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force 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 the internet live broadcasting to cinemas or event cinemas edit broadcasting antenna in stuttgart red digital cinema filming in miami digital cinemas can deliver live broadcasts mainly via satellite digital television or broadband internet streaming media from performances or events this began initially with live broadcasts from the new york metropolitan opera delivering regular live broadcasts into cinemas and has been widely imitated ever since leading territories providing the content are the uk the us france and germany the royal opera house sydney opera house english national opera and others have found new and returning audiences captivated by the detail offered by a live digital broadcast featuring handheld and cameras on cranes positioned throughout the venue to capture the emotion that might be missed in a live venue situation in addition these providers all offer additional value during the intervals e g interviews with choreographers cast members a backstage tour which would not be on offer at the live event itself other live events in this field include live theatre from nt live branagh live royal shakespeare company shakespeare s globe the royal ballet mariinsky ballet the bolshoi ballet and the berlin philharmoniker in the last ten years this offering has also expanded to include live and recorded music events such as take that live one direction live andre rieu live musicals such as the recent miss saigon and billy elliot live in cinemas live sport documentary with a live question and answer element such as the recent oasis documentary lectures faith broadcasts stand up comedy museum and gallery exhibitions tv specials such as the doctor who fiftieth anniversary special the day of the doctor have all contributed to creating a valuable revenue stream for cinemas large and small all over the world subsequently live broadcasting formerly known as alternative content has become known as event cinema and a trade association now exists to that end ten years on the sector has become a sizeable revenue stream in its own right gaining audience support theatre ballet sport exhibitions tv specials and documentaries are now established forms of event cinema worldwide estimations put the likely value of the event cinema industry at 1bn by 2019 57 event cinema currently accounts for on average between 1 3 of overall box office for cinemas worldwide but anecdotally it s been reported that some cinemas attribute as much as 25 48 and even 51 the rio bio cinema in stockholm of their overall box office it is envisaged ultimately that event cinema will account for around 5 of the overall box office globally event cinema saw six worldwide records set and broken over from 2013 to 2015 with notable successes such as dr who 10 2m in three days at the box office event was also broadcast on terrestrial tv simultaneously pompeii live by the british museum billy elliot andre rieu one direction richard iii by the royal shakespeare company event cinema is defined more by the frequency of events rather than by the content itself event cinema events typically appear in cinemas during traditionally quieter times in the cinema week such as the monday thursday daytime evening slot and are characterised by the one night only release followed by one or possibly more encore releases a few days or weeks later if the event is successful and sold out on occasion more successful events have returned to cinemas some months or even years later in the case of nt live where the audience loyalty and company branding is so strong the content owner can be assured of a good showing at the box office pros and cons edit pros edit the digital formation of sets and locations especially in the time of growing film series and sequels is that virtual sets once computer generated and stored can be easily revived for future films 58 62 considering digital film images are documented as data files on hard disk or flash memory varying systems of edits can be executed with the alteration of a few settings on the editing console with the structure being composed virtually in the computer s memory a broad choice of effects can be sampled simply and rapidly without the physical constraints posed by traditional cut and stick editing 58 63 digital cinema allows national cinemas to construct films specific to their cultures in ways that the more constricting configurations and economics of customary film making prevented low cost cameras and computer based editing software have gradually enabled films to be produced for minimal cost the ability of digital cameras to allow film makers to shoot limitless footage without wasting costly film has transformed film production in some third world countries 58 66 from consumers perspective digital prints do not deteriorate with the number of showings unlike film there is no projection mechanism or manual handling to add scratches or other physically generated artefacts provincial cinemas that would have received old prints can give consumers the same cinematographic experience all other things being equal as those attending the premiere the use of nles in movies allows for edits and cuts to be made non destructively without actually discarding any footage cons edit a number of high profile film directors including christopher nolan 59 paul thomas anderson 60 david o russell 61 and quentin tarantino 61 have publicly criticized digital cinema and advocated the use of film and film prints most famously tarantino has suggested he may retire because though he can still shoot on film because of the rapid conversion to digital he cannot project from 35 mm prints in the majority of american cinemas 62 steven spielberg has stated that though digital projection produces a much better image than film if originally shot in digital it is inferior when it has been converted to digital he attempted at one stage to release indiana jones and the kingdom of the crystal skull solely on film 63 paul thomas anderson recently was able to create 70 mm film prints for his film the master citation needed film critic roger ebert criticized the use of dcps after a cancelled film festival screening of brian depalma s film passion at new york film festival as a result of a lockup due to the coding system 64 the theoretical resolution of 35 mm film is greater than that of 2k digital cinema 65 66 2k resolution 2048 1080 is also only slightly greater than that of consumer based 1080p hd 1920x1080 67 however since digital post production techniques became the standard in the early 2000s the majority of movies whether photographed digitally or on 35 mm film have been mastered and edited at the 2k resolution moreover 4k post production was becoming more common as of 2013 as projectors are replaced with 4k models 68 the difference in resolution between digital and 35 mm film is somewhat reduced 69 digital cinema servers utilize far greater bandwidth over domestic hd allowing for a difference in quality e g blu ray colour encoding 4 2 0 48 mbit s max datarate dci d cinema 4 4 4 250 mbit s 2d 3d 500 mbit s hfr3d each frame has greater detail owing to the smaller dynamic range of digital cameras correcting poor digital exposures is more difficult than correcting poor film exposures during post production a partial solution to this problem is to add complex video assist technology during the shooting process however such technologies are typically available only to high budget production companies 58 62 digital cinemas efficiency of storing images has a downside the speed and ease of modern digital editing processes threatens to give editors and their directors if not an embarrassment of choice then at least a confusion of options potentially making the editing process with this try it and see philosophy lengthier rather than shorter 58 63 because the equ...
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