Download - digital cinema-2003
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SEMINAR
ON
DIGITAL CINEMA
By:
Mahaveer.j.Aski4SN06EC022
E&C Dept,SIT
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OVERVIEW: What is digital cinema?
DLP Cinema technology
Standards development
Claims to significant events
Why digital cinema?
Economics
Problems facing by D-cinema
Conclusion
References
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What is Digital Cinema?
Digital Cinema is a complete system to deliver
cinema-quality programs to theaters (including
consumer homes) throughout the world using digital
technology.
Digital cinema covers every aspect of the movie
making process, from production and post-productionto distribution and projection.
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A digitally produced or digitally converted movie can
be distributed to theaters via satellite, physical media,
or fiber optic networks. The digitized movie is stored bya computer/server which "serves" it to a digital
projector for each screening of the movie.
Projectors based on DLP Cinema technology arecurrently installed in over 1,195 theaters in 30
countries worldwide - and remain the first and only
commercially available digital cinema projectors.
DLP technology was invented by Dr. Larry Hornbeck of
Texas Instruments in 1987
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DLP Cinema technology
Many Data projectors and HDTVS using DLP technology rely
on a single chip configuration like the one described below
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White light passes through a color filter, causing red, green,
blue and even additional primary colors such as yellow cyan,
magenta and more to be shone in sequence on the surface of
the DLP chip. The switching of the mirrors, and the proportionof time they are 'on' or 'off' is coordinated according to the
color shining on them. Then the sequential colors blend to
create a full-color image you see on the screen.
These mirrors are literally capable of switching on and offthousands of times per second and are used to direct light
towards, and away from, a dedicated pixel space. The
duration of the on/off timing determines the level of gray
seen in the pixel. Current DMD chips can produce up to 1024shades of gray.
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DLP technology enabled projectors for very high
brightness applications such as cinema and large venue
displays rely on a 3 chip configuration to produce
stunning images, whether moving or still.
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In a 3 chip system, the white light generated by the
lamp passes through a prism that divides it into red,
green and blue. Each DLP chip is identified for each of
these three colors; the colored light that the
micromirrors reflect is then combined and passed
through the projection lens to form an image.
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Standards development
The Society ofMotion Picture and Television Engineers began
work on standards for digital cinema in 2001. It was clear by thatpoint in time that HDTV did not provide a sufficient technologicalbasis for the foundation of digital cinema playback.
Digital Cinema Initiatives (DCI) was formed inMarch 2002 as a
joint project of many motion picture studios(Disney, Fox, MGM, Paramount, Sony PicturesEntertainment, Universal and Warner Bros. Studios) to develop asystem specification for digital cinema.
The primary purpose of DCI is to establish and documentspecifications for an open architecture for digital cinema thatensures a uniform and high level of technical performance,reliability and quality. By establishing a common set of contentrequirements, distributors, studios, exhibitors, d-cinemamanufacturers and vendors can be assured of interoperability andcompatibility.
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In cooperation with the American Society of
Cinematographers, DCI created standard evaluation
material and developed tests of 2K and 4K playback and
compression technologies. DCI published their specificationin 2005.
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Claims to significant events
The first secure encrypted digital cinema featurewas Star Wars Episode II: Attack of the Clones in 1999by Cinecomm Digital Cinema (then led by Russell J.Wintner).This first digital delivery and exhibition of a
full-length feature film to paying audiences is widelyconsidered to be the defining moment for digitalcinema's commercial viability.
The film was transmitted and then shown digitally intheatres both in Paramus, New Jersey and Los Angeles,California. The system functioned well but waseventually replaced because of the need to create a
standard data package for D-cinema distribution.
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In August 2006, theMalayalam digital
movieMoonnamathoral, produced byMrs. Benzy
Martin, was distributed via satellite to cinemas, thus
becoming the first Indian digital cinema. This was done
by Emil and Eric Digital Films, a company based at
Thrissur using the end-to-end digital cinema system
developed by Singapore-based DG2L Technologies.
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WHY DIGITAL CINEMA?
When you see a movie digitally, you see that movie theway its creators intended you to see it: with incredibleclarity and detail.
In a range of up to 35 trillion colors. And whether
you're catching that movie on opening night or monthsafter, it will always look its best, because digital moviesare immune to the scratches, fading, pops and jitterthat film is prone to with repeated screenings.
Main advantage of digital movies are that, expensivefilm rolls and postprocessing expenses could be doneaway.Movie would be transmitted to computers inmovie theatres, hence the movie could be released in a
larger number of theatres.
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Directors
-The directors vision can now actually be seen by audiences
-Post-production can all be done digitally (no film transfers)
Distributors
-Duplication costs removed
-Better piracy prevention
-Larger numbers of theatres can now view simultaneously
-Transportation costs can be replaced by much lowertransmission costs
Exhibitors
-M
ore flexible scheduling (e.g. more simultaneousscreenings)
Audiences
-Higher quality entertainment (better picture and sound)
-Easier access to screenings (more simultaneous showings)
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Economics
Impact on distribution
Digital distribution of movies has the potential to save moneyfor film distributors. To print an 80-minute feature film can
cost US$1,500 to $2,500, so making thousands of prints for a
wide-release movie can cost millions of dollars. In contrast, at
the maximum 250 megabit-per-second data rate (as definedby DCI for digital cinema), a feature-length movie can be
stored on a off the shelf 300 GB hard drive for a minuscule
fraction of the cost. In addition hard drives can be returned to
distributors for reuse.With several hundred moviesdistributed every year, the industry could save billions of
dollars.
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Costs
On the downside, the initial costs for converting theaters to
digital are high: up to $150,000 per screen or more. Theaters
have been reluctant to switch without a cost-sharing
arrangement with film disributors.
While a theater can purchase a film projector for US$50,000and expect an average life of 3040 years, a digital cinema
playback system including server/media block/and projector
can cost 34 times as much, and is at higher risk for
component failures and technological obsolescence.
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Problems Facing D-Cinema:
Different experience from theatre to theatre (or home to
home)
Not enough standardization
-SMPTE DC28 trying to solve this but currently no OEM
products really support DC28 for real-time applications
-Interoperability between display types (e.g. DLP and ILA)
still to be addressed.
Huge storage and bandwidth requirements
Up to 200 terabytes per film during post production stage
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CONCLUSION
Digital cinema is future of cinema industry. Gradually
cinema industry is moving from conventional projection todigital cinema.
Overall digital cinema has better image and sound quality
than the conventional projection.
Digital distribution of movies has the potential to save
money for film distributors.
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References:
http://en.wikipedia.org/wiki/Digital_projector
http://www.wepapers.com/Papers/80029/Dig
ital_Cinema
http://www.dlp.com/cinema/dlp-cinema/
Digital cinema By BrianMcKernan
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THANK YOU