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tive to feature films Suddenly there are more reasons for going to the movies, and overbuilt megaplexes have more ways to attract paying customers to big-screen experiences Currently there are just over 30 digital cinemas worldwide, but the number is growing Many of these cinemas have motion-picture content delivered to them on multiple DVDROM discs prepared by Technicolor, a leading Hollywood film lab Playout to screen is accomplished using a server, which incorporates numerous computer hard drives and compression technology (usually either Wavelet or MPEG) to retain the high quality of cinematic images while also fitting them onto relatively limited storage space Unlike projected film, which degrades and picks up dirt with each showing, movies played off servers look the same first time, every time, and thus maintain consistent, high-quality images
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Although servers take the place of spooling reels of film in a digital cinema, a projector is still required to throw the image at a movie screen For projection of cinema-quality images, two major technologies are currently employed, with more on the way Texas Instruments Digital Light Processing (DLP) Cinema technology employs a digital micromirror black chip to display film frames one at a time at high speed, as with film JVC s DILA uses a liquid crystal display and an electron gun These technologies have been licensed to several manufacturers (including Barco, Christie, Digital Projection, Kodak, and Sony), which today are building cinema-grade digital projectors Although there are some Hollywood directors who feel that digital projection technology does not yet render motion-picture images with the same color fidelity as film, others are satisfied, and of course technology continues to improve Even some of the digital projectors made for business presentations are finding their way into cinema use, especially in small theatres showing independent movies made with non-HD digital video formats Younger, independent producers and directors find the quality of these affordable digital cameras, edit systems, and projectors
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CHAPTER TWENTY-FIVE
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perfectly adequate, especially when budgets are limited, and making non- Hollywood movies is their prime goal
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The digital cinema revolution is underway Film and digital will coexist for many years, and some aspects of filmmaking (such as postproduction) have already transitioned to digital Important questions have yet to be answered, most notably that of who will pay the $125,000 per-screen price tag for theatres to convert to digital (especially when many theatre chains are bankrupt) An even larger question is Why fix what isn t broken Film has worked well for more than a century; why not stick with the status quo The answer, as with any business, will no doubt boil down to money Digital technologies offer an advantage here, both from a creative and an exhibition angle Filmmakers routinely turn to digital imaging for everything from mundane tasks (change the color of an actress dress) to creating otherworldly science-fiction landscapes Technicolor Digital Cinema, a joint company of Technicolor and Qualcomm, announced plans in March of 2001 to outfit 1,000 theatres with digital servers and projectors in the near future Independent studios, such as Madstone films, have indicated plans to establish a chain of digital cinemas dedicated to independent digital productions This chapter provides but an overview of the technology of digital cinema; entire books have been written on the subject One of the best of these is Scott Billups Digital Moviemaking (Michael Wiese Productions, 2000; ISBN 0-941188-30-2) In the meantime, it s important to bear in mind that the digital cinema transition will be a long one, with potentially rewarding opportunities for a wide range of interests filmmakers, equipment providers, theatre installers, telecommunications concerns, and the entire motion-picture industry Most important, however, the reduced costs represented by digital cinema have the potential to democratize filmmaking, which has seen its costs skyrocketing in recent years Given the power of this most dramatic form of moving-image communication, digital cinema is a very good thing indeed
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