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jpeg 2000 image compression standard was developed by a joint photographic experts group jpeg committee chaired by touradj ebrahimi later the jpeg president 10 in contrast to the original 1992 jpeg standard which is a dct based lossy compression format for static digital images jpeg 2000 is a discrete wavelet transform dwt based compression standard that could be adapted for motion imaging video compression with the motion jpeg 2000 extension jpeg 2000 technology was later selected as the video coding standard for digital cinema in 2004 11 texas instruments dlp cinema prototype projector mark v 2000 in the united states on june 18 1999 texas instruments dlp cinema projector technology was publicly demonstrated on two screens in los angeles and new york for the release of lucasfilm s star wars episode i the phantom menace 12 13 in europe on february 2 2000 texas instruments dlp cinema projector technology was publicly demonstrated by philippe binant on one screen in paris for the release of toy story 2 14 15 initiatives edit on january 19 2000 the society of motion picture and television engineers in the united states initiated the first standards group dedicated to developing digital cinema 16 by december 2000 there were 15 digital cinema screens in the united states and canada 11 in western europe 4 in asia and 1 in south america 17 digital cinema initiatives dci was formed in march 2002 as a joint project of many motion picture studios disney fox mgm paramount sony pictures universal and warner bros to develop a system specification for digital cinema 18 the same month it was reported that the number of cinemas equipped with digital projectors had increased to about 50 in the us and 30 more in the rest of the world 19 in april 2004 in collaboration with the american society of cinematographers dci created standard evaluation material the asc dci stem material for testing of 2k and 4k playback and compression technologies dci selected jpeg 2000 as the basis for the compression in the system the same year 20 initial tests with jpeg 2000 produced bit rates of around 75 125 mbit s for 2k resolution and 100 200 mbit s for 4k resolution 11 worldwide deployment edit in china in june 2005 an e cinema system called dms was established and was used in over 15 000 screens spread across china s 30 provinces dms estimated that the system would expand to 40 000 screens in 2009 21 in 2005 the uk film council digital screen network launched in the uk by arts alliance media creating a chain of 250 2k digital cinema systems the roll out was completed in 2006 this was the first mass roll out in europe accessit christie digital also started a roll out in the united states and canada by mid 2006 about 400 theaters were equipped with 2k digital projectors with the number increasing every month in august 2006 the malayalam digital movie moonnamathoral produced by benzy martin was distributed via satellite to cinemas thus becoming the first indian digital cinema this was done by emil and eric digital films a company based at thrissur using the end to end digital cinema system developed by singapore based dg2l technologies 22 in january 2007 guru became the first indian film mastered in the dci compliant jpeg 2000 interop format and also the first indian film to be previewed digitally internationally at the elgin winter garden in toronto this film was digitally mastered at real image media technologies in india in 2007 the uk became home to europe s first dci compliant fully digital multiplex cinemas odeon hatfield and odeon surrey quays in london with a total of 18 digital screens were launched on 9 february 2007 by march 2007 with the release of disney s meet the robinsons about 600 screens had been equipped with digital projectors in june 2007 arts alliance media announced the first european commercial digital cinema virtual print fee vpf agreements with 20th century fox and universal pictures in march 2009 amc theatres announced that it closed a 315 million deal with sony to replace all of its movie projectors with 4k hdr digital projectors starting in the second quarter of 2009 it was anticipated that this replacement would be finished by 2012 23 as digital cinema technology improved in the early 2010s most theaters across the world converted to digital video projection 24 in january 2011 the total number of digital screens worldwide was 36 242 up from 16 339 at end 2009 or a growth rate of 121 8 percent during the year 25 there were 10 083 d screens in europe as a whole 28 2 percent of global figure 16 522 in the united states and canada 46 2 percent of global figure and 7 703 in asia 21 6 percent of global figure worldwide progress was slower as in some territories particularly 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 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