Digital Cinema - Coming to a Theater Near You

Published by: DIGDIA

Published: Oct. 1, 2006 - 107 Pages

Table of Contents

1 Summary

2 Cinema Industry

2.1 U.S. Cinema Numbers

2.2 Digital Cinema Specification Efforts

2.3 Outside of the U.S.

2.4 E-Cinema vs. Digital Cinema

2.5 Digital Cinema Screens

2.6 Economics of the Virtual Print Fee

2.7 Forecast: U.S. Digital Screens

2.8 Movie Content

2.8.1 Shrinking Windows

2.8.2 Box Office Freshness

2.8.3 DVD Release Windows

3 Film-based Workflow Summary

3.1 Production

3.2 Postproduction

3.3 Mastering/Packaging

3.4 Distribution

3.5 Exhibition

4 Digital Workflow Summary

4.1 Production

4.1.1 The Camera

4.1.2 Audio

4.1.3 The Dailies

4.2 Postproduction

4.2.1 Telecine/Datacine

4.2.2 Not Exactly 2K and 4K

4.2.3 Editing

4.2.4 Conforming

4.2.5 Visual Effects

4.2.6 Digital Intermediate

4.2.7 3D LUT

4.2.8 Previewing

4.2.9 Security

4.2.10 Content Management

4.3 Mastering/Packaging

4.3.1 Digital Source Master

4.3.2 Digital Cinema Distribution Master

4.3.3 4K vs. 2K

4.3.4 Aspect Ratio

4.3.5 Compression

4.3.6 X’Y’Z’ Color

4.3.7 Audio

4.3.8 Bit Rates

4.3.9 Digital Cinema Package

4.3.10 Security and Rights

4.3.11 Film, HDTV and DVD

4.4 Distribution

4.4.1 Digital Distribution Changes the Content

4.5 Exhibition

4.5.1 Viewer Advantages and Disadvantages

4.5.2 Industry Advantages and Disadvantages

4.5.3 StEM

4.5.4 Projectors

4.5.5 Servers

5 Stereoscopic Movies

5.1 Polarization vs. Active Glasses

5.2 Double and Triple-Flash

5.3 Stereoscopic Challenges

5.4 Stereoscopic Content

6 DC28 Outline

6.1 Mastering

6.2 Distribution

6.3 Exhibition

7 Pirate Primer

7.1.1 Plugging Leaks No Longer Sufficient

7.1.2 Grokster Rules

8 Digital Home

8.1 Video Content

8.2 Audio Content

8.3 Video Processors

8.4 Displays

8.5 DVD Servers

8.6 ETC’s New Digital Home Project

9 References

9.1 Organizations

9.2 Publications

9.3 Conferences

9.4 Glossary

Figures

Figure 1 - Number of screens and cinemas in the U.S. (1995 - 2005

Figure 2 - mid-2006 Top 20 U.S. theater chains, ranked by screen count

Figure 3 - U.S. Cinema Revenue in reported and inflation adjusted dollars, U.S. admissions, and video sales (1995 - 2005)

Figure 4 - U.S. per capita annual spending on entertainment media.

Figure 5 - Percentage time spent by U.S. Consumers on various entertainment media. 100% equals roughly 5,700 hours/year

Figure 6 - Produced and Released U.S. Theatrical Films, and films produced but not released (1997 - 2005)

Figure 7 - Box office sales for other parts of the world (billions of dollars, 2001 - 2005)

Figure 8 - DLP 2K cinema WW deployments by quarter

Figure 9 - Mid-2006, Deployed 2K screens by theater chain

Figure 10 - Forecast: Number of digital screens in the U.S. (2005 - 2015)

Figure 11 - Movie Windows in the Previous Century

Figure 12 - Movie Windows Today

Figure 13 - Statistics: Percent of Box Office Take by Week After Release

Figure 14 - Statistics: DVD Release Windows Over Time by Studio

Figure 15 - Overall Digital Workflow

Figure 16 - Sony HDC930 camera (similar to HDC950)

Figure 17 - Founder Jeff Kreines from Kinneta holding up the company’s new camera. (Picture courtesy of Smoke and Mirrors)

Figure 18 - Panasonic camera using P2 flash cards

Figure 19 - NHK’s Ultra high definition camera

Figure 20 - Grass Valley’s (Thomson) Spirit 4K Datacine

Figure 21 - Cintel DSX datacine

Figure 22 - Avid Nitris system for editing using DNxHD compression (photo source: Avid)

Figure 23 - Rendering server farm at Industrial Light and Magic

Figure 24 - Da Vinci 2K Plus color enhancement workstation

Figure 25 - Color transformation from XYZ colorimetric data to RGB as used by a DLP projector using a LUT

Figure 26 - Charles Swartz, (former) CEO of Entertainment Technology Center, holding up draft DCI specifications at the Digital Cinema Summit, April 2005 (photo courtesy of Smoke & Mirrors)

Figure 27 - comparison of various display aspect ratios, with a “scope” image shown inside an HDTV widescreen display

Figure 28 - CIE chromaticity diagram showing visible (purple), Rec 709 (black), DLP Cinema (white), and XYZ encoding spaces

Figure 29 - 12 bit (4,096 levels) code value versus luminance

Figure 30 - Speaker layout for an “advanced theater”

Figure 31 - Digital Cinema Package

Figure 32 - T.I.’s DLP 2K Cinema package, nine of the mirrors in the Digital Mirror Device (DMD), and the silicon micro-machined spring structure that the mirrors sit on

Figure 33 - HP’s Wobulator applied to a DLP projector

Figure 34 - Barco D-Cine Premiere DP100

Figure 35 - LTI’s LTIX-6000W-HS Xenon bulb

Figure 36 - Close-up of Barco projector inputs

Figure 37 - Christie CP series 2K projector

Figure 38 - NEC iS15-2K DLP Cinema Projector (photo: NEC)

Figure 39 - Layout of Sony’s SXRD (LCOS) display (not in proportion)

Figure 40 - Sony’s SRX-R110 4K projector

Figure 41 - JVC 4K2K D-ILA projector

Figure 42 - Secure “Media Block” block diagram

Figure 43 - QuVIS Cinema Player

Figure 44 - Doremi DCP-2000 Digital Cinema Server

Figure 45 - GDC Tech Digital Film Server

Figure 46 - Dolby Show Player and Show Store, with Digital Media Adapter (top)

Figure 47 - ILM’s custom Digital Cinema server system

Figure 48 - ILM’s 300 seat theater in San Francisco

Figure 49 - Avica FilmStore Central and Player for a multiplexed theater

Figure 50 - GDC Tech FC1000 CinePlex Central Server

Figure 51 - Multi-screen system block diagram

Figure 52 - Real-D circular polarization filter on Christie digital projector

Figure 53 - Nuvision Technologies active glasses

Figure 54 - Double-flash reduces stereoscopic synchronization issues

Figure 55 - Panasonic stereoscopic projector arrangement

Figure 56 - Conflicting focus and parallax cues

Figure 57 - 3D camera used for the Creature of the Black Lagoon (1954)

Figure 58 - 3D camera made by 21st Century 3D using modified Panasonic cameras

Figure 59 - MPAA estimate of Worldwide Piracy Rates

Figure 60 - MPAA Photos of Hidden Camcorder System

Figure 61 - Pirated Movie Worldwide Timeline

Figure 62 - Estimated Cumulative Pirated Downloads Over Time for a Sample of Movies

Figure 63 - Survey: What factor will most influence when you buy a High Definition DVD player (Blu-Ray or HD-DVD) - Price, One Format, Multi-Format, Movie Choice

Figure 64 - Survey: Amongst owners of HDTV or people that intend on buying one within a year - What factor will most influence when you buy a High Definition DVD player (Blu-Ray or HDDVD) - Price, One Format, Multi-Format, Movie Choice

Figure 65 - Survey: How likely or willing would you be in paying $35 for a “High Definition” DVD?

Figure 66 - A very high end home theater, with electronics in the equipment closet (photos courtesy of CEDIA)

Figure 67 - Sony’s Qualia 004 SXRD projector

Figure 68 - Kaleidescape DVD server, and bank of HDDs

Abstract

• What are the DCI specifications?
• What is the new Digital Cinema workflow?
• What is the Virtual Print Fee and how does it work?
• Which industry organizations are involved?
• What are some of the industry market statistics, including a forecast the number of Digital Cinema screens?
• Who are some of the key Digital Cinema vendors and what are some of their products?
• How is technology affecting the industry?
• What is stereoscopic digital cinema, why is it significant, what are the challenges?

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