Last updateMon, 31 Aug 2020 1pm

Digital Cinema In the Modern Age...and Its Tangents

UPDATE: As Mulan/Tenet Slips, so does AMC

UPDATE: With some rumors – still unconfirmed a week later –that Tenet could be r...

UNIC Women’s Cinema Leadership Programme – Year 4


Deluxe Revolutionizes Distribution of Content to Theaters

You never know what a revolution is when it is mentioned by a marketing group. B...

California Gets Cinema Back To Work

The Exit for the PauseDemic has been eagerly awaited all over the world. French c...

CineEurope, rescheduled, then cancelled

Usually in June, CineEurope had to reschedule to August – and even that was deem...

Tea Leave Reading for Chinese Cinemas

Wanda Film is the group that bought AMC in the States and which then bought the&...

Plead to Plead the US Congress

NATO needs the Congress to get a support bill going in the Congress. The Republi...

Great Take on Editing; New Blog

Selected Takes: 3 Editing Lessons From Anne V. Coates

MusicBed Blog presents a new...

CinemaCon CoronaVirus Update (and links)

The following was sent by NATO regarding CinemaCon 2020 on 26 Feb 2020

To:  ...

NAB CoronaVirus Statement (and links)

The following press release was sent from NAB on 19 Feb, 2020


Exhibition Is Stable – Consumer All Over

The first US studio has stopped sending InterOp DCPs to their clients in North A...


Introducing – Tools for Cinema Quality Assurance


Cinema Test Tools for the Non-Technical Manager 

  • A free resource for the cinema industry
  • Tuned most particularly for the non-technical manager.
  • Tools include:
    • Several DCPs for testing the sound and picture quality
    • Lessons on sound and light
    • Written to help communicate with the technicians

The key is a free Online Managers Online Walk Through Checklist that correlates with the many DCPs. It helps bring an understanding of the many nuances of the auditorium's situation in a straightforward way. 

DPCalendar Upcoming

6 Jul
Festival de Cannes
Date 06.07.2021 - 17.07.2021

Following Jeanne Moreau, Bernardo Bertolucci, Jane Fonda, Jean-Paul Belmondo, Manoel de Oliveira, Jean-Pierre Léaud, Agnès Varda and Alain Delon, Jodie Foster will receive the Festival’s Honorary Palme d'or in recognition of a brilliant artistic journey, and a unique personality with a modest yet strong commitment to some of the major issues of our time.

“Cannes is a festival to which I owe so much, it has completely changed my life, states Jodie Foster several weeks before the event. Although I had already directed before, my first time on the Croisette was a defining moment for me. Showcasing one of my films here has always been a dream of mine. In fact, I have had several opportunities to fulfil my dream, details Foster, who told Andy Warhol that she had always wanted to become a filmmaker. Cannes is a film festival by auteur-filmakers who honour artists. And I greatly appreciate that." 

Jodi Foster

23 Aug
CinemaCon 2021
23.08.2021 - 26.08.2021

Finally confirmed!!! There will be a live, in-person CinemaCon in Las Vegas this year.


In looking out for the health, safety and welfare of all attendees at CinemaCon 2021, everyone picking up a badge (staff, delegate, trade show guest, exhibitor trade show booth personnel) will need to show proof of a full Covid-19 vaccination or proof of a negative Covid-19 test conducted within 48-hours of picking up credentials. Attendees will be given a wristband that must be shown when entering officially scheduled events at the show. No exceptions will be made.
4 Oct
CineEurope 2021
04.10.2021 - 07.10.2021

About CineEurope

Celebrating 29 Years of Promoting European Cinema

The 29th Edition of CineEurope promises to bring you another year with the very best in exclusive studio screenings and product presentations, cinematic technologies and innovations and educational seminars to keep your business on top of industry trends. 

Produced by The Film Expo Group, CineEurope is the official convention of the International Union of Cinemas (UNIC), an international trade association representing cinema exhibitors and their national associations across 38 European territories whose focus is to better promote the social, cultural and economic value of cinemas in Europe and internationally.

3 Dec
IBC 2021 Live!
03.12.2021 - 06.12.2021

We've been apart for too long,
it's time to come together again. IBC will bring the content and technology industry together again to discover the future of media and do business face-to-face.

Quality Assurance | Quality Active

Digital Eyes and Ears Ad

  • Earlier Posts

  • DCinema Links


[Update] Deluxe/Technicolor Agree–Death Rattles of Film


Update; At least the PR from Deluxe pretended to be written to the industry. Tec...


LTO-5 Basics


LTO-5 became officially available this year, with products coming fast from the ...


Design a Cinema Auditorium, How To – Rolv Gjestland


There should be laws against putting this much data, with this much nuance, with...


Autre Intérêts

Boxing NAB


Eiji Yoshikawa is someone you have seen pacing the NAB halls for decades as publ...


Scripts. Get. ...while you can


It isn't odd that Mr. Tarrentino would make Hateful Eight available. According t...


Digital Cinema Glossaries


Exhibition Glossaries

Disney  Digital Cinema Glossary - (Online PDF)

Rex Beckett's d...



Another Future of Film


It seemed impossible that another view of Entertainment Technology focusing on t...


Fitting TSN into IoT – Synopsis


Graeme Harrison of BiAmp Systems has delivered a synopsis that integrates the ba...



Moviola Teaches Glossary

2 YEARS AGO addition to being a great glossary of production tools, Moviola has cre...


Deluxe Revolutionizes Distribution of Content to Theaters


You never know what a revolution is when it is mentioned by a marketing group. B...


If U B M&E – Free 100TB | Caringo


PRESS RELEASE                         
Caringo Offers No-Cost 100 TBs of S3 Acce...


DCinema in the SMTPE Compliant Era~!

Laser Light Engines gets IMAX funding– Putting Light on the Subject

Laser Light Engines LogoIMAX to Form Strategic Partnership With Laser Light Engines Through Equity Investment – Subtitle: Develop High Brightness Laser Light Technology Systems Exclusively for IMAX Digital Theatre Systems and Provide Additional Outsourced Research & Development for IMAX

The path to fully compliant digital cinema presentations is littered with 'almost' technologies which the studios allowed until looked aside from until the appropriate technology (one that actually met the spec) was commercially available. Examples of this are the transition from MPEG to Motion JPEG, and the transition from how security keys were handled 5 years ago and how they are handled today.

This year marks the transition from the InterOp set of standards to a full SMPTE implementation. This transition is supposed to be completed world-wide by April of 2011. But there is one part of the DCI and SMPTE specs that is being ignored; the need for 48 candelas per meter2 (14 foot Lamberts) of light bouncing off the screen during presentation. This is attainable and probably done regularly for 2D movies, but because of the nature of current 3D technology (some versions which suck up 80% of the light sent from the projector), most facilities are barely getting 3 ftL (10 cd/m2) to the eyes during 3D movies.*

Against this background, Laser Light Engines of Salem New Hampshire USA announces that the IMAX group has made an investment in their company and their technologies. This is auspicious for several reasons.

IMAX once had an unmatchable system for making and presenting movies. Their film stock recorded nearly post card sized frames which could be presented in an immersive style, saturating screens of immense proportions. They took a PR hit for allowing the IMAX name to be used for movies shot in 35mm and upgraded digitally during the mastering and print phase, but still shown in 15/70 (15 perf/70millimeter). They took another hit for surviving by creating a multiplex version of IMAX. Recently they have taken a hit for showing 3D movies digitally, which although done in the best way possible, could never match the dual 15/70 versions.

Using two Christie projectors allowed a full 2K image to be triple flashed to the screen with far more intensity than a single projector could produce. (Although the Sony digital system produces a 4K image, with 4 times the data of 2K, their 3D system divides their 4K chip into 2 x 2K images. Sony also hasn't progressed their LCOS system into the very largest screens due to contrast issues.) But even with two projectors, the amount of available light to the screen still doesn't meet SMPTE specifications.

Enter LASER technology from Laser Light Engines (LLE). For several years this company in Salem, New Hampshire, USA, has been approaching and dealing with the detailed challenges which will usher in the next technology leap for digital cinema. This week they have announced an agreement with IMAX which should help each company meet internal goals, as well as the expectations of their audience.

[Press Release attached as pdf for logged in readers.]

If it were as simple as finding 3 LASERs and firing them at the Texas Instruments DLP or Sony LCOS chip, this would have been done long ago. But it is not that simple. At this year's ShoWest convention, LLE announced that they had met one of the lingering challenges, eliminating the effects of speckle in the green channel, in this case a LASER of 546 nm. (Blue and Red LASERs are at 455 nm and 615 nm.)

It might be difficult for IMAX to portray this to the blogosphere, where they have taken the most hits recently. It is also not prudent to pollute one's own bathwater by speculating upon a future technology that shows the compromises of existing technology. On the other hand, there is a growing realization that 3D technology may have been generally introduced before it is ready, and speculation is rampant that it is being pushed merely for commercial reasons. That speculation does a dis-service to several hundreds of artists who have done incredible work in the field. Perhaps some clever marketing guru will figure a way to explain that today's version of 3D is above good enough, well worth paying more for, as there  are extra costs in the production/post-production and exhibition chain...but wow~! the future.

The mantra of this news magazine is that Engineering is the Art of Compromise. Continuous refinements knock away at these compromises, which is why this news is so exciting...there is nothing so refined as LASER technology and no bigger need than to become more green, more efficient, safer, brighter – issues that LASER technology can handle. There will be more on this topic, as well as its companion – optical fibre – in further issues.

[There is a Boston article named
Casting some light on 3-D of 11 July 2010 that came before the IMAX news. Conjecture on whether exhibitors would change the high heat, short life Xenon bulbs for a slightly more expensive, much longer life, lower heat LASER seems a bit mis-placed, but the article explains many other issues very well.]

* Our series that begins with Scotopic Issues with 3D, and Silver Screens examines these issues.