Last updateTue, 12 May 2020 1pm


Introducing – Tools for Cinema Quality Assurance


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. 

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

Plead to Plead the US Congress


NATO needs the Congress to get a support bill going in the Congress. The Republicans have included it in their plan, but it is essentially nuclear and won't go anywhere. Time to get the Democrats onboard.

Fill out the form at: Let Congress Know: Support Relief for Movie Theaters and Their Employees During COVID-19 Outbreak

Exhibition Is Stable – Consumer All Over

The first US studio has stopped sending InterOp DCPs to their clients in North America, after years of refining and pushing the SMPTE DCP release package. The SMPTE DCP Migration Project in the EU is not far behind. 

And new devices like LED walls – there are 3 that are DCI certified now. Samsung has made the most noise, while Sony is biding its time. And LG just got a DCI Certification last month. And, the latest generation in lasers? RGB everywhere for the price that phosphor was offered? Wow.

You'd think that with significant transitions there would be a lot of turmoil.

NATO Declares 9 April '19 SMPTE DCP Compliance Day

There has been a running gag within ISDCF about SMPTE-DCP Compliance, that it would come in April...without saying which year. The gag has gone on since perhaps 2008 or long ago that anyone would be guessing when it first started. ...where were you when April was first declared?...

There are many benefits for going from the non-standard convoluted, baling-wire InterOp versions of DCPs to the SMPTE Compliant versions. Having a well defined standard, securing all the copy written materials, having the world on 1 standard are a few of the big benefits. The last issues with equipment in the field should have been handled, after years of adjusting things in the captions world, then out of the blue, a several year problem in the TMS-world. 

Read more ...

UNIC Cinema Days...and the Newsletter

Melange of EU Cinema Exhibition InterestsIn Brussels on the 15th and 16th of October the UNIC Cinema Days will attract the exhibition industry with a non-tradefair set of discussions. There is a lot of subtlety in the reasons why last years growth in attendance (2.5%) and revenues (1.7%). Behind the discussions – last year given with the assistance of 150 industry members – the ingredients for maintaining this level of growth when the US performed dismally and the Chinese market showed cracks (fraudulent reporting of sales amid a number of other growing pains). 

The current issue of the UNIC Newsletter (link) will have further information as available, including their take on the recent EU Parliamentary Vote on New rules for audiovisual media services which importantly describes a 30% EU content rule for Video on Demand, 2 x 20% rules for advertising and enhanced protection for children and minors from violence, hatred, terrorism and harmful advertising (so, no US news allowed?)  

UNIC and Theatrical Exclusivity...Post French Culture Change

"Respect for the life-cycle of a film not only supports a model that has proven successful in terms of cultural diversity..."

On the heels of the French Minister of Culture announcing a deal that will change the distribution structure for films released in cinemas, so they can get to broadcast and streaming sooner in many situations, UNIC, the Union Internationale des Cinémas trade body comes to the defense of theatrical exclusivity in a public statement. 

Du cinéma à la télévision ou les plateformes en ligne : vers un délai réduit pour les films?

BRUSSELS, 17 SEPTEMBER 2018: The International Union of Cinemas (UNIC), representing cinema associations and key operators across 37 territories in Europe, has today added its own voice to those seeking to ensure that films selected for competition at leading film festivals receive a full theatrical release.
Following recent discussions around the selection of films at a number of major film festivals and the decision from the Venice International Film Festival jury to award Alfonso Cuaron’s Roma its Golden Lion prize, the association released the following statement:
“UNIC wishes to express its support for Italian cinema exhibition colleagues and others in encouraging festival competitions only to consider for inclusion those films intended for theatrical release.
Central to the film business is the shared experience of watching a feature film on the big screen, something which creates a strong sense of identity and community. Cinemas offer their audience unique cultural and social experiences, at the same time allowing films truly to do justice to their director’s vision and, through their exclusive nature, create unparalleled excitement around their release.
This is a proven strategy that ultimately benefits the entire film value-chain. The theatrical success of each film helps drive its performance and audience awareness on other platforms. Growth in subsequent markets – including Video on Demand – develops best on these strong foundations. It should not come at the expense of theatrical exclusivity.
The cinema industry can exist alongside streaming providers, but believes that their – and the audience’s – best interests are served by a film receiving a proper cinema release, including a clear and distinct window.
Respect for the life-cycle of a film not only supports a model that has proven successful in terms of cultural diversity, but also offers the opportunity for the widest possible audience to discover and enjoy as broad a range of film content as possible. Leading film festivals should encourage practices that benefit the audience as a whole, through the inclusion of films in their official selection that are within everyone’s reach and not just that of streaming platform subscribers. Should films be available solely on these platforms  or receive only a "technical" release in another window - yet still benefit from festival selection as a marketing tool in addition to their considerable resources - the vast majority of their potential audience would be denied access to great content.
Films belong on the big screen and we therefore encourage leading international film festivals to take a lead from the Cannes Film Festival and celebrate the social, cultural and economic relevance of cinemas when designing their future selection policies.”
The International Union of Cinemas (UNIC)
The Union Internationale des Cinémas/International Union of Cinemas (UNIC) represents the interests of cinema trade associations and cinema operators covering 37 countries in Europe and neighbouring regions.