The Qube XP-D digital cinema server has been chosen by ODEON and UCI Cinemas – Europe’s largest cinema operators – to be a part of their current 111 screen digitization plan across Europe. Already playing Disney’s Bolt in digital 3D in Portugal for several weeks, Qube has recently commenced commercial digital 3D screenings across the UK with My Bloody Valentine.
Thomson (Euronext Paris:18453; NYSE: TMS), through its Technicolor Business Group, today announced that its industry-leading services were instrumenta[……]
Last week we were graced with an exceptional write up on the Celluloid Junkie Blog of Paramount’s announcement of VPF agreements for the masses [Agreement subject to details on contract, your milage may vary. Don’t bother applying if you are not in the North American area, above the Rio Grande.]
This week we are graced with a version of Paramount’s actual Digital Cinema Agreement Draft. Here’s a brief clip from Section 6, Part a)
Exhibitor further acknowledges that for each of the Films released by Distributor, …,Distributor will select the distribution pattern and select the Complex(es) and Screen(s) that Distributor believes in its good faith business judgment to be appropriate for its Film, considering all relevant circumstances and nothing shall interfere with decisions made by Distributor’s sales personnel.
Wow~! One would think that this type of demanded control was a reason that the Technicolor agreements didn’t go through several years ago.
We all know that digital is not magic, but we do constantly forget. In the case of D-Cinema, the digital part is just a platform and we are just now seeing what that platform is good for.
If it was just movies, then the platform of a digital server and projector, and perhaps a management system, would be enough. But cinema theaters cannot survive on movies alone, regardless of what inflation makes the numbers look like.
Thus, Alternative Content becomes a platform of its own. It offers something different to draw crowds, and it has a different monetary structure…the cinema gets to keep more of the income flow.
Live opera, F1 and wrestling get the fanfare, but commercials lead the way.
[B4 ShoWest]It is the smallest of shows, it is the most critical of shows.
[Après ShoWest] Small begins to describe this years show. Whole contingents of studio personnel didn’t show, whole sections of the program were wiped off the schedule.
I have been to 250 conventions in the last 35 years. And as important as any of them are with symposiums and committee meetins, they are substantially equipment conventions. The immediacy is taken away by the fact that many manufacturers are showing product that isn’t going to be ready for prime time for 6 months or more.
[Après ShoWest] ShoWest 2009 had a couple of interesting symposiums. But not many. And the manufacturers and sales companies with displays were pretty much showing the same things as the last 3 shows before. They have to be here, but if there were no ‘here’ here, I bet few of them would be the worse for it.
And ShoWest has a little of that too. 15 minutes of a movie might be shown in full detail, then a few minutes of storyboard and a few minutes of wireframe. But they are right out front…this is what we are working on for Summer (a year from now.) They don’t pretend like it is just a few lines of code away from being perfect.
[Après ShoWest] The movies can be good, true. But when 2 studios don’t really come to the table because their corporate masters pulled all travel as an option, this is not a good thing. Bad tactics by the bosses since the movie industry can be shown to be holding its own.
The document Digital Projection in Cinema has been released by the CNC (National Centre of Cinematography), dated June 2007.
Among the general details about implementation of equipment, on Page 3 they make the statement:
Later on, the standard published by the SMPTE will probably be brought into line with the international ISO norm. However, while this ISO standardisation would give the SMPTE standard an undeniable legal foundation, it is clear, as is the case, for example, in the field of HD television, that the SMPTE standard would have force of law on an international level.