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Category Archives: Technology

Cinedigm and Unique Digital Release TMS Upgrades

Posted by J. Sperling Reich | June 23, 2010 1:09 pm

Theatre Command Center Screenshot.png

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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Cinedigm’s Partnership For FIFA World Cup Makes Sensio

Posted by J. Sperling Reich | June 10, 2010 5:20 pm


Cinedigm Sensio World Cup.jpgLast 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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Posted in Alternative Content, Technology
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Technicolor Goes 3D With Film Based System

Posted by J. Sperling Reich | September 17, 2009 8:00 am


TechnicolorWith 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 »

Posted in Digital 3D, Technology
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Twitter’s Instant Reviews Has Hollywood Worried

Posted by Admin | August 20, 2009 11:07 pm


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 Washington Post articles that examines what impact if any Twitter had on the mixed fortunes of film like  Brüno and G.I. Joe. From the article:

“I think Twitter can’t be stopped,” says Stephen Bruno, the Weinstein Co.’s senior director of marketing. “Now you have to see it as an addition to the campaign of any movie. People want real-time news, and suddenly a studio can give it to them in a first-person way.”

Eamonn Bowles, president of Magnolia Pictures, says studios are worrying about a time when “people will be Twittering during the opening credits — and leaving when they don’t like them.” But he also warns, “The next step [for the Twitter Effect] is for studio marketing to manipulate it.”

While Twitter is no doubt having some impact, Boxofficemojo.com’s president injects a note of realism into the debate at the end of the article:

“Revolutionize moviegoing? No,” he said. “But all the tiny little bits together [Twitter, MySpace, Facebook and others] can add up to something meaningful.”

A sample of Tweets of Quantin Tarantino’s Inglourious Basterds from today:

Akilah_Zomg Inglourious Basterds was fantastic! Love love love love, go see it!

Thenatt Inglourious Basterds FANTASTIC!!! Go watch it!!! I clapped!! I never clap LMFAO….

RobertDonohue Inglourious Basterds. Not what I expected. Still very good. I must say I enjoyed District 9 more. I wish there were more basterds scenes.

aprilismissing So Inglourious Basterds is the best movie I’ve seen in quite a long time. Def. catching it again this weekend.

taylorisgreat inglourious basterds totally scalps district 9. read em n weep.

So it seems that early Twitts are greater fans of QT than critics.

Posted in Marketing & Promotions, Technology
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TI’s 4K Announcement Causes Waves - Wither 2K Now?

Posted by Patrick von Sychowski | June 18, 2009 9:22 am


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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Sources Say TI Moving Toward 4K

Posted by Carolyn Giardina | June 16, 2009 10:26 am


dlp_logoTI 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.

Posted in Digital Cinema, Technology
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Digital Faces Critical (Archiving) Dilemma

Posted by Carolyn Giardina | May 14, 2009 2:34 pm


digital_dilemma_cover1

“The Digital Dilemma”—a 2007 report from AMPAS’ SciTech Council that examines the challenges of archiving and accessing digital motion picture materials—was the subject of the SMPTE’s Hollywood Section May meeting, held at the Academy’s Linwood Dunn Theatre in Hollywood.

The report concludes that there is no long-term strategy for archiving and preserving digital assets that doesn’t require large capital investment.

Andy Maltz, director of the SciTech Council, reported that in 2008 the worldwide box office reached $20 billion, but he estimated that only 0.0015% of that amount was spent on addressing this dilemma. He emphasized that much more needs to be done.

During the evening, Maltz presented an overview of the report and an update on its impact since its release. He generated applause and laughter from an audience that has been inundated with 3D format talk when—in outlining the discussion objectives—he quipped “there will be nothing about stereoscopic movies tonight.”

Actually, he wasn’t entirely correct. He addressed AMPAS’ need to preserve digital content, citing as an example the increasing number of 3D titles that originate from and are/will be released in the digital realm. He also cited the ASC/DCI Standard Evaluation Material (Stem) and all Oscar-nominated films, which are archived by the Academy.

“Current technologies and practices are inadequate,” he said. “Periodically you will need to copy the digital media. Storage technology and operating technology will become obsolete.”

As to current investment, the report suggested that it costs $1,059 to preserve one film archival master for one year. In contrast, it estimated that annual cost of preserving a 4K digital master to be $12,514.

The SciTech Council is now working on what it calls a Digital Motion Picture Archival Framework, which would include the development and standardization of a file format, directed research, education and a follow up report on “The Digital Dilemma” for indie filmmakers and executives at public archives.

A very worthwhile read, “The Digital Dilemma” report can be downloaded from the AMPAS web site (here).

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RealD Releases LP Version

Posted by Carolyn Giardina | May 5, 2009 6:03 pm


reald-projectorRealD expanded its product line today with the launch of RealD LP (Linear Polarizing Z Screen), which the company describes as a mobile, single-projector, passive 3D system.

RealD recommends the system for conference rooms, R&D centers, museum exhibits, mobile education centers, virtual rides and other entertainment attractions.

According to the RealD announcement: The RealD LP is an externally mounted peripheral for a single 3D-enabled DLP projector, with electronic controls integrated inside the device. When 3D content is fed to the projector in full-resolution, frame-sequential format, the RealD LP allows content to be seen in 3D by polarizing right- and left-eye images. Viewers would require RealD eyewear custom built for the LP.

Supporting screens up to 17 feet wide, the RealD LP is designed to work with 3D-enabled projectors such as NEC NC800, Christie Mirage HD, and Lightspeed Design HD DepthQ, along with a silver screen from Harkness, MDI or Stewart.

The system is now available for lease through the company’s professional division.   

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DFE Technologies Tackles Hard Drive Distribution

Posted by J. Sperling Reich | March 27, 2009 12:23 am

Please enable Javascript and Flash to view this Viddler video.

Starting with this entry we’re going to try something a little different and from time-to-time begin posting video interviews and demos of some of the technology and companies we come across.  You may enter comments directly in each video by clicking on the  plus (+) sign in the progress bar.

A few weeks ago I had the pleasure to visit an interesting company that has been flying under the radar in the digital cinema space.  I had never heard of DFE Technologies when I ran into Talla Garestani, DFE’s a project coordinator, while standing in line at the Apple Store in Woodland Hills.  What she told me about DFE peaked my interest enough to want to find out more about them.

For the past several years DFE has been perfecting a hard drive duplication and distribution system for digital cinema.  While some digital content is delivered to movie theatres via satellite, most of digital prints make their way onto screens via hard drive.  There has been numerous reports about such hard drives arriving at their destination and not working properly.  DFE believes their system could provide the solution to this problem.

DFE’s Digital Cinema System consists of several products starting with the SmartPac, a hot swappable SATA hard drive encased in a durable aluminum shell.  Unlike most of the drives being shipped to theatres today, which were only meant to be removed from servers should they fail, DFE’s drive was designed specifically for traveling.  The company has been shipping them out to theatres using a hard case with a form fitting foam insert. Read More »

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Lionsgate Goes Mobile With Webalo

Posted by J. Sperling Reich | February 13, 2009 8:04 pm

Example of box office figures delivered via Webalo

Example of box office figures delivered via Webalo

While it may not be the Hollywood-way, I’m always glad to hear about a longtime friends’ success.  That’s one way of saying I need to offer a full disclosure for this post.  You see, Rob Edenzon has been an acquaintance for ten years now, since joining the board of directors at FilmStew, a web startup I helped found before the dot com bubble burst.  Now Rob is the vice president of sales at Webalo, a technology company that helps format and deliver software applications and enterprise business data to mobile devices.

For some time now Rob has been telling me about Webalo’s contract with specific television networks to deliver detailed overnight Nielsen rating spreadsheets to their employee’s Blackberries, while at the same time expressing a desire to offer box office grosses to studio executives on their own mobile gadgets.  Well, his wishes came true on Wedensday as Webalo announced a deal with Lionsgate to deliver “live” box office figures to the smartphones of the studio’s top executives.  What’s interesting to me is that the box office figures are coming not from aggregators such as Nielsen EDI or Rentrak, but instead from Lionsgate’s own internal SAP systems.  Though, on second thought, the press release (warning: PDF) announcing the agreement didn’t say whether the box office figures were flash grosses or audited reports and if they are the former, then I wouldn’t be shocked if they were coming from an aggregator.

It must not have been hard to convince Lionsgate to try out the technology.  Webalo’s offering is pretty much a turnkey solution with a web interface that enables IT managers to quickly reformat reports for mobile phones (mostly Blackberries) on the fly.  Read More »

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