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. 

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

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.

Read more ...

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 ...

...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.

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?)  

Color Spaces Training Cool

While writing an addendum to's Lesson A Look At Light, Part 2, your author was amazed to find a uniquely incredible lesson on Color Spaces, the 2nd in a series of interactive training courses from Wigglepixel: What are Color Spaces, Color Profiles and Gamma Correction?

It really is a masterclass given the scope – from spaces through chromaticity through gamut and gamma correction...and more, and especially when combined with last month's lesson on Color Models. No need to say anymore...just go there now and point others to Maarten de Haas' Wigglepixel blog and site. (Written in both English and Dutch.)

wigglepixel demo of P3 and 2020 and RGB

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.


The technology of exhibition explained; from media players and projectors, to memory and local storage, from satellites and devices for the hearing and visual 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.