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Digital cinema is the digital data technology used within the film industry to film distributor or video projector as opposed to the historical use of reels of Film stock, such as 35 mm film. Whereas film reels have to be shipped to , a digital movie can be distributed to cinemas in a number of ways: over the Internet or dedicated satellite links, or by sending hard drives or such as Blu-ray discs, then projected using a digital video projector instead of a movie projector.
Typically, digital movies are shot using digital movie cameras or in animation transferred from a file and are edited using a non-linear editing system (NLE). The NLE is often a video editing application installed in one or more computers that may be networked to access the original footage from a remote server, share or gain access to computing resources for rendering the final video, and allow several editors to work on the same timeline or project.
Alternatively a digital movie could be a film reel that has been digitized using a motion picture film scanner and then restored, or, a digital movie could be recorded using a film recorder onto film stock for projection using a traditional film projector.
Digital cinema is distinct from high-definition television and does not necessarily use traditional television or other traditional high-definition video standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048×1080 or 2.2 ) or 4K (4096×2160 or 8.8 megapixels). The 2K and 4K resolutions used in digital cinema projection are often referred to as DCI 2K and DCI 4K. DCI stands for Digital Cinema Initiatives.
As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. Digital cinema technology has continued to develop over the years with 3D, RPX, 4DX and ScreenX, allowing moviegoers more immersive experiences.
Digital media playback of high-resolution 2K files has at least a 20-year history. Early video data storage units () fed custom frame buffer systems with large memories. In early digital video units, the content was usually restricted to several minutes of material. Transfer of content between remote locations was slow and had limited capacity. It was not until the late 1990s that feature-length films could be sent over the "wire" (Internet or dedicated fiber links). On October 23, 1998, Digital light processing (DLP) projector technology was publicly demonstrated with the release of The Last Broadcast, the first feature-length movie, shot, edited and distributed digitally. In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States (Philadelphia, Portland (Oregon), Minneapolis, Providence, and Orlando).
From 1997 to 2000, the JPEG 2000 image compression standard was developed by a Joint Photographic Experts Group (JPEG) committee chaired by Touradj Ebrahimi (later the JPEG president). In contrast to the original 1992 JPEG standard, which is a DCT-based lossy compression format for static digital images, JPEG 2000 is a discrete wavelet transform (DWT) based compression standard that could be adapted for motion imaging video compression with the Motion JPEG 2000 extension. JPEG 2000 technology was later selected as the video coding standard for digital cinema in 2004.
In 1992, Hughes-JVC was founded by JVC and Hughes Electronics to develop ILA (Image Light Amplifer) digital video projectors for commercial movie theaters using liquid crystal on silicon (LCOS) technology. In 1997, JVC introduced D-ILA (Direct-Drive ILA) technology with a 2K resolution digital video projector. In 2000, JVC introduced a 4K resolution video projector using D-ILA technology.
In April 2004, in collaboration with the American Society of Cinematographers, DCI created standard evaluation material (the ASC/DCI StEM material) for testing of 2K and 4K playback and compression technologies. DCI selected JPEG 2000 as the basis for the compression in the system the same year. Initial tests with JPEG 2000 produced of around 75125 Mbit/s for 2K resolution and 100200 Mbit/s for 4K resolution.
In January 2007, Guru became the first Indian film mastered in the DCI-compliant JPEG 2000 Interop format and also the first Indian film to be previewed digitally, internationally, at the Elgin Winter Garden in Toronto. This film was digitally mastered at Real Image Media Technologies in India. In 2007, the UK became home to Europe's first DCI-compliant fully digital multiplex cinemas; Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens, were launched on 9 February 2007. By March 2007, with the release of Disney's Meet the Robinsons, about 600 screens had been equipped with digital projectors. In June 2007, Arts Alliance Media announced the first European commercial digital cinema Virtual Print Fee (VPF) agreements (with 20th Century Fox and Universal Pictures). In March 2009, AMC Theatres announced that it closed a $315 million deal with Sony to replace all of its with 4K digital projectors starting in the second quarter of 2009; it was anticipated that this replacement would be finished by 2012.
As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. In January 2011, the total number of digital screens worldwide was 36,242, up from 16,339 at end 2009 or a growth rate of 121.8 percent during the year. There were 10,083 d-screens in Europe as a whole (28.2 percent of global figure), 16,522 in the United States and Canada (46.2 percent of global figure) and 7,703 in Asia (21.6 percent of global figure). Worldwide progress was slower as in some territories, particularly Latin America and Africa. As of 31 March 2015, 38,719 screens (out of a total of 39,789 screens) in the United States have been converted to digital, 3,007 screens in Canada have been converted, and 93,147 screens internationally have been converted. By the end of 2017, virtually all of the world's cinema screens were digital (98%). Digital cinema technology has continued to develop over the years with 3D, RPX, 4DX and ScreenX, allowing moviegoers with more immersive experiences.
Despite the fact that today, virtually all global movie theaters have converted their screens to digital cinemas, some major motion pictures even as of 2019 are shot on film. For example, Quentin Tarantino released his latest film Once Upon a Time in Hollywood in 70 mm and 35 mm in selected theaters across the United States and Canada.
Movies are supplied to the theater as a set of digital files called a Digital Cinema Package (DCP). For a typical feature film, these files will be anywhere between 90 GB and 300 GB of data (roughly two to six times the information of a Blu-ray disc) and may arrive as a physical delivery on a conventional computer hard drive or via satellite or fibre-optic broadband Internet. As of 2013, physical deliveries of hard drives were most common in the industry. Promotional trailers arrive on a separate hard drive and range between 200 GB and 400 GB in size. Ingest of DCP files may be done at each cabin’s projector-server or may be stored in a central server called a Digital Cinema Library sharing its content over the cinema local area network (LAN) and managed by the Theater Management System (software).
Regardless of how the DCP arrives, it first needs to be copied onto the internal hard drives of the server, either via an eSATA connection, or via a closed network, a process known as "ingesting." DCPs can be, and in the case of feature films almost always are, encrypted, to prevent illegal copying and piracy. The necessary decryption keys are supplied separately, usually as email attachments or via download, and then "ingested" via USB. Keys are time-limited and will expire after the end of the period for which the title has been booked. They are also locked to the hardware (server and projector) that is to screen the film, so if the theatre wishes to move the title to another screen or extend the run, a new key must be obtained from the distributor. Several versions of the same feature can be sent together. The original version (OV) is used as the basis of all the other playback options. Version files (VF) may have a different sound format (e.g. 7.1 as opposed to 5.1 surround sound) or subtitles. 2D and 3D versions are often distributed on the same hard drive.
The playback of the content is controlled by the server using a "playlist". As the name implies, this is a list of all the content that is to be played as part of the performance. The playlist will be created by a member of the theatre's staff using proprietary software that runs on the server. In addition to listing the content to be played the playlist also includes automation cues that allow the playlist to control the projector, the sound system, auditorium lighting, tab curtains and screen masking (if present), etc. The playlist can be started manually, by clicking the "play" button on the server's monitor screen, or automatically at pre-set times.
The Theater Manager System (TMS) is a central system software for the whole cinema house, handling the central cinema content library and preparing the playback sessions (playlists) with the correct KDM keys and the selected cinema content moved to each projector.
The DCI specification calls for picture encoding using the ISO/IEC 15444-1 "JPEG2000" (.j2c) standard and use of the CIE XYZ color space at 12 bits per component encoded with a 2.6 gamma correction applied at projection. Two levels of resolution for both content and projectors are supported: 2K (2048×1080) or 2.2 MP at 24 or 48 Frame rate, and 4K (4096×2160) or 8.85 MP at 24 frames per second. The specification ensures that 2K content can play on 4K projectors and vice versa. Smaller resolutions in one direction are also supported (the image gets automatically centered). Later versions of the standard added additional playback rates (like 25 fps in SMPTE mode). For the sound component of the content the specification provides for up to 16 channels of uncompressed audio using the "Broadcast Wave" (.wav) format at 24 bits and 48 kHz or 96 kHz sampling.
Playback is controlled by an XML-format Composition Playlist, into an MXF-compliant file at a maximum data rate of 250 Mbit/s. Details about encryption, key management, and logging are all discussed in the specification as are the minimum specifications for the projectors employed including the color gamut, the contrast ratio and the brightness of the image. While much of the specification codifies work that had already been ongoing in the Society of Motion Picture and Television Engineers (SMPTE), the specification is important in establishing a content owner framework for the distribution and security of first-release motion-picture content.
TI's technology is based on the use of digital micromirror devices (DMDs). These are MEMS devices that are manufactured from silicon using similar technology to that of computer chips. The surface of these devices is covered by a very large number of microscopic mirrors, one for each pixel, so a 2K device has about 2.2 million mirrors and a 4K device about 8.8 million. Each mirror vibrates several thousand times a second between two positions: In one, light from the projector's lamp is reflected towards the screen, in the other away from it. The proportion of the time the mirror is in each position varies according to the required brightness of each pixel. Three DMD devices are used, one for each of the primary colors. Light from the lamp, usually a Xenon arc lamp similar to those used in film projectors with a power between 1 kW and 7 kW, is split by colored filters into red, green and blue beams which are directed at the appropriate DMD. The 'forward' reflected beam from the three DMDs is then re-combined and focused by the lens onto the cinema screen. Later projectors may use lasers instead of xenon lamps.
However, Sony decided in late April 2020 that they would no longer manufacture digital cinema projectors.
Then, reliable file delivery of DCPs via Internet emerged, thanks to higher bandwidth connections in cinemas, first with bonded DSL lines, then with fiber connection to the Internet.
In the last ten years, this initial offering of the arts has also expanded to include live and recorded music events such as Take That Live, One Direction Live, Andre Rieu, live musicals such as the recent Miss Saigon and a record-breaking Billy Elliot Live In Cinemas. Live sport, documentary with a live question and answer element such as the recent Oasis documentary, lectures, faith broadcasts, stand-up comedy, museum and gallery exhibitions, TV specials such as the record-breaking Doctor Who fiftieth anniversary special The Day Of The Doctor, have all contributed to creating a valuable revenue stream for cinemas large and small all over the world. Subsequently, live broadcasting, formerly known as Alternative Content, has become known as Event Cinema and a trade association now exists to that end. Ten years on the sector has become a sizeable revenue stream in its own right, earning a loyal following amongst fans of the arts, and the content limited only by the imagination of the producers it would seem. Theatre, ballet, sport, exhibitions, TV specials and documentaries are now established forms of Event Cinema. Worldwide estimations put the likely value of the Event Cinema industry at $1bn by 2019.
Event Cinema currently accounts for on average between 1-3% of overall box office for cinemas worldwide but anecdotally it's been reported that some cinemas attribute as much as 25%, 48% and even 51% (the Rio Bio cinema in Stockholm) of their overall box office. It is envisaged ultimately that Event Cinema will account for around 5% of the overall box office globally. Event Cinema saw six worldwide records set and broken over from 2013 to 2015 with notable successes Dr Who ($10.2m in three days at the box office – event was also broadcast on terrestrial TV simultaneously), Pompeii Live by the British Museum, Billy Elliot, Andre Rieu, One Direction, Richard III by the Royal Shakespeare Company.
Event Cinema is defined more by the frequency of events rather than by the content itself. Event Cinema events typically appear in cinemas during traditionally quieter times in the cinema week such as the Monday-Thursday daytime/evening slot and are characterised by the One Night Only release, followed by one or possibly more 'Encore' releases a few days or weeks later if the event is successful and sold out. On occasion more successful events have returned to cinemas some months or even years later in the case of NT Live where the audience loyalty and company branding is so strong the content owner can be assured of a good showing at the box office.
The use of NLEs in movies allows for edits and cuts to be made non-destructively, without actually discarding any footage.
Film critic Roger Ebert criticized the use of DCPs after a cancelled film festival screening of Brian DePalma's film Passion at New York Film Festival as a result of a lockup due to the coding system.
The theoretical resolution of 35 mm film is greater than that of 2K digital cinema. 2K resolution (2048×1080) is also only slightly greater than that of consumer based 1080p HD (1920x1080). However, since digital post-production techniques became the standard in the early 2000s, the majority of movies, whether photographed digitally or on 35 mm film, have been mastered and edited at the 2K resolution. Moreover, 4K post production was becoming more common as of 2013. As projectors are replaced with 4K models the difference in resolution between digital and 35 mm film is somewhat reduced. Digital cinema servers utilize far greater bandwidth over domestic "HD", allowing for a difference in quality (e.g., Blu-ray colour encoding 4:2:0 48 Mbit/s MAX datarate, DCI D-Cinema 4:4:4 250 Mbit/s 2D/3D, 500 Mbit/s HFR3D). Each frame has greater detail.
Owing to the smaller dynamic range of digital cameras, correcting poor digital exposures is more difficult than correcting poor film exposures during post-production. A partial solution to this problem is to add complex video-assist technology during the shooting process. However, such technologies are typically available only to high-budget production companies. Digital cinemas' efficiency of storing images has a downside. The speed and ease of modern digital editing processes threatens to give editors and their directors, if not an embarrassment of choice then at least a confusion of options, potentially making the editing process, with this 'try it and see' philosophy, lengthier rather than shorter. Because the equipment needed to produce digital feature films can be obtained more easily than film projectors, producers could inundate the market with cheap productions and potentially dominate the efforts of serious directors. Because of the quick speed in which they are filmed, these stories sometimes lack essential narrative structure.
Archiving has also turned out to be both tricky and costly. In a 2007 study, the Academy of Motion Picture Arts and Sciences found the cost of long-term storage of 4K digital masters to be "enormously higher - 1100% higher - that of the cost of storing film masters." This is because of the limited or uncertain lifespan of digital storage: No current digital medium—be it optical disc, magnetic hard drive or digital tape—can reliably store a motion picture for as long as a hundred years or more (a timeframe for film properly stored). The short history of digital storage media has been one of innovation and, therefore, of obsolescence. Archived digital content must be periodically removed from obsolete physical media to up-to-date media. The expense of digital image capture is not necessarily less than the capture of images onto film; indeed, it is sometimes greater.
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