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Last updateThu, 21 Dec 2017 2pm

 

Introducing – Tools for Cinema Quality Assurance

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Cinema Test Tools for the non-Technical Manager – Post Installation Quality Assurance Has Begun

Cinema Test Tools is a free resource for the cinema industry, tuned most particularly for the non-technical manager. The tools include several DCPs, all with interesting means of testing the sound and picture quality for the interested by lightly trained staff. The lessons on sound and light are written to provide a foundation to communicate with the technician who must respond quickly and well to the information that they discover.

The key is a free Managers Walk Through Checklist that correlates with the many DCPs. It helps bring an understanding of the many nuances of the auditorium's situation in a straightforward way. 

Artist's Intent Exposed~! See it here first. Where? In the cinema, the temporary home provided by exhibitors.

Why film will end by late 2013

Cine Tech Geek has a new series, the AIMC2011 Panel Discussion...Obviously, this one catches the eye, by they are all interesting.

Why film will end by late 2013 CineTechGeek » AIMC2011 – PANEL – 6 of 7

 

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Dear Projectionist...David Yates

First Showing has a nice story about the "Dear Projectionist" letter from producer David Yates sent with the digital print of Harry Potter 7, Part 2. 'Deathly Hallows: Part 2' Director David Yates' Letter to Projectionists « FirstShowing.net

There is some confusion at the end about what makes a 'bright enough' movie. Yates asks for 3.5 ft/L, which is 10.2 candela/m2 - far below the SMPTE and ISO specification. If he really wanted the director's intent to come through for more people in the cinema theater, Yates would have told them not to show the movie on a "silver screen".

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High Frame Rate 3D Demonstration

At the 2011 CinemaCon, James Cameron hosted a demonstration for the attending exhibitors that showed many variations of several scenes that he had shot at higher frame rates than the standard typical 24 frame rate for a movie.

The attached document was put together to summarize the set-up that made this all work. It was put together by Reiner Doetzkies of Texas Instruments and Geoff Burdick of Lightstorm.

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Silver Screens – French Quality Officially Declines?

French cinema and television standards are like California pollution standards; more strict than the norm, with active regulation and monitoring to keep standards high for this important section of their industrial and consumer base.

The SMPTE and ISO rules for screen brightness are clear. Luminance Uniformity at the corners and sides of the screen is specified at 85% of the luminance at the center of the screen. There is an allowed tolerance in theaters – 70% to 90% of the center level. (The center level is 48 candelas per square meter, with a tolerance of 10.2 cd.m2.)

The French standard is tighter, specifying no greater than 75% at the corners and edges. The CNC is about to release a technology statement that will abdicate their role as the arbiters of quality in this regard.

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Premium VOD: Will exhibs play favorites?

Unlike the hard-and-fast contracts that divvy up ticket revenue, most negotiations between distribs and exhibs are done on the fly. With the constant haggling over how a film plays out, a better relationship can impact whether it's given the proper time and treatment to find an audience.

According to NATO president John Fithian, those relationships have been in freefall since the March surprise at CinemaCon, when exhibitors learned of the shortened PVOD window in Variety.

"Essentially everyone was emailing and texting me to try to find out what the hell was happening," Fithian said, recalling the day the news broke. "The real problem was that the studios going forward with this plan never said anything about it and then haven't communicated at all since ... so this marks a real breakdown of trust between exhibitors and distributors."

Read the entire Variety article at: Premium VOD: Will exhibs play favorites? - Entertainment News, Film News, Media - Variety

What Is A Projectionist? In The Digital Age

Marketing Guru Adrian Weidmann says, "Always Solve For Why". In the Digital Cinema Age there are several more Quality Control and Security "Whys" than there have ever been.

The entire concept of the entertainment business is to give an accurate presentation of the artist's intent to the audience. In the cinema world, there are dozens – perhaps hundreds – of crafts people working before and after the first lens during production and post to make the artist's intent happen. The final craft with the final lens is the projectionist.

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[Update] Scathing 2D/3D Light Boston.com Article...True?

Update - A response has hit the interwebs, sometimes alleged to be a Sony press release. It doesn't seem likely, but it is a defense nonetheless and explains many of the points (not all) made in the Boston Globe article. It is posted in its entirety at the bottom of this article. [End Update]

Sony projectors with RealD systems take a perceived hit in a Boston Globe article available at: A movie lover’s plea: Let there be light - Boston.com. Claims are made that, by virtue of using a Sony/RealD 3D lens pair – instead of a 2D lens – during 2D presentations with a Sony Projector, that only 85% of the intended light is getting to the patron in the seats. It seems like dodgy science, extrapolating some data and using some flawed common wisdom - some measurements would be grand.

Between all the ads, one might miss the link for what also seems to be a very fact-challenged graphic: Graphic - How a 3-D lens affects a 2-D movie -Boston.com

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Subcategories

The technology of exhibition explained; from media players and projectors, to memory and local storage, from satellites and devices for the hearing and visual impaired...place or read it here.

Uncountable little pieces of experience add to a wealth of knowledge that should be shared for the betterment of the community. Please contribute.

The feet hitting the street. This is where it all plays out.

Digital, though costing more, allows for more variety, sometimes at a lower cost and a better return. That variety is called "alternative content."

Building auditoriums for the Arts is a tradition from the Greeks. Projection has since been added.