digital cinema-2003

8/7/2019 digital cinema-2003

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SEMINAR

ON

DIGITAL CINEMA

By:

Mahaveer.j.Aski4SN06EC022

E&C Dept,SIT


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OVERVIEW: What is digital cinema?

DLP Cinema technology

Standards development

Claims to significant events

Why digital cinema?

Economics

Problems facing by D-cinema

Conclusion

References


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What is Digital Cinema?

Digital Cinema is a complete system to deliver

cinema-quality programs to theaters (including

consumer homes) throughout the world using digital

technology.

Digital cinema covers every aspect of the movie

making process, from production and post-productionto distribution and projection.


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A digitally produced or digitally converted movie can

be distributed to theaters via satellite, physical media,

or fiber optic networks. The digitized movie is stored bya computer/server which "serves" it to a digital

projector for each screening of the movie.

Projectors based on DLP Cinema technology arecurrently installed in over 1,195 theaters in 30

countries worldwide - and remain the first and only

commercially available digital cinema projectors.

DLP technology was invented by Dr. Larry Hornbeck of

Texas Instruments in 1987


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DLP Cinema technology

Many Data projectors and HDTVS using DLP technology rely

on a single chip configuration like the one described below


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White light passes through a color filter, causing red, green,

blue and even additional primary colors such as yellow cyan,

magenta and more to be shone in sequence on the surface of

the DLP chip. The switching of the mirrors, and the proportionof time they are 'on' or 'off' is coordinated according to the

color shining on them. Then the sequential colors blend to

create a full-color image you see on the screen.

These mirrors are literally capable of switching on and offthousands of times per second and are used to direct light

towards, and away from, a dedicated pixel space. The

duration of the on/off timing determines the level of gray

seen in the pixel. Current DMD chips can produce up to 1024shades of gray.


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DLP technology enabled projectors for very high

brightness applications such as cinema and large venue

displays rely on a 3 chip configuration to produce

stunning images, whether moving or still.


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In a 3 chip system, the white light generated by the

lamp passes through a prism that divides it into red,

green and blue. Each DLP chip is identified for each of

these three colors; the colored light that the

micromirrors reflect is then combined and passed

through the projection lens to form an image.


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Standards development

The Society ofMotion Picture and Television Engineers began

work on standards for digital cinema in 2001. It was clear by thatpoint in time that HDTV did not provide a sufficient technologicalbasis for the foundation of digital cinema playback.

Digital Cinema Initiatives (DCI) was formed inMarch 2002 as a

joint project of many motion picture studios(Disney, Fox, MGM, Paramount, Sony PicturesEntertainment, Universal and Warner Bros. Studios) to develop asystem specification for digital cinema.

The primary purpose of DCI is to establish and documentspecifications for an open architecture for digital cinema thatensures a uniform and high level of technical performance,reliability and quality. By establishing a common set of contentrequirements, distributors, studios, exhibitors, d-cinemamanufacturers and vendors can be assured of interoperability andcompatibility.


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In cooperation with the American Society of

Cinematographers, DCI created standard evaluation

material and developed tests of 2K and 4K playback and

compression technologies. DCI published their specificationin 2005.


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Claims to significant events

The first secure encrypted digital cinema featurewas Star Wars Episode II: Attack of the Clones in 1999by Cinecomm Digital Cinema (then led by Russell J.Wintner).This first digital delivery and exhibition of a

full-length feature film to paying audiences is widelyconsidered to be the defining moment for digitalcinema's commercial viability.

The film was transmitted and then shown digitally intheatres both in Paramus, New Jersey and Los Angeles,California. The system functioned well but waseventually replaced because of the need to create a

standard data package for D-cinema distribution.


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In August 2006, theMalayalam digital

movieMoonnamathoral, produced byMrs. Benzy

Martin, was distributed via satellite to cinemas, thus

becoming the first Indian digital cinema. This was done

by Emil and Eric Digital Films, a company based at

Thrissur using the end-to-end digital cinema system

developed by Singapore-based DG2L Technologies.


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WHY DIGITAL CINEMA?

When you see a movie digitally, you see that movie theway its creators intended you to see it: with incredibleclarity and detail.

In a range of up to 35 trillion colors. And whether

you're catching that movie on opening night or monthsafter, it will always look its best, because digital moviesare immune to the scratches, fading, pops and jitterthat film is prone to with repeated screenings.

Main advantage of digital movies are that, expensivefilm rolls and postprocessing expenses could be doneaway.Movie would be transmitted to computers inmovie theatres, hence the movie could be released in a

larger number of theatres.


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Directors

-The directors vision can now actually be seen by audiences

-Post-production can all be done digitally (no film transfers)

Distributors

-Duplication costs removed

-Better piracy prevention

-Larger numbers of theatres can now view simultaneously

-Transportation costs can be replaced by much lowertransmission costs

Exhibitors

-M

ore flexible scheduling (e.g. more simultaneousscreenings)

Audiences

-Higher quality entertainment (better picture and sound)

-Easier access to screenings (more simultaneous showings)


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Economics

Impact on distribution

Digital distribution of movies has the potential to save moneyfor film distributors. To print an 80-minute feature film can

cost US$1,500 to $2,500, so making thousands of prints for a

wide-release movie can cost millions of dollars. In contrast, at

the maximum 250 megabit-per-second data rate (as definedby DCI for digital cinema), a feature-length movie can be

stored on a off the shelf 300 GB hard drive for a minuscule

fraction of the cost. In addition hard drives can be returned to

distributors for reuse.With several hundred moviesdistributed every year, the industry could save billions of

dollars.


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Costs

On the downside, the initial costs for converting theaters to

digital are high: up to $150,000 per screen or more. Theaters

have been reluctant to switch without a cost-sharing

arrangement with film disributors.

While a theater can purchase a film projector for US$50,000and expect an average life of 3040 years, a digital cinema

playback system including server/media block/and projector

can cost 34 times as much, and is at higher risk for

component failures and technological obsolescence.


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Problems Facing D-Cinema:

Different experience from theatre to theatre (or home to

home)

Not enough standardization

-SMPTE DC28 trying to solve this but currently no OEM

products really support DC28 for real-time applications

-Interoperability between display types (e.g. DLP and ILA)

still to be addressed.

Huge storage and bandwidth requirements

Up to 200 terabytes per film during post production stage


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CONCLUSION

Digital cinema is future of cinema industry. Gradually

cinema industry is moving from conventional projection todigital cinema.

Overall digital cinema has better image and sound quality

than the conventional projection.

Digital distribution of movies has the potential to save

money for film distributors.


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References:

http://en.wikipedia.org/wiki/Digital_projector

http://www.wepapers.com/Papers/80029/Dig

ital_Cinema

http://www.dlp.com/cinema/dlp-cinema/

Digital cinema By BrianMcKernan


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THANK YOU

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