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. 

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.

Wrapping Up Our Thoughts On CinemaCon 2016

After this year’s CinemaCon and NAB came to a close, and as everyone returned to address the mountains of email and work that piled up in their “normal” work lives, a handful of CJ editors, contributors and industry professionals that had attended began an email discussing their own thoughts about the shows. By the end of the week we realized this impromptu virtual conversation may be interesting to others in the market and thus, sought there permission of participants to post it here on Celluloid Junkie.

Originally published at Celluloid Junkie

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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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HFR-S3D Post SMPTE/CinemaCon Hobbit

Showbiz Sandbox put some thoughts about the coming high frame rate 3D technology into their show of 7 May 2012. This article responds to some of the thoughts expressed by Michael and Sperling.

I'm going to try the impossible task of verbally describing High Frame Rate projection and clarify a few points.

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