Dolby is using CinemaCon to announce a slate of new titles that will be released with Dolby Surround 7.1 audio.
Most of the films are highly anticipated summer tentpole releases and include Walt Disney Studios “Pirates of the Carribbean: On Stranger Tides”, DreamWorks Animation’s “Kung Fu Panda 2″, Disney/Pixar’s “Cars 2″ and Paramount Pictures’ “Transformers: Dark Of The Moon”. Dolby also landed the first Indian film to feature their enhanced audio offering; Ramesh Sippy Entertainment’s “Dum Maaro Dum” will be released in April with Dolby Surround 7.1.
Since introducing the product to exhibitors in June of 2010, more than 1,300 Dolby Surround 7.1 installations have been completed. Dolby now says it is one of the “fastest adopted cinema audio formats” in the company’s history.
Of course, what makes the enhanced audio offering possible are the 16 audio tracks, or channels, within digital cinema packages (DCPs). Including additional audio tracks in digital releases seems like a no brainer, however exhibitors still have to be equipped to playback the extra channels. That means having wiring in place for left rear and right rear surround channels, not to mention an audio processor that can route the audio to the proper speakers.
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Popularity: 1% [?]
At the end of February when the FDA approved a variance clearing the way for Kodak to sell their laser projection technology to cinema exhibitors we ran a post which started out stating it was meant to be a competitor to Texas Instruments DLP chip. It didn’t take long for a commenter to point out that the Kodak’s system actually uses the DLP chip.
I spent considerable time searching through all of Kodak’s marketing material and press releases trying to find any reference to TI’s DLP chip and came up empty. Multiple searches on Google, that bastion of all knowledge, finally turned up some information which seemed to confirm that Kodak employed DLP in its solution.
All of this made me realize how little I actually knew about Kodak’s laser technology. I figured there could be no better source for information on the system than Kodak itself. Thankfully, I was able to speak with Les Moore, Kodak’s chief operating officer for Digital Cinema, who managed to shed some light (no pun intended) on the new technology. Surely, my first question should come as no surprise.
Celluloid Junkie: After being corrected in a recent post about Kodak Laser Technology and its use of the DLP chip I found it difficult to determine conclusively whether you are actually using the chip. Are you?
Les Moore: Yes. What we did was we said, “Lasers are starting to hit a price power point that makes some sense for theatrical use. Let’s see what we can do to design a projector using lasers as the light source. Let’s take a good hard look at the benefits that lasers can bring to a projector and then optimize the projector to make use of the lasers. There are a few manufacturers out there making good products in the industry with DLP, let’s base it around a DLP engine.” So that’s what we did.
CJ: The reason I ask is that there is no reference to DLP in any of your marketing or technical material. Was that intentional?
LM: I thought we had said it. I don’t believe it is described in the FDA variance. You might be right. There was no intent to not include that information. I think you’re aware we’ve held some open sessions here in Rochester where folks can hear a presentation that walks through the technology from front to back and then we take people up to a theatre and do a demonstration. It’s been very clear in those presentations that it’s designed around a DLP. Maybe that’s something we need to work on. It wasn’t intentional.
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Popularity: 3% [?]
Kodak Laser Projection System
Kodak’s plans to create a light engine for digital cinema projectors that can compete with Texas Instruments DLP chip reached a crucial milestone earlier this week. The Food and Drug Administration (FDA) approved the variance application clearing the way for the commercialization of Kodak Laser Projection Systems which feature Kodak Laser Projection Technology.
Maybe, like me, you’re wondering what the FDA has to do with regulating anything that isn’t a food or a drug. Don’t they have eggs to inspect and clinical trials to oversee? Well yes, they do, however they also oversee any manufactured device that emits radiation. For the most part that means lots of medical equipment and x-ray machines, though laser light displays also fall into this category.
Much in the way pilots and drivers need licenses, a federal license demonstrating basic laser knowledge and safety is required to operate high powered laser systems. For instance, night clubs with laser light shows need to obtain variances for their lighting equipment. I’m not sure exactly what kind of variance Kodak applied for, but according to Les Moore, Kodak’s chief operating officer for Digital Cinema:
“The FDA variance serves as a template to be followed by manufacturers that we license to incorporate this new laser technology.”
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Popularity: 4% [?]
Over the past several years as Hollywood began churning out an increasing number of 3D films a single question has been on the minds of both exhibitors and moviegoers. When will it be possible to watch 3D movies without the need to wear glasses?
Whether they use polarized lenses, spectral filters or active shutters, theatre owners would like to do away with the glasses that have become an operational burden and overhead expense. Theatre patrons have mixed feelings about the spectacles, complaining about comfort and low light levels.
But 3D glasses may be a thing of the past according to Francois Vogel. His video demonstration of a new technology that enables 3D content to be viewed without glasses has been a huge hit on YouTube, generating over 4.4 million views since it appeared on the site January 14th. Jonathan Post has developed two diodes that, when placed on one’s temples, stimulates the eyes to blink 120 times per second, alternating between the left and right eye. This mimics the method used by 3D active shutter glasses.
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Popularity: 4% [?]
Screenshot of Cinedigm's Theatre Command Center
Timed to coincide with this year’s Cinema Expo conference being held in Amsterdam through Thursday two well known integrators have released enhanced versions of their theatre management systems (TMS). North American deployment entity Cinedigm has included centralized management features in their Theatre Command Center TMS and Norway’s Unique Digital is making the next version of their RosettaBridge software available.
A TMS is software that enables a multiplex to manage all of their digital cinema servers, projectors, content, security keys and logs within a given theatre, all from a central location. It is often attached to a library management server where d-cinema content is stored.
Theatre Command Center
Cinedigm was one of the first companies to develop a working TMS which they named Theatre Command Center. Their initial version was integrated with Christie projectors and Doremi servers. It’s key features were:
- Management of all content including MPEG, JPEG, trailers, preshow and alternative content.
- Ingest of content via any delivery method including USB, satellite and fiber optic wire.
- Remote operation of servers and projectors.
- Automated scheduling of playlists that allowed for the transfer of content to the correct screen.
- Integration with some point-of-sale systems as well as Cinedigms head office software.
- Web access allowed users to log in from any computer connected to the Internet.
- Real-time monitoring of d-cinema systems with system status alerts and notifications.
- System log management.
- Multi-language support.
Some of this functionality, such as content management and ingest, would be considered basic requirements for any TMS, no matter the manufacturer. Most of those who have been using the software that I’ve spoken with have had positive things to say about the software. The only consistent criticism I’ve heard is about the systems graphical user interface (GUI). I’m not familiar enough with Cinedigm’s TMS to add my own thoughts.
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Popularity: 12% [?]
Last week Cinedigm announced a partnership with Sensio that will allow them to bring the FIFA World Cup Soccer Tournament being held in South Africa this month to theatres all over the world. What’s more, the matches will be shown live and in 3D.
The press release sent around to promote the partnership was was pretty standard, but there was one sentence that raised a question for me:
“To kick things off, the companies will use Sensio’s technology and Cinedigm’s theatre technology design to bring select matches from this year’s FIFA World Cup Soccer Tournament in Live 3D to hundreds of theatres around the world.”
My curiosity wasn’t necessarily stirred over which of the matches would be shown, because the release goes on to mention they’ll start with the quarterfinals. Instead, I was left wondering what “Sensio’s technology” actually was and how Cinedigm, a leading North American digital cinema integrator, would utilize it to project a live broadcast of a World Cup Soccer game in 3D. The rest of the press release only served to make me even more inquisitive, especially upon reading:
“…Cinedigm’s extensive experience in bringing live 3D sporting events to U.S. theatres through Sensio 3D format and CineLive technology.”
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Popularity: 12% [?]
With the demand for digital 3D films at an all time high, Technicolor has decided to jump into the fray with what they are calling an affordable, alternative solution that has stirred up intense debate. The leading motion picture service company is introducing the Technicolor 3D Solution, which will allow exhibitors to use their existing 35mm film projectors to project 3D releases without upgrading to more costly digital cinema equipment. And there’s the rub; rather than using digital content Technicolor’s solution is film based.
Even though the technology relies on celluloid, rather than bits and bytes, Ahmad Ouri, Technicolor’s Head of Strategy, Technology & Marketing, on Wednesday assured roughly 400 members of the industry that the technology was not old or steeped in the past. Sitting on a panel titled 3D’s Impact On Digital Deployment at the 3D Entertainment Summit in Los Angeles, Ouri explained, “It’s actually new technology that we’re introducing that’s perhaps based on an older concept. A lot of people have experienced 3D on film historically. We’re introducing a system that is basically an over/under film based solution that’s two-perf based on a format that Technicolor brought to market decades ago called Techniscope.”
Techniscope was first introduced in 1963 and used by the likes of spaghetti-western filmmaker Sergio Leone in an effort to find more economical ways to shoot. By halving the size of each film frame less film stock could be used, though the image quality was less than that of the four-perf (or four sprocket hole) format. Technicolor 3D Solution uses a special split lens that can be mounted to a conventional 35mm projector which then assembles the left eye and right eye images as the film runs through the projector. Read More »
Popularity: 34% [?]
The announcement on Celluloid Junkie that Texas Instruments is developing 4K projector solutions is causing waves throughout the industry. The story was picked up by both THR.com (DLP making the jump to 4K) and Variety (TI leaping into 4K fray), which despite their headline both acknowledge that TI was effectively forced into this situation by the Sony tie up with Regal and AMC.Perhaps the best other coverage came from Eric Taub in the New York Times:
TI has always said that 2K is good enough, with tests showing that consumers can’t see the difference.
TI has been against 4K, until they were for it. On Thursday, the company announced that it would now market 4K technology, which will be incorporated into their next-generation projector technology to be manufactured by a variety of partners.
The company will continue to sell 2K projectors to the majority of its customers, according to Nancy Fares, business manager for TI’s DLP Cinema Products Group.
Ms. Fares said that this is not a case of TI trying to play catchup to Sony, which recently announced a number of large contracts to install its 4K projectors in AMC, Muvico, and Regal Entertainment cinemas. Texas Instruments has been working on 4K technology for two years, she said.
And when TI said that most consumers can’t see the difference between a 2K and 4K image, the company is sticking to its guns.
Their 4K technology will only be installed in about 20 percent of its customers’ theaters, the “brightest and biggest” with screens 70 feet and larger in size.
TI has meanwhile put out a press release providing details:
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Popularity: 45% [?]
TI is developing but has not commercialized a 4K DLP Cinema system and is pushing for a big exhibitor—perhaps DCIP partner Cinemark–to come onboard, Celluloid Junkie sources report.
Nancy Fares, business manager for DLP Cinema Products Group, was contacted for comment. She only responded: “We have always said our technology is capable of going higher to a resolution of 4K and even higher. It’s about what the market needs and wants.”
AMC and Regal—DCIP’s two additional participants–have demonstrated interest in the resolution, as both recently announced deals to deploy Sony 4K digital cinema projectors.
Some insiders opine that a 4K announcement from TI might lead AMC and Regal to review their Sony deals. Considering the stakes, other insiders question why TI would not have already made the alleged development public.
DLP Cinema projectors are installed in an estimated 6,000 sites in North America, compared with Sony’s estimated 400. But Regal represents a total of 6,775 screens in the US and AMC encompasses 4,628, giving Sony the potential to overtake DLP Cinema with these installations.
Meanwhile, any announcement by TI of a move into 4K may potentially slow further 2K deployments. One insider pointed out that many exhibitors remember the shift from 1.3K to 2K, with 1.3K projectors have to be written off. It has also been suggested that while DCI specifications approve of both 2K and 4K projection, there might be a fear of a competitive disadvantage of 2K, particularly as major Regal and AMC have already committed to 4K.
Popularity: 21% [?]
A little bird told us that the Hollywood studios are starting to take note of the impact instant 140-character-or-less reviews can have on the box office prospects of a newly released films. Well, actually, it’s a 
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