for its six-screen multiplex in High Wycombe, Buckinghamshire, U.K. In addition, Kodak announced key installations with Supercinema Clarici in Foligno, Italy, and also with Village Cinemas in Greece.

Doremi continues to lead in JPG2000 DCI server installations, with well over 3,000 cinemas equipped with its DCP-2000 server. In the U.S., their installations have been propelled by their strong relationship with AccessIT. Recently, TDC also purchased 150 Doremi DCP-2000 servers to be used in various installations.

In Europe, Arts Alliance Media, the digital-cinema provider for the U.K. Film Council project, recently adopted the Doremi DCP-2000 for its 240 installations. Other recent European installations include the Odeon Surrey Quays complex and many of the systems deployed by XDC. In addition, Doremi has installed its DMS-2000 mastering system in post-production facilities in Norway and Russia, bringing their worldwide total of content-mastering facilities to over 25 locations.

XDC of Belgium has announced the development of its CineStore Solo G3 digital-cinema server. This hybrid JPEG2000/MPEG2 system supports the current DCI specifications and will be the central core of future XDC deployments in Europe. The XDC CineStore Solo G3 is the first commercial product to use the new intoPIX Field Programmable Gate Array, which integrates JPEG2000, MPEG decoding, DCI-specified security and a host of other features into one flexible and easy-to-upgrade module. XDC’s CineStore G3 playback server is part of a full family of XDC products that provide end-to-end content preparation, asset management, technical monitoring and theatre operations.

DTS Digital Cinema announced in mid-2006 that they were entering the digital exhibition market by acquiring exclusive rights to the technologies and products from industry pioneer Avica Inc. Previously, DTS had also made a move into digital exhibition by announcing the purchase of a software company. The acquisition led to the launch of the DTS Digital Booking System that was quickly adopted by customers such as Cinépolis and Goodrich Quality Theaters.

Building on Avica’s previous work in MPEG servers, DTS upgraded the original FilmStore line to full DCP JPEG2000 capability and expanded the product line to include the FilmStore Content Management System designed to provide end–to-end solution for management of digital content within a multiplex. The system consists of three interrelated components: FilmStore Director content-management software, FilmStore Central ingest and storage system, and the FilmStore Digital Cinema Player, together providing a powerful digital-cinema management system.

Another digital-cinema pioneer, QuVIS is still very much in the market and has been quietly testing a new server product with several exhibitors in the U.S. According to announcements made at ShoWest 2007, both QuVIS and Barco are working closely with Digeserv, a new company offering a unique financial plan to assist exhibitors with the digital conversion.

In Asia, server pioneer GDC of Singapore continues to lead with systems being installed in China and Korea. In March 2007, GDC announced the SA-2100 DSR Digital Film Server, which is 33% smaller in size and designed to meet DCI specifications such as Texas Instruments Cinelink 2, forensic watermarking, and FIPS-140 security features. GDC also announced the DCI-2000 Digital Cinema Integrated Projection System that conveniently combines the server and projector in one easy-to-deploy and operate package.

In March 2007, both GDC and Barco announced a major commitment from China Film Group for the supply of 700 Barco 2K DP-1500 and DP-2000 projectors along with GDC servers for cinemas in China.

Qube Cinema has been active in expanding its European presence by supporting the recent Lisbon Village Film Festival with a number of digital screenings. Sathyam Cinemas has chosen to integrate the DCI-capable Qube XP-D digital-cinema server for all screens at its flagship multiplex at Chennai, India.

The first digital cinemas being deployed in Kuwait are also using the Qube XP-D server. The Kuwait National Cinema Company (KNCC), one of the largest theatrical exhibition companies in the Middle East, and Qube Cinema, Inc. have partnered to bring the first digital cinema to the Middle East and Gulf Region. A pilot DCI quality digital cinema is under installation in KNCC’s theatre (Cinescape) in Kuwait City, using a Qube XP-D and a 2K Barco-based digital projector.

Overall, digital cinema vendors should be pleased with the progress they have made in the past few years. The projector manufacturers have transitioned from basic designs to now having complete families of DCI-specified 2K projectors that address a wide range of screen sizes and operator needs at more reasonable price points. The server manufacturers also have done an extraordinary job keeping up with evolving requirements, moving their original products from incompatible MPEG formats to those now universally supporting the DCI-specified interoperable JPEG2000 format. While the equipment prices may still be higher than desired, we should keep in mind the significant R&D commitments made by these companies to bring us the products that now deliver the image quality and overall reliability required to move the cinema exhibition industry into the future."

By Bill Mead, FilmJournal International

Kinepolis Selects Dolby 3D for Major European Deployment

"Dolby Laboratories today announced that the Kinepolis Group has selected the new Dolby 3D Digital Cinema technology to outfit 17 screens throughout Europe.

Kinepolis recently opened its 23rd cinema multiplex, in Ostend, Belgium, and installed the first Dolby 3D system in Europe. The Belgium-based exhibitor plans to convert one screen per complex using the Dolby 3D system.

Dolby 3D provides exhibitors with an efficient and flexible solution designed to give consumers a superior 3D experience. The technology utilizes the white screen already in auditoriums, so exhibitors do not have the added costs nor the quality compromise associated with the use of a “silver screen” required by some 3D systems. Additionally, Dolby provides reusable 3D glasses which are cost-effective and environmentally friendly for exhibitors.

Dolby 3D uses a unique color-filter technology that provides realistic color reproduction and extremely sharp 3D images to the audience from every seat in the house. The solution adds a retractable filter-wheel accessory to any DLP digital cinema projector that can be easily moved out of the light path when switching from 3D to 2D digital cinema presentations. Therefore, exhibitors can transfer movies into a smaller auditorium equipped with Dolby 3D later in the movie’s run."

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Cinema Buying Group-NATO issues Digital Cinema Request For Proposals

"The Cinema Buying Group-NATO (CBG-NATO) issued a Request For Proposals (RFP) to digital cinema equipment and service providers on behalf of the members of the CBG-NATO — small to medium-sized independent theaters in the United States and Canada (more than 4,000 screens represented).

Through the RFP, CBG-NATO members seek to acquire digital cinema equipment and service on favorable terms, funded in whole or part through “virtual print fee” (VPF) arrangements, which ensure their ability to provide high quality and reliable digital exhibition service to patrons in their markets.

“The CBG and NATO believe that smaller and regional independent theater companies deserve a fair opportunity to participate in the digital cinema revolution,” said J. Wayne Anderson, CBG-NATO Managing Director and independent theater operator. “This RFP will help bring the benefits of digital cinema to theater patrons across North America.”

The purpose of this RFP is to solicit proposals from qualified vendors to provide digital cinema equipment and service to the members of the CBG, and to determine as promptly as possible thereafter which vendor’s proposal best suits the needs and interests of the members of the CBG.

The RFP will be posted on the CBG website and the NATO website. To be considered, all proposals must be received by the CBG not later than 12 noon (EDT), Friday, September 28, 2007.

At the time of the issuance of this RFP, CBG management intends to select a digital cinema equipment and service vendor for its members before the end of the calendar year 2007."

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Newest Kinepolis Multiplex goes 3D with New Barco 2K Digital Cinema Projectors

"Barco, a pioneer in digital cinema, is proud to announce that its latest range of 2K digital cinema projectors has been installed in Kinepolis’s newest cinema multiplex at Oostende, Belgium. At the opening of the multiplex this weekend, Barco’s 2K digital cinema projectors and Dolby 3D technology will enable Kinepolis to create a radically new 3D cinema experience for its visitors.

Exactly one year after its opening of Kinepolis Brugge, Belgian’s number one cinema chain will open its newest multiplex in Oostende this weekend. The new multiplex is the chain’s 23rd in Europe and houses eight state-of-the-art cinemas with a total of 1,755 seats. Kinepolis Oostende incorporates many of the revolutionary concepts from its Brugge multiplex - including the “open foyer” concept, seat reservation and ticket control facilities. Kinepolis Oostende has been fitted with Barco’s latest range of digital cinema projectors, the DP-3000 and DP-1500, which were launched at ShoWest in March this year.

The new range of Barco digital projectors present cinema-goers not only with the highest quality digital cinema film experience but also with the opportunity to experience more alternative content in digital format, such as prestigious events, television series, live concerts and of course the recently launched XL Gaming experience (large-screen video games) for gamers. In addition to these digital experiences is Kinepolis’s most exciting new experience - digital 3D cinema. The digital 3D movie experience engages the audiences in something much richer and more compelling than they are used to seeing in the cinema. The events on-screen seem closer to real life. Kinepolis plans to equip each of its 23 complexes with one 3D auditorium.

The DP-3000 is Barco’s new flagship, and the brightest “large venue” digital cinema projector in the industry. Using Texas Instrument’s 1.2 inch DLP Cinema chip, the DP-3000 is designed for screens up to 30m (98’) wide. With a 2000:1 contrast ratio, new lenses, a new optical design and high efficiency 6.5kW lamps, the DP-3000 exemplifies Barco’s hallmark attributes of image quality, reliability and robustness. Because of its incredibly high light output, the DP-3000 is projector of choice for 3D digital cinema.

The DP-1500 is Barco’s new mid and small-venue projector, designed for screens up to 15m (49’) wide. Like its sister the DP-2000, the DP-15000 incorporates Texas Instrument’s new 0.98 inch DLP Cinema chip. This remarkable new 0.98 inch DMD (Digital Micro-mirror Device) offers the same pixel resolution (2048x1080) as its larger 1.2 inch counterpart, but its smaller size offers significant advantages. For the projector and the digital cinema facility itself, this new technology translates directly into a smaller, more compact package, lower power consumption, lower operating cost and longer lamp run-times — without sacrificing Barco’s renowned image quality, modularity or system flexibility."

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Kodak to Bring First “Universal” Theatre Management System To Europe

"Kodak is announcing the European availability of its first version of the Kodak Theatre Management System (TMS), to exhibition and distribution managers at the 2007 Cinema Expo International Convention and Trade Show in Amsterdam June 25 - 29.

The Kodak TMS will be the exhibition industry’s first ‘universal’ digital system designed to manage the full cinema presentation, linking functions that are currently separate and often labor intensive. The system offers the potential to bring new workflow efficiencies to the cinema.

The Kodak Theatre Management System includes a server driven by unique and proprietary Kodak-written software connected to the cinema’s ticketing system. Directed by the theatre’s ticketing system, the TMS is designed to automatically load digital features, trailers, other content, and decryption keys -- and distribute, store, stage, and play everything on the right screens at the right time, according to the show play-list.

First versions of the TMS automatically load and migrate decryption keys over the network; the system is expected to evolve rapidly with full functionality available in the next few months.

The Kodak TMS is at the heart of the fully-integrated Kodak solution, which includes networked content players and feature projectors, as well as Kodak service and support.

“In the past four years, we’ve gained extensive experience in the marketplace,” said Brian Kercher, general manager of Kodak Digital Cinema in Europe. “Currently, we have Kodak systems installed on 2100 screens in 200 sites in 8 countries. Nearly 100 of those systems are playing digital features on a regular basis and half of those are also playing 3D content. We’re working with 20 exhibition chains, connecting to 10 point-of-sale systems. We’re building all of that expertise into our new Theatre Management System.”

A key advantage of the new TMS is its ability to manage the full cinema presentation – pre-show as well as feature. It connects also to the theatre’s automation, so curtains, masking, lighting and other elements are adjusted automatically.

“Exhibitors have proven that a networked digital pre-show is an important new source of revenue,” said Kercher. “The pre-show will be able to operate on a separate network with separate components – or through the same content player and projector used for the feature. Either way, the TMS can manage it. This is a flexible solution.”

The Kodak Theatre Management System is now being tested in several countries. It will be available, worldwide, with full functionality, later this year."

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Panorama Labs Announces Successful Operation of World’s First Magneto-Photonic Projector

"Panorama Labs, the company pioneering magneto-photonic crystal technologies, announced today that it has completed and successfully operated its first magneto-photonic projector. This operational, small-scale digital projector was built to demonstrate Panorama Labs’ groundbreaking technology and is the first step in a process that will yield a revolutionary new display technology with tremendous benefits to the digital cinema and digital display communities.

The Panorama Labs projector shows breakthrough performance features including high-speed switching, pixel remanence, low power requirements and high thermal tolerance. This is the first time that light has been successfully directly manipulated by a projector imager, without utilizing liquid crystal or micro-mirrors, projecting an image on a screen. The heart of the system is a micro display light engine, based on the principle of magneto-optical switching, which will form the core technology for a number of applications including digital cinema projectors, rear projection TVs, home theater projectors, displays, mass storage, and telecom switching devices.

This is a milestone in the development of a 4K digital cinema projector, as it proves magneto-photonic crystal technology can compete with the older and more commonly deployed technologies like LCD, LCoS, and plasma in digital display, and DLP in theatrical display.

“This technology uses an imager that has no moving parts or analog drift, is inherently stable and is virtually heat proof. Our imager is fabricated at 600 degrees Celsius, so temperatures of 85 degrees Celsius or higher that are destructive to all other digital cinema projector imagers are of no consequence,” said Harry Mathias, Panorama Lab’s vice president of R&D for Digital Cinema."

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DCI Announces Contract with Cinecert for D-Cinema Compliance Testing & Validation

"Over the next six months, Digital Cinema Initiatives (DCI) and CineCert will work to take DCI's compliance test program to its next level.

DCI has entered into a contractual arrangement with CineCert to complete the validation of the compliance test program begun by the Fraunhofer Institute for Integrated Circuits.

In February 2006, DCI contracted with Fraunhofer to develop a standardized set of procedures to comprehensively test equipment for compliance with the DCI Digital Cinema System Specification, commonly referred to as the DCI Specification. The output of the Fraunhofer project was Version 0.9 of the DCI Compliance Test Plan, released February 14, 2007.

However, due to the non-compliant status of digital cinema equipment at the time, Fraunhofer was unable to complete a full validation process. The final plan developed by CineCert and DCI will include errata to the DCI Specification and all relevant SMPTE digital cinema standards, most of which were not officially published at the time of the Fraunhofer effort.

In addition to the final test plan, a specification for test materials and the test materials themselves will be created. Specialized test plans will be prepared for a variety of digital cinema hardware and software products, included servers and projectors. Another deliverable will be standardized test reports, which will allow for meaningful comparison of features and test results between tested products.

Concurrent with the CineCert project, DCI will undertake an open process to identify testing entities to perform the tests identified by the DCI compliance test program. That selection process is under development and details will be announced in the future.

The DCI member studios have approved and published version 1.1 of the Digital Cinema System Specification, dated April 12, 2007. Since the initial publication in July 2005 of the DCI Specification, Version 1.0, the specification has received several rounds of errata. Version 1.1 does not include any new revisions; rather it incorporates all 148 previous errata into the body of the specification document, making it easier to read."

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Digital Cinema System Specification v1.1 and Draft Stereoscopic Digital Cinema Addendum v0.9

"Digital Cinema Initiatives (DCI) has adopted and is releasing a revised Version 1.1 of its Digital Cinema System Specification. The new Version 1.1, dated April 12, 2007, incorporates the 148 erratum previously released for Version 1.0 of the Specification. With the integration of the erratum into the body of the Specification, readers will now be able to use the Specification without having to cross-reference to these 148 errata.

Additional Specification erratum items continue to be evaluated and will be posted after agreement by the DCI membership that the erratum is needed. Future errata will modify the DCI Specification, Version 1.1.

DCI is also releasing a Draft Stereoscopic Digital Cinema Addendum, Version 0.9, dated April 12, 2007. This document defines high-level technical requirements and specifications for the mastering, distribution and theatrical playback of stereoscopic digital cinema content. This document will be integrated into DCI’s Digital Cinema System Specification at a future date."

Digital Cinema System Specification v1.1
Draft Stereoscopic Digital Cinema Addendum v0.9

Kinoton and DVC Presented Digital 3D Workshop at "Insight Out"

"One of the many interesting issues at the "Insight Out" symposium of the renowned HFF Film and Television University "Konrad Wolf" Potsdam were the options and potentials offered by stereoscopic D-Cinema, emphasized by an impressive 3D presentation featuring a Kinoton DCP 70 L Digital Cinema Projector and a DVC ClipDisk 3D.

One of this year's workshops dealt with stereoscopic 3D projection. At the lecture held by Harald Naether (DVC Digitalvideo GmbH), several trailers and short films were presented so the audience could convince themselves of the excellent projection quality of stereoscopic D-Cinema.

The audience thought it very interesting that the DCP 70 L Digital Cinema Projector, which Kinoton had installed at the HFF a few weeks ago, can not only present normal digital cinema movies in DCI compliant 2K resolution, but stereoscopic content as well. All you need is a 3D server and a polarisation filter or shutter glasses system. At the "Insight Out" workshop, a DVC ClipDisk 3D server and an active NuVision 3D system were employed.

The NuVision system is composed of a sync box, an IR transmitter and active shutter-glasses. The sync box gets a signal from the projector which controls the shutter-glasses by infrared communication. The DCP 70 L gets two input signals from the 3D server, one for the right eye and one for the left eye, which are projected alternately at a high frequency. The right and left shutter-glasses are dimmed in turn so that only one eye at a time can look at the screen. If the picture for the left eye is projected, the right glass becomes opaque, and vice versa. The brain interprets these two different sights as a three-dimensional representation, experiencing an amazingly realistic 3D effect.

"This active 3D technique for D-Cinema projectors is cost-effective, easy to retro-fit and easy to use", states Kinoton's D-Cinema product manager Markus Naether. "In contrary to passive 3D cinema requiring a special silver screen, active 3D can be projected on every common cinema screen. Besides this, the prices for shutter-glasses have been cut severely, making this a cost-efficient and fast way for exhibitors to add an additional crowd puller to their theatres, independent of existing 3D license models"."
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Remarque : DVC ClipDisk 3D n'est pas un serveur conforme aux spécifications DCI, mais un serveur bi-canaux MPEG-2 HD. Il ne pourra donc pas jouer les principaux films 3D proposés par les Studios US ( "Chicken Little", "The Nightmare Before Christmas", "Monster House", "Meet the Robinsons", etc. ).

NEC announces newest addition to STARUS DLP Cinema projector family

"NEC Corporation of America, a premier provider of IT, network and storage solutions, today introduced the STARUS NC1600C DLP Cinema projector to its family of digital cinema projectors. NEC’s STARUS NC1600C ensures that midsize theatres with screens from 26 to 49 feet wide have a cost-effective, high quality projector with the latest technologies designed specifically for their requirements.

The complete family of STARUS digital cinema projectors also includes the STARUS NC2500S, the world’s brightest DLP Cinema projector for large-sized screens tested up to 82 feet wide, and the NC800C, the world’s smallest and lightest DLP projector for smaller theatres, screening rooms, and post-production facilities with screen sizes up to 28 feet wide.

The NC1600C will be available worldwide in September 2007."

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Muvico chooses SONY SXRD 4K projectors for conversion to digital technology

"Muvico Entertainment will build the world’s first theater complex with Sony’s 4K SXRD projectors in all its theaters. The projectors will be installed in Muvico’s new Chicago area entertainment complex, as the initial step in converting the chain’s 12 theaters (228 screens) across the United States to digital technology.

According to Muvico, the new 18-screen facility, scheduled to open this August in the suburb of Rosemont, Ill., will have all of its theaters equipped with SXRD projectors: a combination of the SRX-R210 unit, a 10,000-lumen model, and the SRX-R220 model, an 18,000-lumen unit, as well as Sony’s LMT-100 media block system.

Muvico said it also plans to follow this first installation with SXRD roll-outs in three more of its locations by 2008. The chain is now working with Sony to secure proper services for installation and maintenance of the systems."

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Christie’s new CP2000-ZX boosts company’s cinema leadership worldwide

"Christie, a global leader in visual solutions for entertainment, business and industry, expands its popular line of 2K resolution Digital Cinema projection solutions with the introduction of the Christie CP2000-ZX DLP Cinema projector. Setting a new industry benchmark for performance, value and flexibility, the Christie CP2000-ZX is up to 50% smaller by volume than its nearest competitors, yet brighter at 17,000 lumens. Exceptionally easy to operate and maintain, the ZX model offers maximum installation options for small to medium size theaters. It is also the perfect solution for post-production facilities seeking an advanced Digital Cinema system at a more affordable price.

The much-anticipated projector, with its integrated single-phase ballast, is significantly smaller and lighter than standard-size DLP Cinema projectors. All controls are at the rear of the projector, making it easy to install and easy to use in the most challenging environments. It utilizes a standard Christie CDXL lamp or the new high efficiency Christie CDXL SD lamp, which can be replaced by the same projectionist that operates the 35mm systems, with similar cost of ownership. Brightness levels can be customized from 9,000 – 17,000 lumens, for screens up to 45 feet wide (14 meters).

The Christie CP2000-ZX features the same support for Digital Cinema and alternative content as the famed Christie CP2000. Unlike the competition, it also supports the processing of HDCP encrypted signals through its DVI inputs and various integrated input cards, allowing for optimum presentation flexibility. All controls are available from the compact, local user panel, Control Display Panel (CDP) or from any web browser on a networked computer. The feature-packed CP2000-ZX is the most affordable, flexible, and easy-to-use DLP Cinema solution on the market today."
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Dolby Previews Dolby 3D Digital Cinema at ShoWest 2007

"At ShoWest today, Dolby Laboratories unveiled details of its new Dolby 3D Digital Cinema technology, designed to provide consumers with an impressive 3D experience.

Dolby 3D provides exhibitors and distributors an efficient and cost-effective 3D solution. The ability to utilize a white screen gives exhibitors a cost advantage, as no special equipment associated with a “silver screen” is required. The ease of shifting from 3D to 2D as well as moving the film between different size auditoriums provides compelling flexibility.

Dolby 3D uses a unique color filter technology that provides a very realistic color reproduction. Dolby 3D also provides extremely sharp images thus delivering a great 3D experience to the audience from every seat in the house.

The Dolby 3D solution uses the white screens installed in most theaters today as well as standard digital cinema projectors, eliminating the need for a dedicated 3D auditorium. The solution simply adds a retractable color filter wheel accessory to the digital projector. Furthermore, the filter wheel automatically moves away from the light path when switching from 3D to 2D digital cinema presentations. Leveraging Dolby Digital Cinema technology, exhibitors easily can transfer movies down to a smaller auditorium later in the movie’s run.

Dolby 3D Digital Cinema works with comfortable and lightweight passive viewing glasses that require no batteries or charging. Initially, 3D glasses will be reusable, eliminating the need to reorder glasses and minimizing environmental impact. In the future, Dolby expects to offer the option of disposable glasses that the moviegoer can keep as a souvenir.

Unique to the Dolby 3D solution, the technology also simplifies the process of creating and distributing 3D movies. There is no need for extra color correction or other compensation processes in postproduction, as all processing is performed in the server. This innovative approach not only saves time and money, but it simplifies the overall process as the color correction is the same for both 3D and 2D digital cinema presentations."
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TI dévoille ses nouvelles puces DLP Cinéma

Durant le salon SHOWEST, Texas Instrument a annoncé la disponibilité des ses puces DLP Cinéma 0,98 pouces.
Ces puces, d'une surface inférieure à la génération précédente (1,2 pouces), nécessitent une puissance lumineuse inférieure, et surtout des optiques plus petites, et donc moins coûteuses. Toujours de résolution 2K, elles permettent aux fabricants de projecteurs de réaliser des modèles plus compacts, et sans doute à des tarifs plus compétitifs.

Barco a d'ores et déjà annoncé le renouvellement de sa gamme, avec l'apparition du DP1500 (pour les écrans jusqu'à 15m), le DP2000 (jusqu'à 20m) basés sur ces nouvelles puces, ainsi que le DP3000 pour les écrans jusqu'à 30m, utilisant les anciennes puces. Le tarif de ces nouveaux modèles n'est pas encore connu.

Draft DCI Compliance Test Plan

In February 2006, DCI contracted with the Fraunhofer Institute to create a Compliance Test Plan (CTP) for the DCI Digital Cinema System Specification, version 1.0. Fraunhofer has delivered the initial version of the CTP to DCI, but it has not been completely validated.

DCI has created a redacted version 0.9 of the CTP, removing certain detailed procedures deemed sensitive to maintaining system security, but retaining the test objectives of the redacted tests to indicate intent.

DCI is currently exploring ways to further refine and validate the current draft of the CTP, which can be downloaded using the link below. This is a draft document that is a work-in-progress :
www.dcimovies.com/compliance/DCI_Compliance_Test_Plan_v09R.pdf

Panorama Labs' Breakthrough Technologies to Brighten the Future of Digital Entertainment

"Panorama Labs ( www.panoramalabs.com ), the company pioneering digital entertainment technologies, announced today that it has achieved significant breakthroughs in the areas of magneto-optics and fiber-device technology that promise to revolutionize the way images are projected and displayed. Panorama Labs’ technologies will dramatically improve the quality and economics for a wide range of existing product categories from large-area flat-panel displays to theatrical and consumer projectors, head mounted “virtual reality” goggles, and handheld electronic games.

Because Panorama Labs’ magento-photonic technology uses sub-wavelength, nano-scale structures to directly switch pixel brightness, the switching speed is in the region of 15 nanoseconds--1,000 times faster than current technologies such as plasma and DLP, and one million times faster than LCD. This not only improves image quality due to a wider range of grey scale, and elimination of motion artifacts, but is also important for anti-piracy efforts and 3-D video.

The most significant impact of the increased switching speed—in sheer dollar value—may be in assisting the motion picture industry’s campaign against piracy, which generates estimated losses of $9 billion a year. Panorama Labs’ technology fast switching speed is expected to enable manipulation of frame rates and image sequencing, preventing a usable screen image from being captured by camcorders.

“The industry has been crying out for a hardware solution that is faster than, and can run circles around the CCD chips found in all camcorders. A more nimble shutter speed in a smart digital projector virtually ensures that in theatre camcorder pirated films won’t see the light of day,” said Sutherland Ellwood, founder and Chief Strategy Officer of Panorama Labs. “The software alone is not sufficient to the task, but with our hardware we think the industry will be looking at a “silver bullet” solution to this major problem.”

The switching speed will also dramatically enhance the quality of projection 3-D images, creating an unsurpassed theatrical experience. Panorama Labs technology will be able to project 3-D images at sufficient brightness without requiring that exhibitors install special expensive screens and without creating an uncomfortable visual experience for the viewer."

Source: www.dcinematoday.com/dc/pr.aspx?newsID=705

Un encodeur et décodeur JPEG 2000 chez Barco

Barco Silex, Barco's center of competence for electronic design services and Intellectual Property, has presented a new JPEG2000 encoding core, targeting single-chip FPGAs or ASICs for use in digital cinema and broadcasting applications.

Capitalizing on its long-term experience with JPEG2000 hardware coding and following the release of a DCI JPEG2000 decoder, Barco has extended its JPEG2000 portfolio by releasing a new real-time hardware encoder engine that is optimized for digital cinema and broadcasting applications. The core architecture offers a flexible and high-speed solution in a cost-effective, single-chip FPGA. It is able to sustain the high encoding requirements of the large DCI (Digital Cinema Initiative) and broadcasting frame formats, including 2048 x 1080 and 4096 x 2160 resolutions and frame rates up to 48 frames per second. The underlying architecture of the core enables a broad range of features and performance options.

"In accordance with our Intellectual Property business model, our new encoding and decoding cores are available for third party licensing on FPGA or ASIC technologies," said Frédéric Devisch, Sales & Marketing Manager of Barco Silex. "For enhanced security, our IP portfolio also includes Advanced Encryption Standard (AES) cores with optional countermeasure protection. The combination of these cores with the new JPEG2000 encoder allows users to build an integrated, secured DCI encoding platform."

Source : www.dcinematoday.com/dc/pr.aspx?newsID=684

Polémique autour de l'erratum du DCI sur la projection

Le DCI a publié le 5 décembre un jeu de correction de ses spécifications, en particulier les errata n°125 et 126, qui spécifient les phrases suivantes concernant le chapitre 8.2.2.7 "Spatial Resolution Conversion" :
125 : "All spatial conversions are required to be done at an exact ratio of 2:1 in each axis."
126 : “It is intended that the projector project the full horizontal pixel count or the full vertical pixel count of the image container.”

Un certain nombres d'experts du domaine, en particulier les représentants des exploitants américains, se sont émus de ces modifications, craignant que :
* L'erratum 125 n'interdise l'utilisation de lentilles anamorphiques : les DCDM en scope étant sur 858 lignes, le projecteur doit effectuer un redimensionnent pour occuper toute la matrice, et permettre à la lentille anamorphique d'afficher le ratio 2.39. Les seules conversions spatiales autorisées étant le passage du 2 au 4K, cette transformation deviendrait donc théoriquement impossible.
* L'erratum 126 n'empêche le redimensionnement d'un DCDM en 1.85, afin que l'image tienne sur 858 lignes. Concrètement, dans les salles possédant un écran au format scope, et ne disposant pas d'anamorphose, la technique courante est de caler la hauteur de l'écran sur les 858 lignes du scope. Dans le cas d'un film en 1.85, il faut donc dimensionner l'image 1998x1080 pour la faire tenir sur 1587x858.

En bref, la question était de savoir si les studios ne voulaient pas par ces erratas interdire l'anamorphose, et imposer l'utilisation de deux optiques distinctes.

Si cette polémique semble closer (les studios, en tout cas Universal ont expliqué qu'ils n'entendaient pas interdire l'anamorphose, mais plutôt inciter à ne pas projeter du 1.85 sur 858 lignes), elle aura eu le mérite de poser clairement le problème (toujours pas résolu) de la projection à hauteur ou à largeur constante, avec ou sans anamorphose.