Last updateThu, 30 Sep 2021 9am


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. 

Uncountable little pieces of experience add to a wealth of knowledge that should be shared for the betterment of the community. Please contribute.

Color Spaces Training Cool

While writing an addendum to's Lesson A Look At Light, Part 2, your author was amazed to find a uniquely incredible lesson on Color Spaces, the 2nd in a series of interactive training courses from Wigglepixel: What are Color Spaces, Color Profiles and Gamma Correction?

It really is a masterclass given the scope – from spaces through chromaticity through gamut and gamma correction...and more, and especially when combined with last month's lesson on Color Models. No need to say anymore...just go there now and point others to Maarten de Haas' Wigglepixel blog and site. (Written in both English and Dutch.)

wigglepixel demo of P3 and 2020 and RGB

Harkness Holiday Present

Testing for quality is a tricky thing, both as a subject and as a verb.

As a subject it isn't sexy. It is rightly in the domain of a rare group of specifically trained techs, and awash in the pool of compromises. To know the area is to know several SMPTE documents, many which are in flux or other states of magic. 

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New Harkness Darkness Challenge

The technology that has replaced film projectors is quite elegantly stable once set up properly. Most modern digital projectors have a circuit that can nudge the amperage to the bulb as the bulb inevitably losses its dark sucking capabilities, attempting to keep the light level consistent. And since the human visual system is extremely adaptive and forgiving, but most responsive to light level, this gives a fighting chance to a somewhat dumb machine that otherwise does an amazing job.

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[Update] QC the Screen – Harkness Webinar

The Harkness Webinar showed the functions of their updated Apps, which are extensive and well-done. The details are now there which can take care of many potential points of failure that keep screen luminance from being consistent monitored.

The most valuable might be the Digital Screen Archiver. It isn't a secret that people don't test often enough, and when they do test the record keeping isn't as usable as it should be. A year later and this App is quite complete, with a number of subtle features and great interface to the other two systems. Using it with the Screen Checker can have a profound impact on quality control…which is best done before the customer sees the problem.

Digital Screen Checker - The low-cost digital luminance meter for 2D and 3D Cinema

Digital Screen Modeller - 3D Real-time rendering tool for digital cinema design and equipment

Digital Screen Archiver - Secure data capture and storage tool for iOS and web which allows cinema operators to manage light on screen

Make certain to see the webinar the next time that it is available.

See also:

CinemaCon 2013: Maturity Brings Discussions of Quality in Digital Cinema

Post-Installation Cinema Test Tools; USL LSS-100 and DTT Digital eXperience Guardian

More Quality Assurance From USL

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Gone and Back Again–Return of The Hobbitses

48fps HFR. OK, that happened. Maybe it will happen again, but if Peter Jackson has any choice he whould probably do what instincts (should have) said to do originally: Go for 60. He should certainly insist that any exhibitor showing the movie in 3D upgrade and show the movie in HFR. 

I saw The Hobbit the first time in 3D 24fps and craved 48 during every scene with anything but slow movement...and should have known it would shine in slow movement times as well. It is as if the editor isn't paying attention, making cuts at the wrong places and smearing everywhere. Film is dead. We don't need the magic of judder and weave and unsaturated colors. We are not all Hollywood insiders who get the watch actual first-run prints in ultra-tweaked theaters. And we don't need an imposed anachonism frame rate, especially for the tricks that 3D plays on the vision system.

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