- challenge and threat
But also the art-cinemas throughout Europe
are feeling the cold. President of CICAE, Detlef Rossmann, expressed his
worries and looked forward to having a German model (a mix of VPF and
Federal Film Board money) discussed in June with ministers and players
from the industry. “The 1,300 big-chain screens can cope themselves
– the rest, 3,500, will be destroyed”, was Rossmann’s
attitude, “small European distributors cannot pay the same VPF as
the big companies wherefore their films will not be screened. A diversified
VPF might be the answer or a fee per ticket.” No big chain has yet
invested in digital equipment in Germany.
I am the Business Manager for DLP Cinema® Products; my role includes product line responsibilities, Profit and Loss (P&L), product marketing and overall strategy for the DLP Cinema® Products group. This year marks the 10th Anniversary of DLP’s entrance into the cinema industry, with the first fully functional and Hollywood endorsed digital DLP Cinema movie projector. After years of prototypes, in 1998 DLP delivered Hollywood’s biggest image critics and cinematographers with a digital projector that met the world’s highest standards on colour, brightness and reliability and therefore pioneered the digital cinema concept. A year later, in 1999, the studios released the first movie in digital format on DLP Cinema, which was Star Wars: Episode I - The Phantom Menace. DLP Cinema honours the heritage of the ultimate viewing experience while incorporating the latest technology innovations, such as the 3D single projector solution and cutting costs for cinema exhibitors, distributors and ultimately the consumer.
As we celebrate our 10th year in the film industry, DLP Cinema projection technology is installed in over 6,000 theatres on every continent except Antarctica. Today there are more than 1,200 theatres that offer the digital 3D experience powered by DLP Cinema technology, and this number will continue to increase as more DLP projectors are deployed globally.
It was over ten years ago that Texas Instruments and other companies began working on digital cinema and today we’ve reached the point where we have a viable market. While a little less than five percent of the world’s cinema screens have been converted to digital projection, it is fair to say that we have now arrived at the end of the beginning. Of the early adopters, approximately 75 percent of digital cinemas are in North America, with the rest split between Europe and Asia. It’s been a decade in the making, but we are finally past the point of beta testing and committees deciding standards.
It could be argued that the slow take-up of digital projection technology has been due to the need to agree to standards, to test equipment, and so on. However, it’s more likely that the primary reason why the pace of product development in digital projection technology has been slow is because the true cost and benefits of digital cinema to the main interested parties – equipment manufacturers, film distributors and exhibitors – are not reliably known or properly understood. The lack of solid facts about the economics of digital cinema has led to a very long game of poker. Such games aside, the long term picture looks rosy for exhibition, distribution and equipment manufacturers. Ultimately, it will become more viable to show movies to much larger audiences since digital prints cost less, require less handling, and offer far more flexibility in programming.
DIGITRAINING PLUS 2008
On our website:
Cannes Film Festival 2008:
On 20 May the President of MEDIA Salles, Jens Rykaer, and the Secretary General, Elisabetta Brunella, presented the latest figures on cinema-going in Europe in 2007, published in the Newsletter European Cinema Journal 1/2008.
To read the Newsletter European Cinema Journal 1/2008, please click here.
The CD Rom of the MEDIA Salles
Tero Koistinen on the executive committee of MEDIA Salles
On 22 May, during the meeting held
in Cannes, Tero Koistinen became a member of the MEDIA Salles Executive
Glyndebourne operas will go across the globe thanks to a new partnership with More2screen
Glyndebourne and London-based alternative content distributor, More2Screen, have just announced an exclusive agreement aiming at organising 85 cinema screenings in the UK, Europe and North America, starting this Autumn.
The programme will include three specially-selected operas to run in October, November and December only in High Definition and 5.1 sound. The titles already announced are La Cenerentola and Giulio Cesare.
The agreement with More2Screen represents a development of the initiative already carried out in 2007 when Glyndebourne became the first UK opera house to screen opera at cinemas across the country, totalling 31 screenings that were well received by audiences.
Christine Costello, co-founder (with Penny Nagle) of More2Screen said:
“We’re delighted to be working with such a distinctive, creative and high quality brand in the world of opera. Cinema audiences all over the world will be enthralled by the Glyndebourne experience, representing as it does the very best of the genre”.
Christine Costello participated as a lecturer at the “DigiTraining
Plus 2008: European Cinemas Experiencing New Technologies” course
(London, 9 – 13 April 2008).
Interview with Lorenzo
Cinemeccanica digital projectors installed since the beginning of 2008
On 30 June 2007 MEDIA Salles relocated
its offices to the Milan headquarters of Agis, Italy’s entertainment