Last updateThu, 21 Dec 2017 2pm


Introducing – Tools for Cinema Quality Assurance


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. 

Court Hears Audio Description, Captioning Argument

You are going to lose eventually. I don’t know if you are going to lose this case or not, but you are going to lose this battle in the end. You can get out in front of it and be the good guys, or you can be dragged kicking and screaming and look like jerks. i don’t understand why you are chosing to fight this battle. — Judge Alex Kozinski

On January 13, 2010, Court Room 2 of the federal court of appeals in San Francisco was packed with people with visual and hearing impairments. The public was there to listen to oral argument about whether a lawsuit can go forward against a movie theater that refuses to provide captioning or audio description for movie-goers with disabilities.

Harkins Movie Theatres, an Arizona-based chain, had convinced the lower court to dismiss the case with its argument that neither the Americans with Disabilities Act or Arizona State law require description or captioning. After an hour of argument from both sides, liberally peppered with questions and comments from Judges Hug, Kozinski and Clifton, it was clear that the case is far from over.

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TV industry turns blind eye to non-3D viewers

When it comes to 3D television, I don't see it. Literally. The technology that's supposed to convince me that a 3D image exists when I look at a 2D screen doesn't work for me. Nor does it work for a small but significant percentage of the population--4 percent to 10 percent, depending on which expert you ask. Millions of people like me are being left behind by content and hardware companies as they move to 3D.

I don't mean to complain. It's not the end of the world. Flat-viewers, like me, can watch 2D versions of 3D content. I saw "Avatar" in the non-3D version. As a bonus, the theater was nearly empty--the 3D showing down the hall was more crowded. Plus, we didn't have to wear those dorky glasses.

Of course, we are social beings, and not being able to view 3D means that group or family outings to 3D showings are awkward for the flat viewers, who may have to sit through a showing that will cause headaches or just look bad to them.

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How to Find a Captioned Movie

Ironic, as Avatar is about a man with a disability.

Now that the thrust of the holiday movie season is upon us, let’s talk about something not so cheerful: Going to a film and not being able to hear it. Thousands of people who are deaf or hard-of-hearing miss out because they can’t follow dialogue on the big screen.

Big chains like AMC Entertainment and Regal Entertainment, having been sued countless times for not having captioning systems, have agreed to settle lawsuits by installing some caption systems, in some cities. As a result, some U.S. movie theaters have this technology in place.

The bigger nut to crack is finding a particular film, when you want it, where you want it.

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Implementing Closed Caption and HI / VI in the evolving DCinema World

Closed caption technology for digital cinema took another step forward in 2009 with the successful standardization of SMPTE 430-10 and 430-11 for the SMPTE CC Output, the standardized closed caption output for digital cinema servers. The SMPTE CC Output is not proprietary and is free to implement. Because of this, the National Association of Theatre Owners encourages all digital cinema server manufacturers to include the SMPTE CC Output in their products. Wide-spread use of this protocol will allow multiple closed caption systems to emerge.

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The philosophy, legal concepts, and technology of digital cinema's approach to handling the needs of the hearing and visually impaired audience or read it here.

Special Focus: Hearing Impaired/Visual Impaired, Articles and News

Rapidly evolving science and politics in the HI / VI world of DCinema.

Special Focus: Hearing Impaired/Visual Impaired (HI/VI)

Defining Documents and Best Practices

It was a decade ago when DCinema standards started on their process. Finally, process has evolved to progress...and though not alway up to full potential, finally corners are being turned. This Spring begins a 1 year evolution that migrates from the InterOp format to full SMPTE compliance DCPs (Digital Cinema Packages.) That, combined with a migration to what are called Series 2 projectors and finally the Hearing Impaired community will get some of the benefits of dcinema technology - in the projection room, that means distinct Hearing Impaired (HI) and Visually Impaired Narrative (VI-N) tracks in all DCPs, coordinated with standards for Closed Captions.

Topics to cover: ADA Title III; 28 CFR Part 36: Nondiscrimination on the Basis of Disability by Public Accommodations and in Commercial Facilities; SMPTE 429-2, 430-10, 430-11

Special Focus: Hearing Impaired/Visual Impaired Suppliers and Links

If this were a Thesauras, the words nascent, vibrant, critical, ‘seriously in need of high-level attention and broad understanding’ would be the listing. But this is instead a listing of hearing and visually impaired technology providers.