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larly latin america and africa 26 27 as of 31 march 2015 38 719 screens out of a total of 39 789 screens in the united states have been converted to digital 3 007 screens in canada have been converted and 93 147 screens internationally have been converted 28 by the end of 2017 virtually all of the world s cinema screens were digital 98 29 digital cinema technology has continued to develop over the years with reald 3d imax rpx dolby cinema 4dx and screenx allowing moviegoers with more immersive experiences 30 despite the fact that today virtually all global movie theaters have converted their screens to digital cinemas some major motion pictures even as of 2019 are shot on film 31 32 for example quentin tarantino released his latest film once upon a time in hollywood in 70 mm and 35 mm in selected theaters across the united states and canada 33 elements edit in addition to the equipment already found in a film based movie theatre e g a sound reinforcement system screen etc a dci compliant digital cinema requires a dci compliant 34 digital projector and a powerful computer known as a server movies are supplied to the theater as a set of digital files called a digital cinema package dcp 35 for a typical feature film these files will be anywhere between 90 gb and 300 gb of data roughly two to six times the information of a blu ray disc and may arrive as a physical delivery on a conventional computer hard drive or via satellite or fibre optic broadband internet 36 as of 2013 physical deliveries of hard drives were most common in the industry promotional trailers arrive on a separate hard drive and range between 200 gb and 400 gb in size ingest of dcp files may be done at each cabin s projector server or may be stored in a central server called a digital cinema library sharing its content over the cinema local area network lan and managed by the theater management system software regardless of how the dcp arrives it first needs to be copied onto the internal hard drives of the server either via an esata connection or via a closed network a process known as ingesting citation needed dcps can be and in the case of feature films almost always are encrypted to prevent illegal copying and piracy the necessary decryption keys are supplied separately usually as email attachments or via download and then ingested via usb keys are time limited and will expire after the end of the period for which the title has been booked they are also locked to the hardware server and projector that is to screen the film so if the theatre wishes to move the title to another screen or extend the run a new key must be obtained from the distributor 37 several versions of the same feature can be sent together the original version ov is used as the basis of all the other playback options version files vf may have a different sound format e g 7 1 as opposed to 5 1 surround sound or subtitles 2d and 3d versions are often distributed on the same hard drive the playback of the content is controlled by the server using a playlist as the name implies this is a list of all the content that is to be played as part of the performance the playlist will be created by a member of the theatre s staff using proprietary software that runs on the server in addition to listing the content to be played the playlist also includes automation cues that allow the playlist to control the projector the sound system auditorium lighting tab curtains and screen masking if present etc the playlist can be started manually by clicking the play button on the server s monitor screen or automatically at pre set times 38 the theater manager system tms is a central system software for the whole cinema house handling the central cinema content library and preparing the playback sessions playlists with the correct kdm keys and the selected cinema content moved to each projector technology and standards edit digital cinema initiatives edit digital cinema initiatives dci a joint venture of the six major studios published the first version v1 0 of a system specification for digital cinema in july 2005 18 the main declared objectives of the specification were to define a digital cinema system that would present a theatrical experience that is better than what one could achieve now with a traditional 35mm answer print to provide global standards for interoperability such that any dci compliant content could play on any dci compliant hardware anywhere in the world and to provide robust protection for the intellectual property of the content providers the dci specification calls for picture encoding using the iso iec 15444 1 jpeg2000 j2c standard and use of the cie xyz color space at 12 bits per component encoded with a 2 6 gamma applied at projection two levels of resolution for both content and projectors are supported 2k 2048 1080 or 2 2 mp at 24 or 48 frames per second and 4k 4096 2160 or 8 85 mp at 24 frames per second the specification ensures that 2k content can play on 4k projectors and vice versa smaller resolutions in one direction are also supported the image gets automatically centered later versions of the standard added additional playback rates like 25 fps in smpte mode for the sound component of the content the specification provides for up to 16 channels of uncompressed audio using the broadcast wave wav format at 24 bits and 48 khz or 96 khz sampling playback is controlled by an xml format composition playlist into an mxf compliant file at a maximum data rate of 250 mbit s details about encryption key management and logging are all discussed in the specification as are the minimum specifications for the projectors employed including the color gamut the contrast ratio and the brightness of the image while much of the specification codifies work that had already been ongoing in the society of motion picture and television engineers smpte the specification is important in establishing a content owner framework for the distribution and security of first release motion picture content cinema united edit in addition to dci s work the cinema united released its digital cinema system requirements 39 the document addresses the requirements of digital cinema systems from the operational needs of the exhibitor focusing on areas not addressed by dci including access for the visually impaired and hearing impaired workflow inside the cinema and equipment interoperability in particular nato s document details requirements for the theatre management system tms the governing software for digital cinema systems within a theatre complex and provides direction for the development of security key management systems as with dci s document nato s document is also important to the smpte standards effort e cinema edit the society of motion picture and television engineers smpte began work on standards for digital cinema in 2000 it was clear by that point in time that hdtv did not provide a sufficient technological basis for the foundation of digital cinema playback in europe india and japan however there is still a significant presence of hdtv for theatrical presentations agreements within the iso standards body have led to these non compliant systems being referred to as electronic cinema systems e cinema projectors edit only four manufacturers make dci approved digital cinema projectors these are barco christie sharp nec and sony except for sony who used to use their own sxrd technology all use the digital light processing dlp technology developed by texas instruments ti d cinema projectors are similar in principle to digital projectors used in industry education and domestic home cinemas but differ in two important respects first projectors must conform to the strict performance requirements of the dci specification second projectors must incorporate anti piracy devices intended to enforce copyright compliance such as licensing limits for these reasons all projectors intended to be sold to theaters for screening current release movies must be approved by the dci before being put on sale they now pass through a process called ctp compliance test plan because feature films in digital form are encrypted and the decryption keys kdms are locked to the serial number of the server used linking to both the projector serial number and server is planned in the future a system will allow playback of a protected feature only with the required kdm dlp cinema edit three manufacturers have licensed the dlp cinema technology developed by texas instruments ti christie digital systems barco and nec while nec is a relative newcomer to digital cinema christie is the main player in the u s and barco takes the lead in europe and asia citation needed initially dci compliant dlp projectors were available in 2k only but from early 2012 when ti s 4k dlp chip went into full production dlp projectors have been available in both 2k and 4k versions manufacturers of dlp based cinema projectors can now also offer 4k upgrades to some of the more recent 2k models 40 early dlp cinema projectors which were deployed primarily in the united states used limited 1280 1024 resolution or the equivalent of 1 3 mp megapixels digital projection incorporated dpi designed and sold a few dlp cinema units is8 2k when ti s 2k technology debuted but then abandoned the d cinema market while continuing to offer dlp based projectors for non cinema purposes although based on the same 2k ti light engine as those of the major players they are so rare as to be virtually unknown in the industry they are still widely used for pre show advertising but not usually for feature presentations ti s technology is based on the use of digital micromirror devices dmds 41 these are mems devices that are manufactured from silicon using similar technology to that of computer chips the surface of these devices is covered by a very large number of microscopic mirrors one for each pixel so a 2k device has about 2 2 million mirrors and a 4k device about 8 8 million each mirror vibrates several thousand times a second between two positions in one light from the projector s lamp is reflected towards the screen in the other away from it the proportion of the time the mirror is in each position varies according to the required brightness of each pixel three dmd devices are used one for each of the primary colors light from the lamp usually a xenon arc lamp similar to those used in film projectors with a power between 1 kw and 7 kw is split by colored filters into red green and blue beams which are directed at the appropriate dmd the forward reflected beam from the three dmds is then re combined and focused by the lens onto the cinema screen later projectors may use lasers instead of xenon lamps sony sxrd edit alone amongst the manufacturers of dci compliant cinema projectors sony decided to develop its own technology rather than use ti s dlp technology sxrd silicon x tal crystal reflective display projectors have only ever been manufactured in 4k form and until the launch of the 4k dlp chip by ti sony sxrd projectors were the only 4k dci compatible projectors on the market unlike dlp projectors however sxrd projectors do not present the left and right eye images of stereoscopic movies sequentially instead they use half the available area on the sxrd chip for each eye image thus during stereoscopic presentations the sxrd projector functions as a sub 2k projector the same for hfr 3d content 42 however sony decided in late april 2020 that they would no longer manufacture digital cinema projectors 43 44 stereoscopic 3d images edit in late 2005 interest in digital 3d stereoscopic projection led to a new willingness on the part of theaters to collaborate in installing 2k stereoscopic installations to show disney s chicken little in 3d film six more digital 3d movies were released in 2006 and 2007 including beowulf monster house and meet the robinsons the technology combines a single digital projector fitted with either a polarizing filter for use with polarized glasses and silver screens a filter wheel or an emitter for lcd glasses reald 3d uses a zscreen for polarization and masterimage uses a filter wheel that changes the polarity of projector s light output several times per second to quickly alternate the left and right eye views another system that uses a filter wheel is dolby 3d the wheel changes the wavelengths of the colors being displayed and tinted glasses filter these changes so the incorrect wavelength cannot enter the wrong eye xpand makes use of an external emitter that sends a signal to the 3d glasses to block out the wrong image from the wrong eye laser edit rgb laser projection produces the purest bt 2020 colors and the brightest images 45 led screens edit in asia on july 13 2017 an led screen for digital cinema developed by samsung electronics was publicly demonstrated on one screen at lotte cinema world tower in seoul 46 the first installation in europe is in arena sihlcity cinema in zürich 47 these displays do not use a projector instead they use a led video wall and can offer higher contrast ratios higher resolutions and overall improvements in image quality sony already sells microled displays as a replacement for conventional cinema screens 48 effect on distribution edit digital distribution of movies has the potential to save money for film distributors in the early 21st century making release prints for 4 000 screens at a typical cost of about 1 500 per print meant that a wide release cost about 6 million 49 in contrast at the maximum 250 megabit per second data rate as defined by dci for digital cinema a feature length movie can be stored on an off the shelf 300 gb hard drive for 50 and a broad release of 4000 digital prints might cost 200 000 citation needed in addition hard drives can be returned to distributors for reuse with several hundred movies distributed every year the industry saves billions of dollars the digital cinema rollout was stalled by the slow pace at which exhibitors acquired digital projectors since the savings would be seen not by themselves but by distribution companies the virtual print fee model was created to address this by passing some of the saving on to the cinemas citation needed as a consequence of the rapid conversion to digital projection the number of theatrical releases exhibited on film is dwindling as of 4 may 2014 37 711 screens out of a total of 40 048 screens in the united states have been converted to digital 3 013 screens in canada have been converted and 79 043 screens internationally have been converted 28 telecommunication edit realization and demonstration on october 29 2001 of the first digital cinema transmission by satellite in europe 50 51 52 of a feature film by bernard pauchon 53 alain lorentz raymond melwig 54 and philippe binant 55 56 then reliable file delivery of dcps via internet emerged thanks to higher bandwidth connections in cinemas first with bonded dsl lines then with fiber connection to th...
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