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

Electrosonic's New Digital Cinema Player Available at Showest

Electrosonic's MS9600, a high-performance JPEG2000 appliance, plays unencrypted JPEG2000 content at 2K, 1080p and 720p resolutions. The company will also be showing the prototype DCI compliant version of the player which promises to take the Digital Cinema industry by storm.

Capable of delivering crisp, beautiful images at a price point well below that of its competitors, the MS9600 features 2K resolution via dual HD-DSI and dual DVI-I video outputs, 16 channels of broadcast quality digital audio, an advanced user interface and confidence monitor. It also includes professional integration features such as Timecode and Genlock, gigabit network, serial control, and four general purpose I/O. The unit also supports web interface for complete remote control and configuration for playlist management, SNMP and Metadata support. The MS9600 is ideal for special venue applications since it supports 48fps 3D playback and multiple units can be synchronized for multi-screen presentations.

Source: Digital Cinematography

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

European Exhbitor CGR Cinémas Selects Doremi Cinema's DCP-2000 Server for Arts Alliance Media Rollout

"Doremi Cinema is proud to announce that its DCP-2000 cinema server has been selected by Circuit George Raymond (CGR Cinémas) for all its 400 screens in France. The DCP-2000 installation will be part of an exclusive Virtual Print Fee (VPF) based agreement with Arts Alliance Media (AAM), Europe's leading provider of digital distribution services. With this agreement CGR Cinémas will become the first European exhibitor to convert completely to Digital Cinema exhibition.

CGR Cinémas chose Doremi's DCP-2000 server out of the brands evaluated and selected by AAM. Christie Digital has been chosen to provide digital cinema projectors and French cinema integration and services company Cine Digital Service will provide local installation and support services.

Two hundred screens are scheduled to be completed during the first year of the rollout that is set to begin in the first quarter of 2008. Eight screens will be equipped in December this year, in time for 3D digital cinema screenings during the Christmas holidays. In addition to the players, Doremi Cinema will also provide the Theater Management System (TMS) and the gateway integration with CGR Cinémas POS/Ticketing system developped by Monnaie Services. The Smartjog secured media delivery network will also be interfaced with the DCP2000 & TMS.

CGR Cinémas is a leading and expanding cinema chain in France. The company is well known for the success of its multiplexes in many mid-size cities across the country, for the efficiency of its cost management and for its profitability. By becoming the first European cinema chain to go fully digital, CGR Cinémas is demonstrating that it is an innovative company, ready to embrace new technology to deliver the best possible quality cinema experience.

CGR Cinémas is the first European exhibitor to sign up to a VPF-based rollout. The VPF business model is a means of financing the conversion to Digital Cinema, where both distributor and exhibitor contribute over time towards the total cost of the digital projection and server equipment, funded up front by the rollout entity AAM. The VPF model has been proven in North America, with over 4,320 digital screens installed to date, all using Doremi Cinema servers and Christie's digital cinema projection systems.

This agreement will see the number of theatres equipped with Doremi Cinema servers reach the 1,000 milestone in the EMEA region alone; and will add to the over 4,500 installations of Doremi Cinema players installed in the world today."

Source: DCinemaToday

Access IT Announces International Distribution Agreement with Doremi for its Theatre Command Center and Library Management System

"Capitalizing on their successful collaboration in the U.S. digital cinema market, Access Integrated Technologies (“AccessIT”) announced a non-exclusive distribution agreement with Doremi Labs Inc. (“Doremi”) for territories outside of the United States. The agreement allows Doremi to bundle their world leading media server with AccessIT's unique Theatre Command Center software and Library Management System, a proven solution that is supporting more than 3700 screens in the United States.

Two successful pilot programs with cinema companies in the United Kingdom and Ireland kick-started this effort which enables AccessIT to expand its reach outside of the United States, while providing first response support via Doremi, a trusted partner."

Source: DCinemaToday

QuVIS Announces 3D JPEG2000 Support for the QuVIS Cinema Player

"QuVIS has successfully integrated support for the new DCI JPEG2000 3D format in the QuVIS Cinema Player. The DCI JPEG2000 3D format is comprised of two 12-bit 4:4:4 video streams, left eye and right eye, stored in a single image track file. During playback, the QuVIS Cinema Player decodes the image track file and separates left eye and right eye picture data into two separate synchronized output video streams.

The QuVIS Cinema Player can be used for 3D stereoscopic exhibition using either passive or active visualization technology. 3D Passive viewing is achieved by projecting two images onto the same screen using orthogonal (linear) or circular polarizing filters. The viewer wears low-cost eyeglasses fitted with the polarizing filters needed for that display type. In 3D Active viewing the viewer wears LCD (Liquid Crystal Display) shutter glasses that receive a wireless signal from the projector to open and close the lens shutters on the glasses in an alternate-frame sequencing method.

The QuVIS Cinema Player, the central component of QuVIS’ Digital Cinema Network solution, is an elite multi-format playback server that has been designed to meet the performance, security and reliability needed for years of faithful service. The QuVIS Cinema Player not only provides the basic Digital Cinema functionality (e.g. 2K and 3D JPEG2000 playback and local content loading) but also features many advanced server capabilities including: 2K playback of a 4K Digital Cinema Composition, Network-based content loading even during active playback, Secure Logging and Reporting, Forensic Watermarking, and full theater automation programming and controls."

Source: DCinemaToday

Doremi Cinema's DCP-2000 Server Receives FIPS Level 3 Certification

"Doremi Cinema announces that its DCP-2000 cinema server has officially received a Federal Information Processing Standards (FIPS) 140-2 Level 3 validation certificate.

FIPS Level 3 compliance provides the DCP-2000 with the highest level of protection required by the Digital Cinema Initiative (DCI) to secure the motion picture files used in the cinema server.

"Achieving FIPS certification brings the highest level of comprehensive security DCI compliance for our server," said Michael Archer VP of Sales at Doremi. "Our security solution also allows for maintenance to be performed at the theater level without special personnel, since our security design left maintenance items easily accessible."

The Doremi server underwent a comprehensive testing process by the accredited cryptographic module testing laboratory InfoGard. InfoGard submitted its test report to NIST, which issued the FIPS 140-2 Level 3 validation certificate. Doremi's NIST certification number is 850.

Doremi Cinema's DCP-2000 is by far the most installed cinema server in the world with over 4000 screens worldwide. Doremi's continued leadership in installations both underscores the reliability and consistency of the DCP-2000 server to provide both the highest quality JPEG2000 images and the highest levels of security sought by the major studios to protect their content."

Source: DCinemaToday

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

Qube XP-D Digital Cinema Server now Equipped with Stereoscopic Playback Capability

"Qube Cinema announced today that the Qube XP-D Digital Cinema Server is now available with 3D playback capability. This feature has been implemented in compliance with the DCI specification and draft SMPTE standards and works with single stereoscopic 48 fps Track Files.

The Qube XP-D is equipped with two independent dual-link HDSDI (2 x SMPTE 292M) outputs and has the capability to output 12-bit 24 fps 4:4:4 images to two different projectors or 48 fps images to a single projector in 4:2:2 mode.

The Qube system has the capability to work with multiple 3D technologies including active shutter glasses and the Z-Screen for single projectors and fixed polarizing filters on dual projectors.

Qube Cinema's end-to-end solutions for digital cinema provide the ultimate combination of quality, reliability, ease-of-use, security and flexibility. Designed from the ground up to operate in mission-critical applications, the architecture of the Qube product family has been conceived with the future in mind and provides an integrated workflow, from mastering to distribution, playback to reporting and archiving. Being almost entirely software based allows the Qube system to leverage developments in the computer industry and bring to the market format independent, powerful and flexible products."

Source: DCinemaToday

Dolby Digital Cinema Receives Industry’s First FIPS Level 3 Certification for Digital Cinema

"Dolby Laboratories today announced that the Dolby Digital Cinema server has officially earned its Federal Information Processing Standards (FIPS) 140-2 Level 3 validation certificate. The National Institute of Standards and Technology (NIST), a nonregulatory federal agency within the US Department of Commerce, awarded the certificate.

The Dolby Digital Cinema server is the first digital cinema server to achieve the highest level of content protection security specified by the Digital Cinema Initiative (DCI). All Dolby Digital Cinema servers, currently in over 400 cinemas worldwide, meet the FIPS Level 3 requirements, which is a major step toward achieving DCI compliance.

FIPS 140-2 are security standards adopted by DCI and cover detailed requirements for physical security, software, interfaces, key management, and cryptographic algorithms. To earn the certification, the Dolby Digital Cinema server underwent a rigorous testing process by InfoGard Laboratories, an accredited cryptographic module testing laboratory, which performed extensive analysis of the design and construction of the unit. InfoGard submitted its test report to NIST, which issued the FIPS 140-2 Level 3 validation certificate.

The official Dolby Digital Cinema FIPS 140-2 NIST certificate is number 842."

Source: DCinemaToday

DTS Digital Cinema Announces Implementation of Philips Cinefence Forensic Watermarking on Filmstore Digital Cinema Player

"DTS Digital Cinema today announced that it has implemented the Philips CineFence forensic watermarking technology on its FilmStore Digital Cinema Player as part of its commitment to continue providing solutions that support DCI specifications for digital cinema.

DTS-DC has implemented CineFence technology in line with its singular focus on supporting all elements of the motion picture industry’s transition to digital cinema. The FilmStore Digital Cinema Player, into which the technology has been integrated, is part of the FilmStore Content Management System, an innovative and comprehensive suite of products and software that have been engineered to support the build-out and operation of an industry-wide digital cinema infrastructure.

Philips CineFence forensic watermarking is a technology designed especially for the digital cinema environment to support increased measures to protect content that is delivered in a digital format."

Source: DCinemaToday

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."

Source

DTS Digital Cinema Debuts FilmStore CMS at Cinema Expo 2007

"DTS Digital Cinema introduced its FilmStore Content Management System at the recent Cinema Expo 2007.

The system is designed to provide a complete solution for management of digital content within a multiplex, and consists of three interrelated components: FilmStore Director content management software, FilmStore Central ingest and storage system, and the FilmStore Digital Cinema Player. Together they provide a powerful digital cinema management system, from the ingest of content through playout and presentation.

FilmStore Central is the core of the FilmStore Content Management System and the main repository from which content can be distributed as needed to multiple screens. The FilmStore Central stores features, trailers and advertising content and serves that content to individual players via high-speed network connections. FilmStore Central also serves as a redundant storage medium for each screen player in a multiplex as well as supporting extensive activity logging, performance reporting and system maintenance.

The FilmStore Digital Cinema Player will store up to three full-length 4K features or many 2K features plus trailers, advertising and other content. Designed for rugged operation in a 24/7 environment, the FilmStore player can be used as a standalone digital cinema player for a single screen, or in a multiplex configuration when used with FilmStore Central. It has been designed to fully support the DCI specification for 2K resolution JPEG2000 content, with optional capabilities for playback of 4K and HD-MPEG2.

FilmStore Director is the central control interface for the cinema. Designed for ease-of-use by exhibitors, FilmStore Director software is intuitive, allowing exhibitors to focus on managing their content rather than managing a computer system. It provides direct control of the FilmStore Central and can independently view or manage any player in the cinema, from virtually any location. With FilmStore Director’s drag-and-drop functionality, managers can easily create new shows, schedule and supervise receipt of content and keys, manage and monitor system security.

The FilmStore Content Management System is one of several innovations that form the DTS Theatre Management System, a comprehensive suite of products engineered to support the build-out and operation of a fully digital cinema environment. The FilmStore system has been demonstrated at Cinema Expo, with planned availability for delivery during Q3 2007."

Source

XDC Presents Advanced JPEG2000 Digital Cinema Server at Cinema Expo 2007

"XDC introduces the CineStore Solo G3 digital cinema server at the 2007 Cinema Expo International Convention and Trade Show in Amsterdam June 25-29. This hybrid JPEG2000/MPEG2 system supports all currently standardised Digital Cinema Initiatives (DCI) specifications and is the advanced core unit at the heart of all XDC state-of-the-art digital cinema installations.

“The CineStore Solo G3 digital cinema server is the first to be based on the innovative FPGA (Field Programmable Gate Array) solution capable of JPEG2000 DCI/SMPTE compliant decoding (as well as MPEG2 decoding). This provides a really competitive advantage in comparison with the ASIC (Application-Specific Integrated Circuit) solutions implemented in current D-Cinema servers. Indeed, the G3 server is easily upgradeable as the FPGA can be reprogrammed … that means the upgrade is performed economically and securely by remote control … This avoids swapping hardware inside the machine”, says Jérôme Delvaux, R&D Manager at XDC. “The security of the whole system has also been studied to have one of the most secure systems, in accordance with DCI specifications, and furthermore, we have implemented into the G3 a high speed SATA connectivity enabling real-time ingest of JPEG2000 content. The internal SATA port is used with our new XDC’s Cinedisk, which is a Promise interoperable hard drive. Of course, any other interoperable hard drives can be connected to the G3 by using the external connections (Ethernet, e-SATA or USB2) provided on the server.”

“We are very excited that XDC has selected intoPIX JPEG2000 compression technology as one of the many innovations incorporated into the advanced G3 server” comments Jean Francois Nivart, CEO intoPIX. “The superb implementation of the leading edge IPX-JP2K image management core takes every advantage of its security, flexibility and robustness to ensure the highest possible standard of content delivery”.

Thierry Van der Kaa, Product Manager at XDC points out, “The XDC team has fully redesigned its products, based on over 6 year’s expertise of the digital cinema user requirements. This enables XDC to offer a full range of products that meet the needs of the exhibitors, system integrators and distributors. The masterpiece at the centre of the CineStore product family, the Solo G3 has now the most user-friendly interface on the market with its large 15” touchscreen monitor“. Thierry Van der Kaa adds “The new G3 server also will be equipped with the CineStore Audi. This newly developed unit provides the interconnection of the G3 to the cinema audio B-chain in order to provide digital to analogue conversion, external analogue audio source inputs and high quality signal isolation to avoid unexpected noise.”

The XDC G3 server is an interoperable system, very flexible and fully integrated into the cinema environment (i.e. automation, sound and pre-show systems). It is connected via high-speed DSL to the XDC Network Operations Centre for online support and assistance. XDC’s 7/7 helpdesk staff is composed of multilingual skilled engineers servicing over 300 digital cinema installations spread on 10 European countries. The automatic system health reports generated by the G3 are sent to the CineStore Data, XDC’s central management system, to provide proactive preventative maintenance operations. The CineStore Data is also used for the upgrades and the remedial support operations. In addition, the CineStore Data is the foundation stone for content related extranet services which are available according to client requirements on the XDC network.

The G3 can be remotely controlled via the CineStore Plaza, XDC’s Theatre Management System (TMS) composed of the Plaza-Catcher which ingests content securely stored on Cinedisks, and the Plaza-Library which securely stores over 40 films in JPEG2000 format."

Source

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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DVS Showcases Hydra JPEG2000 Board At NAB 2007

"Hydra is a PCI-X board for uncompressed input and output of audio and video material as well as for decompression of JPEG2000 in real time. Hydra supports SD, HD, 2K, and further formats specified by DCI and offers 16 AES/EBU or embedded audio channels.

Hydra performs decoding and decompression of JPEG2000 material for Digital Cinema applications. These processes take place in real time from SD, HD and 2K material as well as several other formats specified by the DCI (Digital Cinema Initiative). The data can be received as RGB, YUV or X’Y’Z’ data in MXF or JP2 and the hardware extracts the components from the MXF file when necessary.

Up to two dual-link 4:4:4 or three single-link 4:2:2 channels are supported simultaneously. The new I/O board is ideal for implementing stereoscopic display applications in Digital Cinema, multi-channel applications in broadcast or multi-screen applications in the presentation area."

source

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"."
source

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. ).

GDC Technology launches new generation of Digital Cinema server to meet DCI specifications

"GDC Technology, one of the leading solution providers of digital cinema, today unveiled new digital cinema product – SA-2100 DSR Digital Film Server which is 33% smaller in size and designed to meet DCI specifications such as Texas Instruments Cinelink 2, Hollywood’s approved forensic watermarking and FIPS-140 security features. The new SA-2100 server supports DCI defined DCP 2k and 4k digital cinema packages, and JPEG2000 and remains backward compatible with the MXF MPEG2 Interop format. GDC Technology is one of the founding members of MXF MPEG2 Interop group and its MXF MPEG2 format was selected by the studios as the transitional digital cinema format before the availability of DCI defined DCP format.

The new SA-2100 server is designed to work in cinema multiplex with Theater Management System (TMS) and Network Operations Center (NOC) which support operations such as scheduling of playlist, content rights management and collection of playout log information. The SA-2100 server is a cost-effective and flexible solution for digital cinema and alternative content sources to be playout in a seamless pipeline; various formats of content such as live interview, on-screen advertisement and feature films can be programmed to playout without the need to re-initialize the server and/or projector for different image formats. The server accommodates other image codec such as JPEG, MPEG2 and MPEG4 to support full suite of alternative content applications not found in other digital cinema servers. GDC Technology’s servers are well tested with different makes of DLP Cinema projectors since 2001. Since the servers are based on open architecture such as LINUX operating system, they can easily export the user interface and controls to DLP Cinema projectors equipped with high performance touch-panel PC. GDC Technology’s DCI-2000 Digital Cinema Integrated System is an answer to the exhibitors’ need of a fully integrated projector – server system with a single focal point of control."
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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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NEC announces advanced features for The STARUS Digital Cinema Screen Server

"NEC Corporation of America has announced enhancements to its STARUS screen server at ShoWest 2007, allowing theatre operators to easily build and manage playlists that support both JPEG2000 and MPEG2 files.

In addition to providing simple scheduling and playlist administration, the new screen server also incorporates an improved user interface to minimize training and accelerate adoption.

NEC's STARUS screen server supports 3D films and enables 2K and 4K playback. It also meets cinema industry standards providing enhanced security features, including CineLink II encryption and both Thomson's NexGuard and Philips' CineFence forensic watermarking technologies.

The new STARUS screen server offers selected multiplex functionality, allowing multiplex control at the screen server level so that the theatre operators can remotely monitor all servers within the multiplex from any one server. It also enables screen servers to continue running scheduled playlists, even in the case of a network outage."
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Kodak to Unveil First “Universal” and Fully Integrated Digital System at ShoWest

"Kodak will unveil and demonstrate its comprehensive digital cinema solution, the Kodak Theatre Management System (TMS), to exhibition and distribution managers at the 2007 ShoWest Convention and Trade Show in Las Vegas next week.

Kodak also announced that in April it will begin installing prototypes of the Kodak Theatre Management System at multiple sites throughout the United States. The Kodak TMS will be the exhibition industry’s first ever ‘universal’ digital system designed to manage all content from all suppliers and 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 fully integrated TMS will automatically load all content from multiple suppliers via hard drive or satellite and distribute it to targeted screens over the in-cinema network. Decryption keys are also loaded, migrated and managed over the network. The Kodak TMS is at the heart of the fully-integrated Kodak solution, which includes all networked content players and feature projectors, as well as Kodak service and support.

Kodak intends to support the solution with an innovative Business Plan. “Our plan is aimed at exhibitors intending to convert at least half the screens in their complex,” Mayson says, “because we believe a commitment of that scope is necessary for them to experience the benefits of a network solution – and to have the same ‘print movement’ flexibility they now enjoy with analog.”
The term of payback for TMS is expected to be seven years, after which the exhibitor will own the system.

Mayson emphasizes that there are no hidden obligations in the Kodak Plan. “There are no requirements that customers buy lamps from Kodak, no hidden usage charges for exhibitors, and there is no limitation on their sources of content. Those choices are up to the exhibitor; we respect the ways they need to run their business.”

source: www.dcinematoday.com/dc/pr.aspx?newsID=723

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

Convention sur le nommage des DCP

Vous trouverez dans le fichier joint la convention adoptée sur la manière de titrer les DCP.
En clair, il s'agit du champ Content Title de la CPL. Cette convention permet d'adopter une manière universelle de titrer les DCP, regroupant toutes les informations utiles (film, langue, sous-titre, prestataire etc.)