Hand-on experience: this has always been a characteristic of DigiTraining Plus, ever since the first edition of the course in 2004. Once again this year the participants experienced some important new developments for the future of cinema-going: if on 10 July they were able to take stock of the quality of HDR images on Dolby screens, today, 12 July, they had the chance to try the glasses created by Sony which, by projecting subtitles onto the big screen, intends to facilitate access to the cinema for those who have hearing difficulties.
The removal of sensory barriers thanks to the use of the new technologies is in line with article 7 of the European directive on audiovisual media services, published in 2010. Germany is one of the countries that has already approved measures in this field: for example, all films produced with public support must also be available in versions with subtitles for those with impaired hearing and audio descriptions for those with impaired vision. Following the "cinema without barriers" theme dealt with by Daniel Vogl, Diretor of ARRI's Audio Department, the course gave abundant space to added content. Whilst showing images from the evening dedicated to Shakespeare by the Budapest Urania, Klaudia Elsässer of Pannonia Entertainment emphasized the need for new content to be accompanied by cultural initiatives specifically addressing spectators who may not be frequent cinema-goers. The figures demonstrate that this is a winning move: the Urania's 2010/2011 "alternative season" attracted around 7,000 spectators, the 2012/2013 season almost 21,000. On the basis of her past experience at the Royal Opera House and her present position as Director of Live Digital Cinema, Isabelle Fauchet insisted on the combination of content with international appeal and marketing made to measure for local audiences. The use of the social media for marketing and for audience building was the key point of Marian Pliestik's talk, in which she described in particular the "Cinema Royal" initiative of "surprise" screenings held in entirely unusual surroundings, such as an underground tunnel still under construction. By merely indicating the date and venue (and perhaps the expected temperature), thanks to the prestige of the Kino Aero, promotor of the Cinema Royal, the latter manage to attract hundreds of spectators, certain that they would find not only a film but also a "happening" living up to their expectations.
Content was also the theme of Tom de Bont's talk, as he presented the experience of his cinema, the Heerenstraat of Wageningen, in the Netherlands, which offers the chance to play "video games" on the big screen, and Harry Schusterov, intent on transplanting the Dutch "We want cinema", or cinema "on demand" into Germany. Tereza Czesany Dvorakova spoke about the prospects opened up for cinema
heritage by restoration and digital projection. She focused in particular
on four of the most famous titles in Czech cinematography, which have
recently been restored and made available to cinema audiences.
Together with Till Cussmann of dcinex, Jan Albert Vos and Gerrit Doorn, from the dynamic Dutch chain JT Cinema, oriented towards technological excellence, also spoke about containing costs; it is no coincidence that they are the pioneers of immersive sound and about to install the first laser projectors. To sum up their strategy in a single sentence: "When you invest, think of the cinema that will exist in ten years' time". A long-term view, rather than immediate savings, then. And to safeguard these investments, good maintenance contracts and long-term guarantees for equipment.
Informamos a nuestros seguidores que hablan español que el compañero de la revista Cineinforme Antonio Roldán está cubriendo el curso DigiTraining en exclusiva para España.