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Digital Cinema - Issues and Opportunities from Red to Blu

DIGDIA
July 8, 2008
185 Pages - SKU: DDA1828053

Abstract Table of Contents Search inside this report Related Reports

Digital Cinema is shifting gears and changing the entire value chain. In the process it is expanding the definition of "Digital Cinema" - creating new issues and challenges that lead to new opportunities. Digital Cinema is also affecting some adjacent industries in sometimes surprising ways.

This report visits each step of the Digital Cinema value chain. The processes, technologies, products, issues and opportunities are explained. It includes an expanded section on the topic of stereoscopic 3D movies, an area that is surprising a lot of companies.

This is an extensive report covering a large number of topics and it includes 127 illustrations and 34 tables. Digital Cinema is shifting gears and changing the entire value chain. In the process it is expanding the definition of "Digital Cinema" - creating new issues and challenges that lead to new opportunities. Digital Cinema is also affecting some adjacent industries in sometimes surprising ways.

This report visits each step of the Digital Cinema value chain. The processes, technologies, products, issues and opportunities are explained. It includes an expanded section on the topic of stereoscopic 3D movies, an area that is surprising a lot of companies.

This is an extensive report covering a large number of topics and it includes 127 illustrations and 34 tables.

1 Introduction
2 Digital Cinema Overview
3 Production Issues: 3.1 The Camera; 3.2 Storage; 3.3 Color Dailies; 3.4 Art; 3.5 Extras
4 Postproduction: 4.1 Scanning; 4.2 Editing; 4.3 CGI/VFX; 4.4 Digital Intermediate; 4.5 3D LUT; 4.6 Storage Systems; 4.7 Render Farms; 4.8 DSM and Archive; 4.9 Postproduction Houses
5 Distribution: 5.1 Still in Postproduction; 5.2 Metadata and MXF; 5.3 Transportation
6 Exhibition: 6.1 U.S. Theaters; 6.2 Virtual Print Fee; 6.3 Digital Screen Rollout; 6.4 Security; 6.5 Digital Cinema Server; 6.6 Projectors; 6.7 Lamps; 6.8 Audio; 6.9 POS; 6.10 Theater Management
7 Stereoscopic 3-D: 7.1 Production; 7.2 Postproduction; 7.3 Exhibition
8 Video: 8.1 Windows; 8.2 Blu-ray Issues; 8.3 Premium TV; 8.4 Games; 8.5 Misc.
9 Appendix: 9.1 Glossary; 9.2 SMPTE Standards Index; 9.4 Organizations; 9.5 Books; 9.6 Publications; 9.7 Conferences
Figures: Figure 1 - Digital Cinema Ecosystem Overview; Figure 2 - Production & Postproduction workflow; Figure 3 - Distribution and Theater Workflow; Figure 4 - Bayer Pattern; Figure 5 - Striped CCD pattern and suggested alternative; Figure 6 - CMOS Sensor exposure transfer curve; Figure 7 - Foveon approach; Figure 8 - Anamorphic CinemaScope; Figure 9 - Shrinking CinemaScope; Figure 10 - Color Subsampling; Figure 11 - CIE chromaticity diagram showing visible, Rec 709 (black), DLP Cinema projector (white), and DCI XYZ encoding spaces; Figure 12 - 12 bits exponential (4,096 levels) equals 14 bits linear; Figure 13 - Flash memory examples; Figure 14 - S.Two DFR Field Recorder; Figure 15 - Materials that Digital doesn't like; Figure 16 - Filmlight's Northlight scanner; Figure 17 - Thomson Grass Valley Spirit 4K Scanner; Figure 18 - Apple Final Cut Pro; Figure 19 - ILM Models are everywhere; Figure 20 - ILM CGI control; Figure 21 - Render Farm at ILM; Figure 22 - Part of ILM's Disk Farm; Figure 23 - Christie digital projector in ILM's theater; Figure 24 - ILM Theater control rack; Figure 25 - Da Vinci 2K Plus Digital Intermediate; Figure 26 - FilmLight Baselight Digital Intermediate system; Figure 27 - Color transformation from XYZ colorimetric data to RGB as used by a DLP projector using a LUT; Figure 28 - renderBOXX 10200; Figure 29 - Digital Cinema Package (DCP); Figure 30 - Dolby Secure Content Creator; Figure 31 - Addonics USIB to USB cable; Figure 32 - Removable HDD used to transfer movie to Dolby server; Figure 33 - iVDR removable disk cartridge; Figure 34 - U.S. Screen Count, Site Count, Average Screens/Site; Figure 35 - Ticket sales drop exponentially over time; Figure 36 - Total screens in company vs. theater rank (1); Figure 37 - Total screens in company vs. theater rank (2); Figure 38 - 1997 - 2007 U.S./Canada Per Capita Number of Admissions, Inflation Adjusted Box Office Take, Ticket Price - Relative to 1997; Figure 39 - Virtual Print Fee - activity & money flow; Figure 40 - AccessIT digital screens (2006 to start of 2008); Figure 41 - U.S. Digital Screen count by Chain (2006, 2008); Figure 42 - Projected U.S. Digital Screen Installations; Figure 43 - Projected Cumulative U.S. Digital Screens; Figure 44 - Secure “Media Block” block diagram; Figure 45 - Camcorder Piracy; Figure 46 - Worldwide Pirated Movie Timeline; Figure 47 - Trying to thwart camcorder with IR; Figure 48 - Doremi DCP-2000 Digital Cinema Server; Figure 49 - Dolby Digital Cinema products; Figure 50 - Dolby screenshot of playlist control; Figure 51 - QuVIS Cinema Player; Figure 52 - GDC Tech Digital Film Server; Figure 53 - Sony Media Block; Figure 54 - Qube servers and control panel; Figure 55 - Kodak Content Player; Figure 56 - DTS Digital Cinema FilmStore; Figure 57 - NEC Server; Figure 58 - XDC CineStore Solo G3; Figure 59 - XDC touchscreen; Figure 60 - Electrosonic Player; Figure 61 - DVC Player; Figure 62 - Digital Cinema Servers; Figure 63 - Christie Anamorphic 1.26X Lens; Figure 64 - Barco DP-3000; Figure 65 - Cinemeccacina CMC3 D2; Figure 66 - Christie CP2000-SB; Figure 67 - Christie CP2000M; Figure 68 - NEC NC2500S; Figure 69 - DPI Lightning; Figure 70 - Layout of Sony’s SXRD (LCoS) display (not in proportion); Figure 71 - Sony CineAlta SRXR220; Figure 72 - JVC SH4K; Figure 73 - A solution to having both film and digital in the same booth; Figure 74- Panasonic PT-DW10000U; Figure 75 - LTI Philips LTIX 6000-DC Xenon Digital Lamp; Figure 76 - Laser color gamut; Figure 77 - Speaker layout for an “advanced theater”; Figure 78 - Klipsch Horn Speakers; Figure 79 - Dolby CP650; Figure 80 - Par Tech Ticket touchscreen POS, Radiant Systems Ticket Kiosk, CineStar Pocket PC POS terminal; Figure 81 - AccessIT Playout status screenshot; Figure 82 - AccessIT Content Management status screenshot; Figure 83 - AccessIT show timing screenshot; Figure 84 - Number of digital 3D movies released per year; Figure 85 - Sampling of 3D movies and Number of 3D screens they were released to vs. Time; Figure 86 - Depth Script; Figure 87 - Transitioned Depth; Figure 88 - Eye's Parallax; Figure 89 - Parallax relative to the screen; Figure 90 - Depth Budget; Figure 91 - Keystoning; Figure 92 - Camera convergence and where infinity appears in theater; Figure 93 - False Perspective; Figure 94 - What Left and Right Eye see; Figure 95 - Cropping the 3D image; Figure 96 - 3D camera used for Creature from the Black Lagoon; Figure 97 - DepthQ 3D Camera Rig; Figure 98 - 21st Century 3D cameras; Figure 99 - NHK Technical Services camera; Figure 100 - 3D camera with adjustable intraocular; Figure 101 - Pace HD Fusion; Figure 102 - 3ality TS2 camera; Figure 103 - Silicon Imaging SI-2K Mini; Figure 104 - Iconix HD-RH1; Figure 105 - Quantel Pablo 3D station; Figure 106 - Filmlight's Baselight DI station operating on a 3D clip; Figure 107 - Dimensionalizing requires creating hidden images; Figure 108 - Triple Flash; Figure 109 - Z Screen polarizer and Christie projector; Figure 110 - An alternative polarization system; Figure 111 - Polarized glasses; Figure 112 - Active glasses; Figure 113 - Color Shifting; Figure 114 - Dolby glasses; Figure 115 - Inside of the projector where filter wheel goes; Figure 116 - RealD XL System improves brightness; Figure 117 - Stacked Projectors; Figure 118 - 3D Alignment Frame; Figure 119 - Screen gain; Figure 120 - Dead seats; Figure 121 - Release Windows; Figure 122 - Average Theater to DVD Window vs. Domestic Theater Gross; Figure 123 - Theatrical to DVD Window from 2000 to 2008; Figure 124 - Percent of Box Office Take by Week After Release; Figure 125 - Kaleidescape with storage modules shown; Figure 126 - Interactive TV Family Tree; Figure 127 - Timeline of Studio agreements with Premium TV
Tables: Table 1 - Digital Cameras (Resolution, Sensor); Table 2 - Film Scanners; Table 3 - Non-Linear Editors; Table 4 - CGI/VFX Plug-ins and Tools (part 1); Table 5 - CGI/VFX Plug-ins and Tools (part 2); Table 6 - CGI/VFX Studios; Table 7 - Digital Intermediate Systems; Table 8 - Storage Systems for Postproduction; Table 9 - Render Farm Queue software; Table 10 - DCDM/DCP Packaging Software/Systems/Services; Table 11 - Open software tools; Table 12 - MXF Tools; Table 13- Companies related to Satellite delivery; Table 14 - Top 20 U.S. Theater chains, ranked by number of screens; Table 15 - Digital screens deployed and % Digital by Company (1); Table 16 - Digital screens deployed and % Digital by Company (2); Table 17 - Top 20 U.S. Chains by total screen count, Number of Digital Screens they've installed and % Digital; Table 18 - WW Digital Screens & Percent Digital (2005, 2006, 2008); Table 19 - KDM Management Products; Table 20 - Forensic Watermarking Products; Table 21 - 2K and 4K Projectors; Table 22 - Pre-Show Networks; Table 23 - Pre-show & Alternative Content Projectors; Table 24 - Short Arc Xenon Lamps; Table 25 - Laser Light Sources; Table 26 - Audio Processors; Table 27 - POS Software, Kiosks and Systems; Table 28 - Theater Management Systems; Table 29 - Some Digital Stereoscopic 3D Titles; Table 30 - 3D Cameras and Production; Table 31 - 3D Editing and Digital Intermediate; Table 32 - Stereoscopic 3D theater systems; Table 33 - 3D Technologies Comparison; Table 34 - Miscellaneous Vendors

Digital Cinema - Issues and Opportunities from Red to Blu

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