Last updateTue, 12 May 2020 1pm


Introducing – Tools for Cinema Quality Assurance


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. 

Artist's Intent Exposed~! See it here first. Where? In the cinema, the temporary home provided by exhibitors.

Accessibility Technology Requirements for Cinema

A White Paper in which Harold Hallikainen of USL/QSC gives the critical information about the most recent United States Department of Justice rules for accessibility equipment in the cinema auditorium.

The deadlines (from last page of report) are:

  • Assistive Listening Systems are required to be operational now (rules requiring them are more than 20 years old). 
  • Staff Requirements are effective January 17, 2017, if a theater is providing closed captioning or audio description.
  • Advertising Requirements are effective January 17, 2017, if a theater is providing closed captioning or audio description.
  • Closed Captioning and Audio Description equipment is to be operational by June 2, 2018. However, if a theater converts from film to digital after December 2, 2016, closed captioning and audio description equipment must be installed within 6 months of the conversion or December 2, 2018, whichever is later.

Europe Report and Conference from UNIC

UNIC – Union Internationale des Cinémas – has presented a new report titled Innovation and the Big Screen. With as many useful graphics as words, with concise summaries of the many various elements that are made possible by the rollout of digital cinema, the presentation offers an overview of the potential for, and need of, cinema(s) in the future.

UNIC Report 2017After stating that digital technology has both established unparalleled and diverse film availability to consumers at more than 38,000 member cinema screens, digital technology has also been key to the strength of VOD [among other distractions for the cinema audience], the report points out:

"The role of cinemas in raising awareness around and providing access to a diverse European film offer is therefore ever more important to maintain competitiveness and diversity inEuropean cinema. UNIC data for a number of territories shows that the level of local and Europeanfilms enjoyed in cinemas has continuously increased over the past years if one takes alonger-term perspective. In this context, sup- port networks such as Europa Cinemas help maintain audience demand for non-national European titles and are the best way to promote apan-Europeean market for local films.

There are other reports available for more in-depth detail of the many interesting segments of cinemas place in the social and financial fabric. UNIC has a few, and Media Sales has kept an ongoing record of the industry.

On the other hand, this report is meant to give a full overview of the current and future well-being of cinema now that the roll-out of digital is complete. It highlights most of the many different enterprises available to commercializing that have been or shall be available to exhibition by means of digital cinema. Many have been successful, but never well integrated or well scaled. This is true throughout the world and the reasons range from corporate miscalculation to technology and standards not being quite ready...and just plain bad luck.   

The report seems to be a highlight piece for an upcoming European Parliament Conference on 8 February titled "INNOVATION AND THE BIG SCREEN – The Future of Cinema in Digital Europe". This 3 hour panel in Bruxelles will review many of these topics, keying on growth and strategies for fostering innovation in cinema. Innovation and the Big Screen conference at the European Parliament on 8 February 2017 | UNIC

It is probably no coincidence that this report is also well timed for the Event Cinema Association event that begins tomorrow in London – ECACon 2017. The growing strengths of that organization will perhaps bring momentum through to CinemaCon and throughout the world.

Celluloid Junkie has an interview article with the principles of UNIC at: CJ + UNIC Cinema Innovation - Interview with VP European Commission Andrus Ansip and UKCA/UNIC's Phil Clapp - Celluloid Junkie

Cinema Stats 2017

Loudness in Cinema – IBC 2016 Presentation

Loudness in Cinema IBC2016 Presentation

The following are the speaker's notes and slides from an IBC2016 Presentation. The topic is Loudness In Cinema. The audience were all professionals in the cinema field, so many of the slides that could have taken 30 minutes themselves were slid over in a few seconds.

Thank you; As a short introduction, I am the guy who is working on an open source Quality Assurance System for Cinema Projection Rooms, which I outlined here several years ago. Here is a 20 second update on that.

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DCP Training Tutorials

It's said that even at the end of the "Enlightenment" Era of western civilization – 1750, or so – that one could have all the great works in a library at home and have read them all during the course of active life. Now, not so much.

There's always something new, and that newness comes in constant waves for each field of cinematography and post and to some extent, exhibition. Yet, where is the flow chart that describes what a doc or short or movie maker should know about the process of getting the digits at one end the the lens to the digits that flow out the other end?

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Wrapping Up Our Thoughts On CinemaCon 2016

After this year’s CinemaCon and NAB came to a close, and as everyone returned to address the mountains of email and work that piled up in their “normal” work lives, a handful of CJ editors, contributors and industry professionals that had attended began an email discussing their own thoughts about the shows. By the end of the week we realized this impromptu virtual conversation may be interesting to others in the market and thus, sought there permission of participants to post it here on Celluloid Junkie.

Originally published at Celluloid Junkie

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CinemaCon/NAB Split

For a number of years one could land in Vegas and within a two week period see CinemaCon and NAB ...sometimes one was immediately after, sometimes the other.

The best years where when there was enough time that the European Digital Cinema Forum – the EDF – could put together a bus tour with members and friends to various manufacturers, studios, post and cinema facilities and...studios. Great people talking on a bus. Alas, the schedule in 2016 was too close. One fears that the schedule in 2017 might be too far apart. More as it happens.

This year it is: 

CinemaCon – 27-30 March

NAB/SMPTE Weekend of Cinema – 22-23 April

NAB – 24-27 April

The Palette at the Exhibition End of the Artist’s Intent

Barco Innovation At Regal LA Live
At the turn of the century the potential of digital cinema was still being discovered. But the history of digital conversions had progressed through different sectors of entertainment technologies starting 25 years before, beginning with professional audio recording, then other post production tools and broadcast. Finally, several promising d-cinema demonstrations had been held in the late 90’s, and by Spring of 2002 a balance of requirements began their harmonization in ernest – the DCI era.

<>Originally posted at Celluloid Junkie

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The technology of exhibition explained; from media players and projectors, to memory and local storage, from satellites and devices for the hearing and visual or read it here.

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

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

Digital, though costing more, allows for more variety, sometimes at a lower cost and a better return. That variety is called "alternative content."

Building auditoriums for the Arts is a tradition from the Greeks. Projection has since been added.