by Domenico Dinoia, President of MEDIA Salles
Two weeks have gone by
since the end of the 2006 edition of “DigiTraining Plus” and
the task of weighing up the balance of these five intensive days of training
is one that I am only too glad to undertake.
If I had to choose the words that best sum up this third edition of the
course, they would be commitment, satisfaction and enthusiasm.
The commitment is that shown by all those who contributed towards the
planning, organisation and running of this course, either directly or
The satisfaction is that expressed by the participants who, at the end
of the course, rewarded the organisers’ efforts with more than positive
This satisfaction cannot fail to translate into our keen enthusiasm, sealing
the success of this 2006 edition.
The positive sensations that accompany the closure of the course are not,
however, the end of our journey but, on the contrary, a new beginning
from which to set out, in order to continue improving our offer of training,
modelling it rationally according to the demands and preferences of those
who take part directly as trainees.
This is why we shall use the suggestions and observations collected from
our participants’ verbal contributions and evaluations as a precious
asset for drawing up our future projects in a spirit of close proximity
to the needs of the exhibitors.
Whilst still in terms of continuity with “DigiTraining Plus”,
it is nonetheless necessary to proceed along the path, which started two
months ago now with the launch of this electronic newsletter, through
the world of digital.
I am therefore happy to present the new contents of this edition which,
reminding us of the Kuurne meeting, first makes room for the words of
Denis Kelly, present amongst the lecturers on the course, with the present
aim of introducing the concept of an “Integrated Solution”
for digital cinema. Followed by an article of a scientific nature which
presents a mathematical model for forecasting the trend of digital cinema
in the future. Continuing a tradition that began in the very first issues
of this information bulletin, we also publish the figures regarding the
situation of digital DLP CinemaTM screens in Spain, updated as at 31/12/05.
(Click here to see the table)
Lastly, I am glad to present the second appointment with our brand new
column devoted to women, which in this issue offers a report by Montserrat
I wish you enjoyable reading.
WOMEN IN DIGITAL
Montserrat Guiu March
General Manager of CINEMES GUIU, La Seu D’Urgell, Spain
concept of digital cinema is a new one that makes more headway every day
throughout the media.
With the entry of information technology and electronics into our lives,
anything that sounds analogical seems obsolete.
The same is happening in the world of the cinema. Digital cinema is already
with us, starting out slowly but impossible to halt.
Now we have to concentrate on how the transition from analogical to digital
technology will take place.
It is a slow process that involves the whole cinematographic process from
production to post-production to distribution and exhibition.
Concerning the world of exhibition, which is the one that regards me most
closely, the change will have a positive effect on several areas:
– First it will lead to the reduction of costs, since a large part
of the work carried out by distribution will gradually disappear, as different
channels of transport will be used for delivery of films, via satellite
– Secondly, the various cinemas will be able to bring films out
simultaneously, thus generating greater expectation and interest in spectators.
– Thirdly, the quality of sound and
vision will increase.
– Fourthly, there will be more opportunities
for new authors to show their creative work, thanks to the low cost of
launching the product.
– Fifth, a new and as yet unknown path opens up before us for live
events, both in music and in sport.
The great problem faced by digital cinema is the high cost of the transition.
Who should pay for it? Exhibition? Distribution?
The exhibitor will gain no greater benefits if the film is in digital
format rather than 35mm, since the spectator chooses the content of the
product and not the format.
No direct benefit corresponds to the high cost of digital, as the exhibitor
is already prepared to offer the product, obtaining the same economic
For distribution the transformation will bring the costs down radically,
so that it would seem to be fair for it to sustain most of the transition
This is the most delicate point since, supposing that distribution should
agree to sustain part of the transition costs, it would become a partner
of the cinemas and this would reduce the exhibitor’s freedom of
The solution should be sought in studying formulas for change that involve
both public authorities and distribution and exhibition and that foresee
systems of regulations that favour exhibition, which is the link in the
chain to suffer most here.
At the moment my theatres are fitted
with a Sanyo 1.3K projector for screening movies in an electronic format.
In all there are 75 cinemas in Spain equipped with these projectors and
connected via satellite, waiting for the opportunity to offer content.
Up to now our practical experience is slight but I hope that all the problems
will soon find solutions and that we shall be able to put these projectors
to use, thus creating a real circuit.
A Mathematical Model Of Prediction
Marco Del Mancino, Master’s degree in
Marketing and Market Research
is D-Cinema? “The biggest technological change in the field of the
cinema since the advent of sound,” are the words of John Fithian,
President of the American exhibitors’s association (NATO). The question
circulating within the sector is becoming more a matter of “when”
this changeover will be considered operational. An answer can be provided
by using mathematical diffusion models, which have for a long time been
applied successfully in various sectors, with the aim of foreseeing the
spread of various phenomena: disease, information, products or, as in
this case, a type of technology.
(Click here to read the entire
Digital Cinema – The Integrated Solution
by Denis Kelly, Former Director for Europe of Eastman
Kodak Digital Cinema Activities
of the many phrases that are used when people talk about Digital Cinema
is the benefit of an “Integrated Solution”. What does this
mean? Well perhaps a good example is to talk about something most of us
use in everyday life – a motor car. Typically, all we normally care
about is that we can jump in, turn the key, the engine will start, and
we can drive to where we need to go. But in many ways the car is an example
of an integrated solution. We rely on the manufacturer to build us a basic
model, making sure that all the components, like the engine, battery,
exhaust and electrical system etc. are all assembled so it all works together,
and that the car is fitted with correct tyres and lights so that we can
drive safely within the specifications of the laws of the road. But the
“integrated solution” of the motor car needs more to make
it work. It needs content – and in this case I mean gasoline fuel
and oil – to make it deliver its value. We also need some sort of
service option to make sure that over the months and years, the equipment
continues to work efficiently and safely.
(Click here to read the entire