Despite the fact that the industry adopted an internationally ratified SMPTE DCP standard nearly a decade ago, there remains widespread confusion and disagreement about what constitutes a universally accepted digital cinema package. If that sentence makes no sense to you, you’re not alone. For months the European Digital Cinema Forum with sponsorship from the International Union of Cinemas has been developing a web portal to address this problem. Their mission statement is, “To act as an informational resource for the industry on the SMPTE DCP and its operational use, and to provide a point of reference of on-boarding for those individuals/organizations willing to aid in the transitional process on a territory by territory basis.”
[Editor’s Note: In a new white paper, Barco senior product manager Tom Bert makes a strong case for the importance of contrast ratio in cinema.] In any visualization system, the contrast ratio is one of the key parameters that define image quality. A metric for comparing the brightest whites to the darkest blacks in the image, you could say that a good contrast ratio truly adds depth to the image. A low contrast ratio makes an image look washed out. Details as well as the artistic intent get lost. This is true for direct view displays as well as for projectors.
Digital cinema technology is defined by a collection of documents developed by many different organizations. No one organization defines it all, and in one case, the organization no longer exists. To address that situation, industry veteran Michael Karagosian has launched the website Cinepedia. His goal is to provide a single source of information about cinema technology. Among his many accomplishments Karagosian represented the technology interests of the National Association of Theatre Owners for eleven years during the digital cinema transition and is co-chair of the ASC Technology Subcommittee on Next Generation Cinema Display. I recently spoke with him about Cinepedia.
The Society of Motion Picture and Television Engineers today announced the publication of the first standards within SMPTE ST 2110, Professional Media Over Managed IP Network
The Deluxe Entertainment Services Group announced today that its compression and authoring services are now Dolby Vision approved, which will rapidly facilitate the release of more high-quality 4K UHD Blu-ray content into the market. Paramount Pictures’ Transformers: The Last Knight will be one of the first Dolby Vision 4K UHD Blu-ray titles delivered.
SMPTE today announced that it will be working with the Digital Production Partnership on a joint pilot specification project to create an Interoperable Master Format specification for broadcast and online.
In ever increasing numbers, exhibitors around the world are making the transition to laser projection. In response to that, at CinemaCon 2017 Barco will unveil the DP4K-40LHC and 20LHC RGB Flagship, 6P 3D single chassis, integrated high contrast projectors to the American audience. But nowhere in the new projectors’ specs will you find the term high dynamic range, which, given their capabilities seems like an oversight. Barco has a specific explanation for this, namely that it believes the exhibition world needs an HDR standard.
The Society of Motion Picture and Television Engineers today announced final approval of its nomination of Andy Maltz as 2018-2020 chair of ISO/TC 36, the International Organization for Standardization group dedicated to cinematography. Maltz, who is managing director of the Academy of Motion Picture Arts and Sciences' Science and Technology Council, will serve as chair-elect in 2017 as SMPTE member Julian Pinn, the current chair, serves out his term after nine years in the ro
The Society of Motion Picture and Television Engineers will host a series of Time Code Summits to gather feedback that will contribute to the creation of a new Time Label standard. As the next-generation standard to SMPTE Time Code, widely viewed as one of the most important standards in the audio/video industry, the new Time Label standard will address the continuing, new, and emerging requirements of handling media across the cinema, broadcast, theatrical, music recording, concert, live entertainment, and theme park markets.
Classic Cinemas’ Classic Charlestown theatre in St Charles, Illinois recently enlarged its auditorium one screen by 126 percent and now delivers images over 53-feet across in a wall-to-wall scope presentation. CineActive Solutions was hired to ensure the screen met DCI-specified light levels.