Last updateThu, 30 Sep 2021 9am


Introducing – Tools for Cinema Quality Assurance


Cinema Test Tools for the Non-Technical Manager 

  • A free resource for the cinema industry
  • Tuned most particularly for the non-technical manager.
  • Tools include:
    • Several DCPs for testing the sound and picture quality
    • Lessons on sound and light
    • Written to help communicate with the technicians

The key is a free Online Managers Online 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. 

CGI, X'Y'Z' to P3, there are so many things going on. Here's the news. Launched

It is all in the library, so many groups found out – and when the choices are made, what do you shoot in, what do you post in, what do you archive in, it is clear that the higher resolution the better.

Articles are abounding about the valuable reasons for shooting in 12K now that cameras are being released with that capability [(WE'LL ALL BE WATCHING 12K VERY SOON!*) and (WE'LL ALL BE WATCHING 12K VERY SOON!*)]. 

And now, the 8K Association has a website:

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D-Cinema Packaging — SMPTE DCP Bv2.1 Application Profile

A great effort accomplished between friendly competitors to align the stars of DCP creation has been completed and is online as: D-Cinema Packaging —SMPTE DCP Bv2.1 Application Profile

You will notice that the link above allows everyone, SMPTE member with Standards access or not, to download this document. It is called an RDD which stands for Registered Disclosure Document. This is typically used by companies who wish to let the industry know the details of a process that they are using to create a product. In this case, the post houses that make a great many of the released DCPs are saying that these are the parameters in creating a DCP that will make it work in the real world. 

So, well done. The end of the InterOp age is truly here. And even thought there are SMPTE standards or recommended practices that go beyond what is said in the RDD, the RDD allows that the real world may have not caught up with those options. And, the document is designed so that as more features are added to the typical release, then the RDD and the version number can change. 

Great Take on Editing; New Blog

Selected Takes: 3 Editing Lessons From Anne V. Coates

MusicBed Blog presents a new Blog "Inspired by "Selected Takes: Film Editors on Editing", we're sharing takeaways from film's most iconic editors."

Confusing Definitions – Home and Away | Dolby Vision 4 and More

Hollywood SMPTE event on Wednesday, 25 September featured the Transition to Wide Color Gamut and The LA Colorist Meetup had an event on Thursday 26 September that covered the same topic with two panelists describing tools and theories of how to get there...and all the mysteries were uncovered. They weren't solved, of course, but uncovered nonetheless. 

 And if the cinema exhibition side of the business thinks there is technology confusion in their field, they haven't looked into the consumer side well enough. The technology and rollout is rife with confusing nomenclature and mismatches, just as it was 4 years ago when their version of 'better bits' started getting shown. And, the panelist pointed out, there is more to come in Post, Exhibition and the various delivery vehicles of Consumer.

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DCI – New HDR and Direct View Display Docs

DCI has released two new documents for industry review, one dealing with emissive technology (describing them as 'often LED pixels', but leaving the door open for anything) and the other which deals with HDR – High Dynamic Range – displays in post-production and exhibition theaters "so that consistent and repeatable color quality can be achieved."

Both documents include a paragraph that begins: "This document is not a DCI Specification" plus a statement that invites review and comment and an email to send comments to, which other recent versions of these documents have done as well.

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