Fri07192019

Last updateSat, 25 May 2019 4pm

 

Introducing – Tools for Cinema Quality Assurance

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Cinema Test Tools for the Non-Technical Manager 

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 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. 

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

OLED Screens with Audio – Not Cinema...Yet

Cinema exhibition technology seems to move fast and confusingly. For example, laser light technology seemed to be a natural evolution for putting more light on every screen – promises of cheaper to buy, cheaper to run, and better looking were true but well, not exactly cheaper to buy AND better looking...well, you get the idea. And the manufacturers put so much into R&D that we shouldn't be surprised if they show up in 10 x 20 booths at CinemaCon. 

But our brothers in the consumer side are having to juggle the worst of possible needs and potentials with lagging interchange standards and the presumption of magic...but don't try this or that without a 2.1 HDMI label on everything and even then you are not going to get what you think you want. And, there is a constant flood of new everything.

The latest was LG announcing today that they are introducing a whole line of Video panels that also vibrate out the sound. It was bound to happen since we saw similar things with the Sony Bravia variation (XBR-A1E) – using an LG OLED screen – for home theaters that is a little larger than 6 feet diagonal. Not quite cinema, but these things lead to modularity and it has been conjectured that LG would be entering the  

This isn't what went through the DCI certification process last September, the Sony CLDC-11. That is a 5.1 m wide by 2.7 m high display up of 78 ZRD-2 modules and two ZRCT-100 Display Controllers. There is also a couple of boxes which could be dual purposed, e.g., the XCT-Z11 Secure Processing Box and the CPU-450 Projector Secure Silicon Module, and the SPB1 (Granada) Media Block and the Nexguard Forensic Marking system. 

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2019 Women in Cinema – Celluloid Junkie

The New York Times Review of Books today highlights "When Women Take the Baton", an article about the challenges in one segment of entertainment that we don't often hear about – and repeatedly the stated goal is not to be known as an excellent or expert female conductor, but rather to be an expert.

In the star-studded side of the cinema world we have learned this year about people who are objecting to disproportionate salaries and unwanted hurdles of all kinds. 

Anecdotally, on the tech side of the exhibition side of the business, the digital transition has reduced the number of projectionists and along with that a significant number of female experts who were in that group. Not a majority by any means, but all over the world it was not odd to install for and train at least one woman per facility. Of course, now, it is one projectionist per several facilities. Alas.

And so, we get to Celluloid Junkies yearly noble effort to highlight the fact that there are a lot more people of the female persuasion making it possible for movies to be shown at facilities around the world, not in the hidden corners of some tech hallway, but in the corridors of power. 

Still a long way to go, as seen by the efforts that SMPTE and AES have made to promote and assist young women (and actually young people in general to some degree in this industry nearly chock full of old-ish men) get into the STEM fields. At last night's SMPTE meeting they even promoted an 'A' into that – artists with a technical event are invited to their next event promoting the STEAM – Science, Technology, Engineering, Arts, Math.

And so, Celluloid Junkie's Top 50 Women In Global Cinema – 2019

...and the background article: Celebrating Top Women in Global Cinema for the Fourth Year

By the way, Susie Beiersdorf who was highlighted recently for the Ken Mason Inter-Society Award that she will receive at CinemaCon is also on the CJ's Top 50 Global Women List

Comments on the Celluloid Junkie Predictions 2019

For some nuance as to what is topical on the cinema exhibition side of the business: Read this Celluloid Junkie Predictions issue. Obviously there is nuance in the nuance, but have fun with it...for example, they mention that it may take years for LED Walls will get to 4 figures, even with the recent certification of Sony's entry, and a year of 'success' of Samsung's entry, and rumors of LG and others – what is the significance of 4 figures you might wonder.

We have to go back to 2002 when Lucas put out Episode II: Attack of the Clones to get a feel for this. He begged the industry to install 1,000 digital screens and he only got 100 installed to make his release...worldwide. Harry Potter Chamber of Secrets and many other big time movies were released when the technology was still 1.3K and then Shrek II was introduced with 2K finally getting introduced ...and yet it was still not until 2009/2010's Avatar that over 10,000 screens went digital – required because of the 3D element.

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...and finally, Encrypt

Perhaps there was a time when things were so confusing at the final stage of movie creation and festival distribution that it made more sense to send out an unencrypted version of your movie. James Gardiner, the CineTech Geek, begs you please – whether you make your DCP with DCP-O-Matic or whether you use a service...ENCRYPT. It is 2019, and you are a professional with an asset to protect.

James Gardiner, CineTech Geek, explains why to encrypt your DCP.

European Cinema Industry Sees Further Growth in 2017 – UNIC

There's a thousand excuses for the cinema audience number trouble in the US. Last year was following the highest year ever, it was missing one weekend compared to the previous, if just one or two of the expected block-fails were a block-buster...Wowie, the US would be in highest ever again!

Of course, this is a typical situation for a mature business. Every year can't be highest ever.

One might say that the EU might be a mature market as well, but there are a few differences that should be considered.

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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.