Wed04012020

Last updateSat, 21 Mar 2020 12pm

 

Introducing – Tools for Cinema Quality Assurance

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Cinema Test Tools for the Non-Technical Manager 

Cinema Test Tools is a free resource for the cinema industry, tuned most particularly for the non-technical manager. The tools include several DCPs, all with interesting means of testing the sound and picture quality for the interested by lightly trained staff. The lessons on sound and light are written to provide a foundation to communicate with the technician who must respond quickly and well to the information that they discover.

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. 

The feet hitting the street. This is where it all plays out.

Technicolor Services Dominate 2008 Oscar® Nominated Features

Thomson (Euronext Paris:18453; NYSE: TMS), through its Technicolor Business Group, today announced that its industry-leading services were instrumental to 21 of the 2008 Academy Award® nominated theatrical features, announced January 22nd.

 

Read the entire article from the source

Logic is Paramount as a Studio Buys-In Directly

exhibition logoLast week we were graced with an exceptional write up on the Celluloid Junkie Blog of Paramount's announcement of VPF agreements for the masses [Agreement subject to details on contract, your milage may vary. Don't bother applying if you are not in the North American area, above the Rio Grande.] 

This week we are graced with a version of Paramount's actual Digital Cinema Agreement Draft. Here's a brief clip from Section 6, Part a)

Exhibitor further acknowledges that for each of the Films released by Distributor, ...,Distributor will select the distribution pattern and select the Complex(es) and Screen(s) that Distributor believes in its good faith business judgment to be appropriate for its Film, considering all relevant circumstances and nothing shall interfere with decisions made by Distributor’s sales personnel.
Wow~! One would think that this type of demanded control was a reason that the Technicolor agreements didn't go through several years ago.

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Concepts in Exhibition...Making money with Digital

We all know that digital is not magic, but we do constantly forget. In the case of D-Cinema, the digital part is just a platform and we are just now seeing what that platform is good for.

If it was just movies, then the platform of a digital server and projector, and perhaps a management system, would be enough. But cinema theaters cannot survive on movies alone, regardless of what inflation makes the numbers look like.
Thus, Alternative Content becomes a platform of its own. It offers something different to draw crowds, and it has a different monetary structure...the cinema gets to keep more of the income flow. 

Live opera, F1 and wrestling get the fanfare, but commercials lead the way.

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Force of Law; France Issues DCinema Document

The document Digital Projection in Cinema has been released by the CNC (National Centre of Cinematography), dated June 2007.

Among the general details about implementation of equipment, on Page 3 they make the statement:

Later on, the standard published by the SMPTE will probably be brought into line with the international ISO norm. However, while this ISO standardisation would give the SMPTE standard an undeniable legal foundation, it is clear, as is the case, for example, in the field of HD television, that the SMPTE standard would have force of law on an international level.

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