The Digital TV Group, the industry association for digital television in the UK, has issued a very inclusive report on Alternative Content in the Digital Cinema universe: Broadcasting Live Events to Cinema: Recommendations for the preparation, transmission, reception and presentation of live audio-visual events into cinemas.
The dream of creating DCPs for local commercials and film festivals by artists using simple yet affordable tools just took a monumental step forward with the latest advance of OpenDCP.
Created by a theater owner and long-time computer engineer, this tool uses a combination of Open Source tools to take a finished ‘movie’ and turn it into a package that can be played by a digital projection media player and projector. And, it is free.1
One of the hassles in the background of converting digital cinema projectors from Xenon heat and light gobbling devices into elegant and refined reflectors of light amplified by stimulated emission of radiation (laser) is the fact that laser light has more safety restrictions.
An industry group was formed late last year to work on redefining a laser used in cinema use away from the over-arching category defined by the U.S. Food and Drug Administration’s Center for Devices and Radiological Health, which is in charge of ensuring laser equipment safety. In the entertainment world, laser light shows were their previous concern, and each one had to get a special variance from the FDA. [Un-researched: how is this handled in the EU and other market areas?]
Lars Reichel has taken his dcpCreator front end, DCPC, and extended it with a number of features using ImageMagick. There is even a manual in English. Digital Cinema Package Creator
Going to the movies is central part of mainstream American life. More than 200 million Americans went to the movies last year according to the Motion Picture Association of America. But a lawsuit filed today in Alameda Superior Court alleges that the Cinemark movie chain, the third largest in the country, discriminates against the deaf and hard of hearing communities by failing to provide any captioned movies at its theaters in Alameda County.
This article will highlight 3D tools that sail past the author’s eyes. They may get more full articles in the appropriate sections if someone writes it, or may not.
Not only an essential tool, but the front page of the website has a concise set of details about 3D principles that should be known by rote.
The US DoJ has put a document into the Federal Register of July 26, 2010 that describes many aspects of the cinema industry conversion to digital from film, especially as it relates to the hearing and visual impaired audience(s). The title is:
Nondiscrimination on the Basis of Disability; Movie Captioning and Video Description
On page 13 of the attached PDF (transcribed in whole from the Federal Register, with a link to the original), there are a series of 26 questions that the Department of Justice are inviting comment on. The final date for comments is: January 24, 2011.
Glasses are required for all versions of 3D cinema systems. There are several reasons for this, and except for a few unique circumstances, this will also apply to home theater for a long time. Most 3D glasses come from the equipment manufacturers, which are built to handle “one size fits all” abuse. In the past year there have been companies offering alternative glasses, personalized glasses, so to speak. But Polaroid’s announcement yesterday gives the subject a new potential, in this case, for the polarized lens systems of RealD and MasterImage.
You must know this stuff if you are going to be an adequate part of the 3D/Digital Cinema machine…
HP – ‘Avatar’ sequels could shoot back-to-back (Cameron working on finishing ‘Avatar’ novel first)
Cameron hinted that the final two parts of the planned trilogy could be lumped together into a single production. “We’re actually talking about that. That’s not a decision yet,” he said. “That is something that makes a lot of sense, given the nature of these productions, because we can bank all the [motion] capture and then go back and do cameras over a period of time.”
SMPTE and DCI specs notwithstanding, measuring an auditorium is an art, not a science. Even a non-silver screen with gain is going to have a sweet spot, made even more apparent as the angle of the projector to the screen increases.
3D and silver screens make this even more ‘interesting’, something that the Laws of Physics often do to our best hopes.