In the global business of motion picture exhibition the importance of the Digital Cinema Initiative can’t be overstated. It’s entirely possible that the digital cinema transition would not have happened without DCI. What was true more than a decade ago is true today: technology that doesn’t get its seal of approval can’t be used to distribute or show a Hollywood movie. But times have changed and so have the demands of the marketplace. Fifteen years ago, it made perfect sense to have the DCI – a de facto arm of the major Hollywood studios – dictate what technology was favored over another because the studios were funding the transition. However, as the virtual print fee agreements fade into history, manufacturers and exhibitors are on their own financially. Which leaves us with this: everyone agrees that cinema standards are important. The question, in 2019 is, who gets to decide?
The Big Picture
On Saturday night at its annual Scientific and Technical Awards Presentation, the Academy of Motion Picture Arts and Sciences honored PIX with a Technical Achievement Award. The award recognized Eric Dachs, founder and CEO; Erik Bielefeldt, director of research and development; Craig Wood, technical director; and Paul McReynolds for the design and development of the industry leading security mechanism for distributing media. Prior to the awards ceremony, Digital Cinema Report spoke exclusively with Bielefeldt and Wood to talk about the company’s continued innovation in the evolving world of content collaboration from film to digital to next-generation data rich requirements.
The final roster of speakers has been set for the first Digital Cinema Summit. These top digital cinema technology authorities from around the world will address a range of issues facing professionals in all phases of the motion picture industry. The half-day event takes place February 6 at the Okura Hotel in Amsterdam the Netherlands. Nick Dager, Editor & Publisher of Digital Cinema Report created the Summit in conjunction with Integrated Systems Europe. The theme is Transforming the Moviegoing Experience; its purpose is to give digital cinema technology center stage.
The first speakers have been confirmed for the Digital Cinema Summit scheduled for February 6, 2019 at the Okura Hotel in Amsterdam the Netherlands. Created by Digital Cinema Report in conjunction with Integrated Systems Europe, the theme of the half-day event is Transforming the Moviegoing Experience.
The first Digital Cinema Summit, presented by Digital Cinema Report in conjunction with Integrated Systems Europe, will be held February 6, 2019 at the Okura Hotel in Amsterdam the Netherlands. The half-day event will highlight how advances in digital cinema technology are transforming the entire moviegoing experience. It will feature top digital cinema technology authorities from around the world addressing a range of issues facing professionals in all phases of the motion picture industry. The purpose of the event is to give digital cinema technology center stage.
Technology fails. Anyone reading this article knows that even better than I do. That’s been a fact of life in the motion picture business from the earliest days. Film jammed in cameras and projectors, light bulbs burned out unexpectedly, and sound systems malfunctioned for no apparent reason. In each case, the people involved addressed the problem and moved on. Thankfully, technology today is more robust and reliable than ever before and when something goes wrong it’s often easier to fix than ever before. But technology isn’t always the issue. Increasingly in today’s competitive entertainment environment, the important issue is customer relations.
Each year, Digital Cinema Report presents the Catalyst Award to the best new technology introduced at CinemaCon, the annual convention of the National Association of Theatre Owners. At this year’s show, held April 23-26 at Caesar’s Palace in Las Vegas, people from more than seventy countries gathered to discuss the latest issues, trends and technologies in motion picture distribution and exhibition. One technology trend stood out. For many reasons, until now, event cinema has been an exhibition afterthought. That changed this year. This year three of the seven Catalyst Award winners were specifically designed to facilitate event cinema. Event cinema is on the rise.
The motion picture industry convenes April 22-26 at Caesar’s Palace in Las Vegas for the sixth edition of CinemaCon. Vegas has always struck me as the perfect place for the National Association of Theatre Owners to holds its annual convention because the movie business itself is a gamble: for every movie that wins big there are too many others that don’t. Meanwhile, in a world of ever-increasing competition, exhibitors have to find enough steady customers to maintain and, ideally, grow their business. Then there is technology. Today most of the movie theatres in the world operate on a digital platform, which means that a Pandora’s box of technology enhancements are there for the taking. There are a wide range of choices that can boost movie theatre attendance, productivity and profitability. But which ones are right for your theatre? Choosing the right technology and, paying for it, is the challenge. Success requires understanding the opportunities.
Moviehouse and Eatery, a Texas exhibitor whose theatres feature wall-to-wall screens, plush recliners and a full-service kitchen and bar with a chef-prepared menu, had a challenge: they wanted to build a social media presence to harness their existing clients’ experience and leverage the engagement to further their overall marketing efforts. In May 2015 M&E engaged Social Flash Media, a local Austin, Texas company to dramatically improve their social presence by way of their existing clientele. SFM has created what the company says is the first unattended marketing social photo station powering a diverse social marketing pipeline.
Screen actors convey emotion in several ways: their voices, their eyes and the subtle color changes of their facial skin. But what if – as in the case of Gary Oldman’s Oscar-winning performance in Darkest Hour – much of their face is covered in silicone? That was one of the key questions Peter Doyle, supervising colorist at Technicolor, addressed when he collaborated on the film’s palette.