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Text of the page (random words):
ployment 2 elements 3 technology and standards toggle technology and standards subsection 3 1 digital cinema initiatives 3 2 cinema united 3 3 e cinema 4 projectors toggle projectors subsection 4 1 dlp cinema 4 2 sony sxrd 4 3 stereoscopic 3d images 4 4 laser 5 led screens 6 effect on distribution toggle effect on distribution subsection 6 1 telecommunication 6 2 live broadcasting to cinemas or event cinemas 7 pros and cons toggle pros and cons subsection 7 1 pros 7 2 cons 7 3 costs 7 3 1 pros 7 3 2 cons 8 see also 9 references 10 bibliography 11 filmography 12 external links toggle the table of contents digital cinema 20 languages العربية català čeština deutsch español فارسی français bahasa indonesia 日本語 한국어 മലയാളം bahasa melayu nederlands norsk bokmål polski português русский svenska українська tiếng việt edit links article talk english read edit view history tools tools move to sidebar hide actions read edit view history general what links here related changes upload file permanent link page information cite this page get shortened url switch to legacy parser print export download as pdf printable version in other projects wikimedia commons wikidata item appearance move to sidebar hide from wikipedia the free encyclopedia use of digital projectors in cinemas this article is about digital projection and distribution in cinemas for digital image capture see digital cinematography stadium seating in a digital cinema theater digital cinema is the digital technology used within the film industry to distribute or project motion pictures as opposed to the historical use of reels of motion picture film such as 35 mm film whereas film reels have to be shipped to movie theaters a digital movie can be distributed to cinemas in a number of ways over the internet or dedicated satellite links or by sending hard drives or optical discs such as blu ray discs then projected using a digital video projector instead of a film projector typically digital movies are shot using digital movie cameras or in animation transferred from a file and are edited using a non linear editing system nle the nle is often a video editing application installed in one or more computers that may be networked to access the original footage from a remote server share or gain access to computing resources for rendering the final video and allow several editors to work on the same timeline or project alternatively a digital movie could be a film reel that has been digitized using a motion picture film scanner and then restored or a digital movie could be recorded using a film recorder onto film stock for projection using a traditional film projector digital cinema is distinct from high definition television and does not necessarily use traditional television or other traditional high definition video standards aspect ratios or frame rates in digital cinema resolutions are represented by the horizontal pixel count usually 2k 2048 1080 or 2 2 megapixels or 4k 4096 2160 or 8 8 megapixels the 2k and 4k resolutions used in digital cinema projection are often referred to as dci 2k and dci 4k dci stands for digital cinema initiatives as digital cinema technology improved in the early 2010s most theaters across the world converted to digital video projection digital cinema technology has continued to develop over the years with reald 3d imax rpx 4dx dolby cinema and screenx allowing moviegoers more immersive experiences history edit the transition from film to digital video was preceded by cinema s transition from analog to digital audio with the release of the dolby digital ac 3 audio coding standard in 1991 1 its main basis is the modified discrete cosine transform mdct a lossy audio compression algorithm 2 it is a modification of the discrete cosine transform dct algorithm which was first proposed by nasir ahmed in 1972 and was originally intended for image compression 3 the dct was adapted into the mdct by j p princen a w johnson and alan b bradley at the university of surrey in 1987 4 and then dolby laboratories adapted the mdct algorithm along with perceptual coding principles to develop the ac 3 audio format for cinema needs 1 cinema in the 1990s typically combined analog photochemical images with digital audio digital media playback of high resolution 2k files has at least a 20 year history early video data storage units raids fed custom frame buffer systems with large memories in early digital video units the content was usually restricted to several minutes of material transfer of content between remote locations was slow and had limited capacity it was not until the late 1990s that feature length films could be sent over the wire internet or dedicated fiber links on october 23 1998 digital light processing dlp projector technology was publicly demonstrated with the release of the last broadcast the first feature length movie shot edited and distributed digitally 5 6 7 in conjunction with texas instruments the movie was publicly demonstrated in five theaters across the united states philadelphia portland oregon minneapolis providence and orlando foundations edit in 1992 hughes jvc was founded by jvc and hughes electronics to develop ila image light amplifer digital video projectors for commercial movie theaters using liquid crystal on silicon lcos technology 8 in 1997 jvc introduced d ila direct drive ila technology with a 2k resolution digital video projector in 2000 jvc introduced a 4k resolution video projector using d ila technology 9 from 1997 to 2000 the 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 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