Digital cinema - Knowledge

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systems of edits can be executed with the alteration of a few settings on the editing console with the structure being composed virtually in the computer's memory. A broad choice of effects can be sampled simply and rapidly, without the physical constraints posed by traditional cut-and-stick editing. Digital cinema allows national cinemas to construct films specific to their cultures in ways that the more constricting configurations and economics of customary film-making prevented. Low-cost cameras and computer-based editing software have gradually enabled films to be produced for minimal cost. The ability of digital cameras to allow film-makers to shoot limitless footage without wasting costly film has transformed film production in some Third World countries. From consumers' perspective digital prints do not deteriorate with the number of showings. Unlike film, there is no projection mechanism or manual handling to add scratches or other physically generated artefacts. Provincial cinemas that would have received old prints can give consumers the same cinematographic experience (all other things being equal) as those attending the premiere.

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are typically available only to high-budget production companies. Digital cinemas' efficiency of storing images has a downside. The speed and ease of modern digital editing processes threatens to give editors and their directors, if not an embarrassment of choice then at least a confusion of options, potentially making the editing process, with this 'try it and see' philosophy, lengthier rather than shorter. Because the equipment needed to produce digital feature films can be obtained more easily than film projectors, producers could inundate the market with cheap productions and potentially dominate the efforts of serious directors. Because of the quick speed in which they are filmed, these stories sometimes lack essential narrative structure.

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House, Sydney Opera House, English National Opera and others have found new and returning audiences captivated by the detail offered by a live digital broadcast featuring handheld and cameras on cranes positioned throughout the venue to capture the emotion that might be missed in a live venue situation. In addition these providers all offer additional value during the intervals e.g. interviews with choreographers, cast members, a backstage tour which would not be on offer at the live event itself. Other live events in this field include live theatre from NT Live, Branagh Live, Royal Shakespeare Company, Shakespeare's Globe, the Royal Ballet, Mariinsky Ballet, the Bolshoi Ballet and the Berlin Philharmoniker.

998:(1920x1080). However, since digital post-production techniques became the standard in the early 2000s, the majority of movies, whether photographed digitally or on 35 mm film, have been mastered and edited at the 2K resolution. Moreover, 4K post production was becoming more common as of 2013. As projectors are replaced with 4K models the difference in resolution between digital and 35 mm film is somewhat reduced. Digital cinema servers utilize far greater bandwidth over domestic "HD", allowing for a difference in quality (e.g., Blu-ray colour encoding 4:2:0 48 Mbit/s MAX datarate, DCI D-Cinema 4:4:4 250 Mbit/s 2D/3D, 500 Mbit/s HFR3D). Each frame has greater detail. 507:

and piracy. The necessary decryption keys are supplied separately, usually as email attachments or via download, and then "ingested" via USB. Keys are time-limited and will expire after the end of the period for which the title has been booked. They are also locked to the hardware (server and projector) that is to screen the film, so if the theatre wishes to move the title to another screen or extend the run, a new key must be obtained from the distributor. Several versions of the same feature can be sent together. The original version (OV) is used as the basis of all the other playback options. Version files (VF) may have a different sound format (e.g. 7.1 as opposed to

899:, have all contributed to creating a valuable revenue stream for cinemas large and small all over the world. Subsequently, live broadcasting, formerly known as Alternative Content, has become known as Event Cinema and a trade association now exists to that end. Ten years on the sector has become a sizeable revenue stream in its own right, earning a loyal following amongst fans of the arts, and the content limited only by the imagination of the producers it would seem. Theatre, ballet, sport, exhibitions, TV specials and documentaries are now established forms of Event Cinema. Worldwide estimations put the likely value of the Event Cinema industry at $ 1bn by 2019. 667:, which were deployed primarily in the United States, used limited 1280×1024 resolution or the equivalent of 1.3 MP (megapixels). Digital Projection Incorporated (DPI) designed and sold a few DLP Cinema units (is8-2K) when TI's 2K technology debuted but then abandoned the D-Cinema market while continuing to offer DLP-based projectors for non-cinema purposes. Although based on the same 2K TI "light engine" as those of the major players they are so rare as to be virtually unknown in the industry. They are still widely used for pre-show advertising but not usually for feature presentations. 468:

d-screens in Europe as a whole (28.2 percent of global figure), 16,522 in the United States and Canada (46.2 percent of global figure) and 7,703 in Asia (21.6 percent of global figure). Worldwide progress was slower as in some territories, particularly Latin America and Africa. As of 31 March 2015, 38,719 screens (out of a total of 39,789 screens) in the United States have been converted to digital, 3,007 screens in Canada have been converted, and 93,147 screens internationally have been converted. At the end of 2017, virtually all of the world's cinema screens were digital (98%).

399: 692:(Silicon X-tal (Crystal) Reflective Display) projectors have only ever been manufactured in 4K form and, until the launch of the 4K DLP chip by TI, Sony SXRD projectors were the only 4K DCI-compatible projectors on the market. Unlike DLP projectors, however, SXRD projectors do not present the left and right eye images of stereoscopic movies sequentially, instead they use half the available area on the SXRD chip for each eye image. Thus during stereoscopic presentations the SXRD projector functions as a sub 2K projector, the same for HFR 3D Content. 535:, published the first version (V1.0) of a system specification for digital cinema in July 2005. The main declared objectives of the specification were to define a digital cinema system that would "present a theatrical experience that is better than what one could achieve now with a traditional 35mm Answer Print", to provide global standards for interoperability such that any DCI-compliant content could play on any DCI-compliant hardware anywhere in the world and to provide robust protection for the intellectual property of the content providers. 1016:

expenses in such cases: at a minimum cost per print of $ 1200–2000, the cost of film print production is between $ 5–8 million per movie. With several thousand releases a year, the probable savings offered by digital distribution and projection are over $ 1 billion. The cost savings and ease, together with the ability to store film rather than having to send a print on to the next cinema, allows a larger scope of films to be screened and watched by the public; minority and small-budget films that would not otherwise get such a chance.

27: 634:(TI). D-Cinema projectors are similar in principle to digital projectors used in industry, education, and domestic home cinemas, but differ in two important respects. First, projectors must conform to the strict performance requirements of the DCI specification. Second, projectors must incorporate anti-piracy devices intended to enforce copyright compliance such as licensing limits. For these reasons all projectors intended to be sold to theaters for screening current release movies 503:(DCP). For a typical feature film, these files will be anywhere between 90 GB and 300 GB of data (roughly two to six times the information of a Blu-ray disc) and may arrive as a physical delivery on a conventional computer hard drive or via satellite or fibre-optic broadband Internet. As of 2013, physical deliveries of hard drives were most common in the industry. Promotional trailers arrive on a separate hard drive and range between 200 GB and 400 GB in size. 663:. While NEC is a relative newcomer to Digital Cinema, Christie is the main player in the U.S. and Barco takes the lead in Europe and Asia. Initially DCI-compliant DLP projectors were available in 2K only, but from early 2012, when TI's 4K DLP chip went into full production, DLP projectors have been available in both 2K and 4K versions. Manufacturers of DLP-based cinema projectors can now also offer 4K upgrades to some of the more recent 2K models. Early 554:, and 4K (4096×2160) or 8.85 MP at 24 frames per second. The specification ensures that 2K content can play on 4K projectors and vice versa. Smaller resolutions in one direction are also supported (the image gets automatically centered). Later versions of the standard added additional playback rates (like 25 fps in SMPTE mode). For the sound component of the content the specification provides for up to 16 channels of uncompressed audio using the 606:) began work on standards for digital cinema in 2000. It was clear by that point in time that HDTV did not provide a sufficient technological basis for the foundation of digital cinema playback. In Europe, India and Japan however, there is still a significant presence of HDTV for theatrical presentations. Agreements within the ISO standards body have led to these non-compliant systems being referred to as Electronic Cinema Systems (E-Cinema). 594:

visually impaired and hearing impaired, workflow inside the cinema, and equipment interoperability. In particular, NATO's document details requirements for the Theatre Management System (TMS), the governing software for digital cinema systems within a theatre complex, and provides direction for the development of security key management systems. As with DCI's document, NATO's document is also important to the SMPTE standards effort.

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Cinema will account for around 5% of the overall box office globally. Event Cinema saw six worldwide records set and broken over from 2013 to 2015 with notable successes Dr Who ($ 10.2m in three days at the box office – event was also broadcast on terrestrial TV simultaneously), Pompeii Live by the British Museum, Billy Elliot, Andre Rieu, One Direction, Richard III by the Royal Shakespeare Company.

211:) fed custom frame buffer systems with large memories. In early digital video units, the content was usually restricted to several minutes of material. Transfer of content between remote locations was slow and had limited capacity. It was not until the late 1990s that feature-length films could be sent over the "wire" (Internet or dedicated fiber links). On October 23, 1998, 675:

vibrates several thousand times a second between two positions: In one, light from the projector's lamp is reflected towards the screen, in the other away from it. The proportion of the time the mirror is in each position varies according to the required brightness of each pixel. Three DMD devices are used, one for each of the primary colors. Light from the lamp, usually a

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followed by one or possibly more 'Encore' releases a few days or weeks later if the event is successful and sold out. On occasion more successful events have returned to cinemas some months or even years later in the case of NT Live where the audience loyalty and company branding is so strong the content owner can be assured of a good showing at the box office.

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addition to listing the content to be played the playlist also includes automation cues that allow the playlist to control the projector, the sound system, auditorium lighting, tab curtains and screen masking (if present), etc. The playlist can be started manually, by clicking the "play" button on the server's monitor screen, or automatically at pre-set times.

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Media creating a chain of 250 2K digital cinema systems. The roll-out was completed in 2006. This was the first mass roll-out in Europe. AccessIT/Christie Digital also started a roll-out in the United States and Canada. By mid 2006, about 400 theaters were equipped with 2K digital projectors with the number increasing every month. In August 2006, the

103:(NLE). The NLE is often a video editing application installed in one or more computers that may be networked to access the original footage from a remote server, share or gain access to computing resources for rendering the final video, and allow several editors to work on the same timeline or project. 1063:

or digital tape—can reliably store a motion picture for as long as a hundred years or more (a timeframe for film properly stored). The short history of digital storage media has been one of innovation and, therefore, of obsolescence. Archived digital content must be periodically removed from obsolete

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model was created to address this by passing some of the saving on to the cinemas. As a consequence of the rapid conversion to digital projection, the number of theatrical releases exhibited on film is dwindling. As of 4 May 2014, 37,711 screens (out of a total of 40,048 screens) in the United States

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In addition to DCI's work, the National Association of Theatre Owners (NATO) released its Digital Cinema System Requirements. The document addresses the requirements of digital cinema systems from the operational needs of the exhibitor, focusing on areas not addressed by DCI, including access for the

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The electronic transferring of digital film, from central servers to servers in cinema projection booths, is an inexpensive process of supplying copies of newest releases to the vast number of cinema screens demanded by prevailing saturation-release strategies. There is a significant saving on print

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The digital formation of sets and locations, especially in the time of growing film series and sequels, is that virtual sets, once computer generated and stored, can be easily revived for future films. Considering digital film images are documented as data files on hard disk or flash memory, varying

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Event Cinema currently accounts for on average between 1-3% of overall box office for cinemas worldwide but anecdotally it's been reported that some cinemas attribute as much as 25%, 48% and even 51% (the Rio Bio cinema in Stockholm) of their overall box office. It is envisaged ultimately that Event

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In China, in June 2005, an e-cinema system called "dMs" was established and was used in over 15,000 screens spread across China's 30 provinces. dMs estimated that the system would expand to 40,000 screens in 2009. In 2005 the UK Film Council Digital Screen Network launched in the UK by Arts Alliance

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Owing to the smaller dynamic range of digital cameras, correcting poor digital exposures is more difficult than correcting poor film exposures during post-production. A partial solution to this problem is to add complex video-assist technology during the shooting process. However, such technologies

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In the last ten years this initial offering of the arts has also expanded to include live and recorded music events such as Take That Live, One Direction Live, Andre Rieu, live musicals such as the recent Miss Saigon and a record-breaking Billy Elliot Live In Cinemas. Live sport, documentary with a

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be approved by the DCI before being put on sale. They now pass through a process called CTP (compliance test plan). Because feature films in digital form are encrypted and the decryption keys (KDMs) are locked to the serial number of the server used (linking to both the projector serial number and

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The playback of the content is controlled by the server using a "playlist". As the name implies, this is a list of all the content that is to be played as part of the performance. The playlist will be created by a member of the theatre's staff using proprietary software that runs on the server. In

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Regardless of how the DCP arrives, it first needs to be copied onto the internal hard drives of the server, either via a eSATA connection, or via a closed network, a process known as "ingesting." DCPs can be, and in the case of feature films almost always are, encrypted, to prevent illegal copying

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As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. In January 2011, the total number of digital screens worldwide was 36,242, up from 16,339 at end 2009 or a growth rate of 121.8 percent during the year. There were 10,083

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hard drive for $ 50 and a broad release of 4000 'digital prints' might cost $ 200,000. In addition hard drives can be returned to distributors for reuse. With several hundred movies distributed every year, the industry saves billions of dollars. The digital-cinema roll-out was stalled by the slow

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similar to those used in film projectors with a power between 1 kW and 7 kW, is split by colored filters into red, green and blue beams which are directed at the appropriate DMD. The 'forward' reflected beam from the three DMDs is then re-combined and focused by the lens onto the cinema

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system, where the distributor (who saves the money of producing and transporting a film print) pays a fee per copy to help finance the digital systems of the theaters. A theater can purchase a film projector for as little as $ 10,000 (though projectors intended for commercial cinemas cost two to

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have publicly criticized digital cinema and advocated the use of film and film prints. Most famously, Tarantino has suggested he may retire because, though he can still shoot on film, because of the rapid conversion to digital, he cannot project from 35 mm prints in the majority of American

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from performances or events. This began initially with live broadcasts from the New York Metropolitan Opera delivering regular live broadcasts into cinemas and has been widely imitated ever since. Leading territories providing the content are the UK, the US, France and Germany. The Royal Opera

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Event Cinema is defined more by the frequency of events rather than by the content itself. Event Cinema events typically appear in cinemas during traditionally quieter times in the cinema week such as the Monday-Thursday daytime/evening slot and are characterised by the One Night Only release,

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devices that are manufactured from silicon using similar technology to that of computer chips. The surface of these devices is covered by a very large number of microscopic mirrors, one for each pixel, so a 2K device has about 2.2 million mirrors and a 4K device about 8.8 million. Each mirror

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of movies has the potential to save money for 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 defined by

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mastered in the DCI-compliant JPEG 2000 Interop format and also the first Indian film to be previewed digitally, internationally, at the Elgin Winter Garden in Toronto. This film was digitally mastered at Real Image Media Technologies in India. In 2007, the UK became home to Europe's first

420:, produced by 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. 140:

As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. Digital cinema technology has continued to develop over the years with 3D, RPX, 4DX and ScreenX, allowing moviegoers with more immersive experiences.

331:, in the United States, initiated the first standards group dedicated towards developing digital cinema. By December 2000, there were 15 digital cinema screens in the United States and Canada, 11 in Western Europe, 4 in Asia, and 1 in South America. 1054:

found the cost of long-term storage of 4K digital masters to be "enormously higher—up to 11 times that of the cost of storing film masters." This is because of the limited or uncertain lifespan of digital storage: No current digital medium—be it

2654: 2297: 1043:, and projector—can cost two to three times as much, and would have a greater risk of component failure and obsolescence. (In Britain the cost of an entry-level projector including server, installation, etc., would be £31,000 .) 751:" for polarisation and MasterImage uses a filter wheel that changes the polarity of projector's light output several times per second to alternate quickly the left-and-right-eye views. Another system that uses a filter wheel is 363:) to develop a system specification for digital cinema. The same month it was reported that the number of cinemas equipped with digital projectors had increased to about 50 in the US and 30 more in the rest of the world. 434:

DCI-compliant fully digital multiplex cinemas; Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens, were launched on 9 February 2007. By March 2007, with the release of Disney's

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has stated that though digital projection produces a much better image than film if originally shot in digital, it is "inferior" when it has been converted to digital. He attempted at one stage to release

2658: 1733: 221:, the first feature-length movie, shot, edited and distributed digitally. In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States ( 2305: 804:, and can offer higher contrast ratios, higher resolutions, and overall improvements in image quality. Sony already sells MicroLED displays as a replacement for conventional cinema screens. 889:

live question and answer element such as the recent Oasis documentary, lectures, faith broadcasts, stand-up comedy, museum and gallery exhibitions, TV specials such as the record-breaking

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Despite the fact that today, virtually all global movie theaters have converted their screens to digital cinemas, some major motion pictures even as of 2019 are shot on film. For example,

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Andersen, Robert Loring; Crockett, Brett Graham; Davidson, Grant A.; Davis, Mark Franklin; Fielder, Louis D.; Turner, Stephen C.; Vinton, Mark S.; Williams, Phillip (October 2004).

137:(4096×2160 or 8.8 megapixels). The 2K and 4K resolutions used in digital cinema projection are often referred to as DCI 2K and DCI 4K. DCI stands for Digital Cinema Initiatives. 1024:

The initial costs for converting theaters to digital are high: $ 100,000 per screen, on average. Theaters have been reluctant to switch without a cost-sharing arrangement with

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The theoretical resolution of 35 mm film is greater than that of 2K digital cinema. 2K resolution (2048×1080) is also only slightly greater than that of consumer based

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and the brightness of the image. While much of the specification codifies work that had already been ongoing in the Society of Motion Picture and Television Engineers (

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Princen, J.P.; Johnson, A.W.; Bradley, Alan B. (1987). "Subband/Transform coding using filter bank designs based on time domain aliasing cancellation".

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Britanak, V. (2011). "On Properties, Relations, and Simplified Implementation of Filter Banks in the Dolby Digital (Plus) AC-3 Audio Coding Standards".

440:, about 600 screens had been equipped with digital projectors. In June 2007, Arts Alliance Media announced the first European commercial digital cinema 3067: 956: 585:), the specification is important in establishing a content owner framework for the distribution and security of first-release motion-picture content. 328: 2655:"BoxOffice® — SONY'S DIGITAL CINEMA MOMENTUM CONTINUES WITH RECORD NUMBER OF 4K PROJECTORS SHIPPED; EIGHT YEARS OF CONTINUOUS GROWTHBoxOffice® — News" 3219: 370:, DCI created standard evaluation material (the ASC/DCI StEM material) for testing of 2K and 4K playback and compression technologies. DCI selected 688:

Alone amongst the manufacturers of DCI-compliant cinema projectors Sony decided to develop its own technology rather than use TI's DLP technology.

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pace at which exhibitors acquired digital projectors, since the savings would be seen not by themselves but by distribution companies. The

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with 4K digital projectors starting in the second quarter of 2009; it was anticipated that this replacement would be finished by 2012.

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have been converted to digital, 3,013 screens in Canada have been converted, and 79,043 screens internationally have been converted.

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applied at projection. Two levels of resolution for both content and projectors are supported: 2K (2048×1080) or 2.2 MP at 24 or 48

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projection led to a new willingness on the part of theaters to co-operate in installing 2K stereo installations to show Disney's

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standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually

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The use of NLEs in movies allows for edits and cuts to be made non-destructively, without actually discarding any footage.

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projector technology was publicly demonstrated on two screens in Los Angeles and New York for the release of Lucasfilm's

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makes use of an external emitter that sends a signal to the 3D glasses to block out the wrong image from the wrong eye.

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JPEG2000 Image Compression Fundamentals, Standards and Practice: Image Compression Fundamentals, Standards and Practice

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Philippe Binant (propos recueillis par Dominique Maillet), « Kodak. Au cœur de la projection numérique »,

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Digital media playback of high-resolution 2K files has at least a 20-year history. Early video data storage units (

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server is planned in the future), a system will allow playback of a protected feature only with the required KDM.

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projector technology was publicly demonstrated, by Philippe Binant, on one screen in Paris for the release of

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However, Sony decided in late April, 2020 that they would no longer manufacture digital cinema projectors.

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Georgescu, Alexandru; Gheorghe, Adrian V.; Piso, Marius-Ioan; Katina, Polinpapilinho F. (March 25, 2019).

291:(JPEG) committee chaired by Touradj Ebrahimi (later the JPEG president). In contrast to the original 1992 352: 107: 2719: 3052: 3031: 2990: 2876: 2044:"What is Digital Cinema – About Digital Theater - DLP Cinema Technology | DLP – Texas Instruments" 1859: 1834: 1734:"Inaugural UK Digital Cinema Conference assesses the state of digital cinema | News | Screen" 1128: 817: 709: 528: 490: 332: 304: 118: 19:

This article focuses on digital projection and distribution in cinemas. For digital image capture, see

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as the basis for the compression in the system the same year. Initial tests with JPEG 2000 produced

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The Digital Dilemma. Strategic issues in archiving and accessing digital motion picture materials

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Realization and demonstration, on October 29, 2001, of the first digital cinema transmission by

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is not necessarily less than the capture of images onto film; indeed, it is sometimes greater.

1065: 988: 966: 500: 20: 2122: 1965: 1484: 1450: 3107: 3026: 2881: 2639: 555: 316: 188:. The DCT was adapted into the MDCT by J.P. Princen, A.W. Johnson and Alan B. Bradley at the 162: 122: 3000: 2522:"Director Roundtable: 6 Auteurs on Tantrums, Crazy Actors and Quitting While They're Ahead" 2058:"SRX-R515P (SRXR515P) : Specifications : United Kingdom : Sony Professional" 1123: 937: 812: 725: 543: 189: 96: 2238: 398: 8: 3255: 2615: 2221: 1778: 1753: 1490: 983: 782: 719: 405:

former corporate headquarters in Kansas City, prior to their 2013 move to Leawood, Kansas

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in 70 mm and 35 mm in selected theaters across the United States and Canada.

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ICASSP '87. IEEE International Conference on Acoustics, Speech, and Signal Processing

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TI's technology is based on the use of digital micromirror devices (DMDs). These are

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Alternatively a digital movie could be a film reel that has been digitized using a

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In addition to the equipment already found in a film-based movie theatre (e.g., a

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Only three manufacturers make DCI-approved digital cinema projectors; these are

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Cinema in Zürich. These displays do not use a projector; instead they use a

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The DCI specification calls for picture encoding using the ISO/IEC 15444-1 "

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In Asia, on July 13, 2017, an LED screen for digital cinema developed by

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Three manufacturers have licensed the DLP Cinema technology developed by

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and does not necessarily use traditional television or other traditional

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criticized the use of DCPs after a cancelled film festival screening of

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has also turned out to be both tricky and costly. In a 2007 study, the

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by Bernard Pauchon, Alain Lorentz, Raymond Melwig and Philippe Binant.

801: 717:. Six more digital 3D movies were released in 2006 and 2007 (including 551: 3102: 2192:"Sony's Crystal cinema display supports 16K, but could cost millions" 1749:"Newtown's old-time movie house looks for revival in the digital age" 1634: 1098: 961: 770: 411: 371: 281: 130: 69: 2353: 1332:"Live via satellite: the first digital premiere | Penn Current" 60:, such as 35 mm film. Whereas film reels have to be shipped to 1264: 995: 825: 794: 757: 752: 739:

and silver screens), a filter wheel or an emitter for LCD glasses.

656: 615: 539: 375: 204:

typically combined analog photochemical images with digital audio.

181: 114:

onto film stock for projection using a traditional film projector.

65: 2612:

The Movie Business Book, Third Edition - The Independent Exhibitor

3087: 2766:, Elseiver / Focal Press, Burlington, Oxford, 2005, xvi + 327 p. 1103: 960:

solely on film. Paul Thomas Anderson recently was able to create

747: 714: 110:

and then restored, or, a digital movie could be recorded using a

81: 2030:"DLP Cinema Projectors|Christie - Visual Display Solutions" 858: 820:

for digital cinema), a feature-length movie can be stored on an

680:

screen. Later projectors may use lasers instead of xenon lamps.

3132: 3122: 2329:

Critical Space Infrastructures: Risk, Resilience and Complexity

853: 379: 253:

Texas Instruments, DLP Cinema Prototype Projector, Mark V, 2000

99:

or in animation transferred from a file and are edited using a

200:

principles to develop the AC-3 audio format for cinema needs.

3167: 3097: 2917: 2912: 2907: 1224: 790: 741: 603: 582: 1707:"Digital Screen Numbers and Forecasts to 2015 are Finalised" 3198: 3162: 2995: 2902: 2325: 1600: 1192:

IEEE Transactions on Audio, Speech, and Language Processing

689: 671: 558:

format at 24 bits and 48 kHz or 96 kHz sampling.

457: 292: 257:

In the United States, on June 18, 1999, Texas Instruments'

208: 315:

extension. JPEG 2000 technology was later selected as the

3082: 3057: 2520:

Galloway, Stephen; Belloni, Matthew (November 28, 2012).

1923:"The ABCs of DCPs: Unwrapping the Digital Cinema Package" 1615: 660: 623: 588: 562: 344: 2224:, Commission Supérieure Technique de l'Image et du Son, 1169: 602:

The Society of Motion Picture and Television Engineers (

546:

color space at 12 bits per component encoded with a 2.6

2372:"Datacom module 1: Introduction to Data Communications" 2270:

Bomsel, Olivier; Blanc, Gilles Le (December 27, 2002).

1035:

three times that; to which must be added the cost of a

2706:"Westar Cfec 105 x 35 mm Projection System New Unused" 2073:"Sony to Stop Manufacturing Digital Cinema Projectors" 2764:

Understanding digital cinema. A professional handbook

2124:

Introduction au laser. Du point de vue de la physique

1486:

Understanding Digital Cinema: A Professional Handbook

1299: 267:. In Europe, on February 2, 2000, Texas Instruments' 2673:"How many pixels are there in a frame of 35mm film?" 2119:

Introduction to Laser. From a Physical Point of View

1515:"SMPTE's Digital Cinema Committee Takes Off Running" 1075: 1421:, University of St Andrews, Scotland, 2016, p. 149. 1064:physical media to up-to-date media. The expense of 932:A number of high-profile film directors, including 456:announced that it closed a $ 315 million deal with 153:was preceded by cinema's transition from analog to 1269:"How I Came Up With the Discrete Cosine Transform" 991:as a result of a lockup due to the coding system. 957:Indiana Jones and the Kingdom of the Crystal Skull 329:Society of Motion Picture and Television Engineers 3220:List of digital television deployments by country 2150:"Samsung Debuts World's First Cinema LED Display" 1773: 1771: 1432:"Silver Screens - Toy Story en numérique à Paris" 3232: 2652: 1448: 776: 609: 2726: 2519: 2429: 2427: 2425: 2423: 2421: 2419: 2417: 1963: 1686: 793:. The first installation in Europe is in Arena 2640:"2K vs 1080p resolution question [Archive" 1768: 2849: 2597:"Resolution of 35mm film and 70mm IMAX film?" 2458: 2433: 1925:. Filmjournal.com. 2012-08-28. Archived from 523: 180:(DCT) algorithm, which was first proposed by 56:as opposed to the historical use of reels of 2414: 854:Live broadcasting to cinemas or event cinema 2740:Academy of Motion Picture Arts and Sciences 2269: 2239:""Numérique : le cinéma en mutation", 1882: 1565:. Digital Cinema Initiatives. March 7, 2008 1449:Taubman, David; Marcellin, Michael (2012). 1052:Academy of Motion Picture Arts and Sciences 785:was publicly demonstrated on one screen at 518: 30:Stadium seating in a digital cinema theater 2856: 2842: 2515: 2513: 2212:. May 22, 2008. Accessed on: May 22, 2008. 2070: 1689:"Digital Cinema Conversion Nears End Game" 1536:"Digital Cinema – Key Figures & Facts" 1185: 1183: 1622: 1616:"China Digital Cinema Development Center" 1478: 1476: 807: 769:RGB laser projection produces the purest 2863: 2461:Digital Culture: Understanding New Media 2459:Creeber, Glen; Martin, Royston. (2009). 2436:Digital Culture: Understanding New Media 1860:"24 Films Shot on 35mm Released in 2018" 1189: 868: 857: 397: 248: 184:in 1972 and was originally intended for 25: 2609: 2510: 2483: 2434:Creeber, Glen; Martin, Royston (2009). 1998:"NATO Digital Cinema Requirements v2.1" 1746: 1731: 1557: 1555: 1180: 393: 366:In April 2004, in cooperation with the 264:Star Wars Episode I: The Phantom Menace 176:algorithm. It is a modification of the 3233: 1740: 1482: 1473: 589:National Association of Theatre Owners 565:-format Composition Playlist, into an 196:adapted the MDCT algorithm along with 2837: 2463:. Open University Press. p. 66. 1857: 1813:Motion Picture Association of America 1630:"Digital movie in Malayalam released" 1457:Springer Science & Business Media 1394:"Star Wars and the Phantom Celluloid" 1263: 703:In late 2005, interest in digital 3D 87:Digital movies are projected using a 2603: 2565:"Steven Spielberg on Digital Cinema" 1747:Persico, Joyce J. (March 19, 2012). 1662:"AMC to Get Sony Digital Projectors" 1659: 1552: 1304:. Vol. 12. pp. 2161–2164. 1257: 1235:Audio Engineering Society Convention 837: 368:American Society of Cinematographers 16:Use of digital projectors in cinemas 2689: 2247:, CNC, Paris, September 2004, p. 7" 2003:. December 12, 2008. Archived from 698: 13: 2386:"Event Cinema in European cinemas" 1966:"How Digital Cinema Works: Part 4" 1941:"DCP-2000 and DCP-2K4 User Manual" 531:(DCI), a joint venture of the six 167:modified discrete cosine transform 14: 3267: 2816: 1687:Leo Barraclough (June 23, 2013). 880:Digital cinemas can deliver live 542:" (.j2c) standard and use of the 2887:Ultra-high-definition television 2679:from the original on 2015-08-12. 2571:from the original on 2021-12-11. 2506:from the original on 2021-12-11. 2259:from the original on 2013-06-03. 1823:from the original on 2018-04-05. 1660:Taub, Eric A. (March 29, 2009). 1548:from the original on 2009-01-07. 1151:(extensive alphabetical listing) 1078: 910: 289:Joint Photographic Experts Group 117:Digital cinema is distinct from 2750: 2712: 2698: 2683: 2665: 2657:. Boxoffice.com. Archived from 2646: 2632: 2589: 2575: 2557: 2539: 2492: 2477: 2452: 2378: 2364: 2346: 2319: 2290: 2263: 2231: 2215: 2206:Animating a Personal Flash Epic 2198: 2184: 2160: 2142: 2111: 2087: 2064: 2050: 2036: 2022: 1990: 1972: 1957: 1933: 1915: 1901: 1883:Brueggemann, Tom (2019-07-24). 1876: 1851: 1827: 1797: 1725: 1699: 1680: 1653: 1608: 1588: 1577: 1563:"DCI Cinema Specification v1.2" 1528: 1507: 1442: 1424: 1404: 1386: 1245:from the original on 2016-06-26 295:standard, which is a DCT-based 165:in 1991. Its main basis is the 2794: 2484:Merchan, George (2012-04-15). 2395:(Report). 2013. Archived from 2095:"4K Digital Cinema Projection" 1980:"Dolby Screen Server (DSS200)" 1858:Rizov, Vadim (24 April 2019). 1370: 1356: 1338: 1324: 1293: 1238:(117th AES Convention): 1–29. 1218: 1162: 630:(DLP) technology developed by 322: 244: 1: 2071:Nick Dager (April 26, 2020). 1155: 895:fiftieth anniversary special 777:LED screen for digital cinema 642: 610:Projectors for digital cinema 561:Playback is controlled by an 478:Once Upon a Time in Hollywood 2228:, Paris, October 29th, 2001. 1732:Romanek, Neal (2013-02-07). 1638:. 2006-08-19. Archived from 1381:Understanding digital cinema 1366:. Thelastbroadcastmovie.com. 1287:10.1016/1051-2004(91)90086-Z 1028:. A solution is a temporary 683: 386:and 100–200 Mbit/s for 319:for digital cinema in 2004. 287:standard was developed by a 149:The transition from film to 7: 1982:. Dolby.com. Archived from 1584:Attack Of The Digital Movie 1483:Swartz, Charles S. (2005). 1310:10.1109/ICASSP.1987.1169405 1149:List of film-related topics 1071: 597: 484: 108:motion picture film scanner 10: 3272: 2877:High-definition television 1129:Digital Cinema Initiatives 773:and the brightest images. 529:Digital Cinema Initiatives 524:Digital Cinema Initiatives 491:sound reinforcement system 333:Digital Cinema Initiatives 305:discrete wavelet transform 157:, with the release of the 144: 119:high-definition television 37:refers to the adoption of 18: 3241:Film and video technology 3212: 3176: 3066: 3045: 3009: 2973: 2941: 2895: 2869: 2500:"pta on digital vs. film" 2438:. Open University Press. 2342:– via Google Books. 2286:– via Google Books. 2075:. digitalcinemareport.com 1274:Digital Signal Processing 1204:10.1109/TASL.2010.2087755 1019: 1010: 475:released his latest film 327:On January 19, 2000, the 178:discrete cosine transform 101:non-linear editing system 2610:Laemmle, Robert (2004). 2273:Dernier tango argentique 2032:. Christiedigital.co.uk. 1757:. New Jersey On-Line LLC 1334:. Upenn.edu. 1998-10-15. 1005: 764: 653:Christie Digital Systems 628:Digital Light Processing 519:Technology and standards 213:Digital Light Processing 2803:Christopher Kenneally, 2720:"DLP 3 Chip Projectors" 2502:. YouTube. 2006-08-10. 1517:. MKPE consulting. 2000 927: 915: 556:"Broadcast Wave" (.wav) 444:(VPF) agreements (with 280:From 1997 to 2000, the 89:digital video projector 2675:. Technologytell.com. 2653:Boxoffice Media, Llc. 2526:The Hollywood Reporter 1114:Digital cinematography 989:New York Film Festival 877: 866: 808:Effect on distribution 501:Digital Cinema Package 460:to replace all of its 406: 378:of around 75–125 254: 41:technology within the 31: 21:digital cinematography 2882:High-definition video 2585:. Technologytell.com. 2276:. Presses des MINES. 1964:MKPE Consulting LLC. 1779:"Cinema Technologies" 1596:"ASC-DCI StEM (2004)" 1436:www.silverscreens.com 1398:rondiamond.medium.com 1066:digital image capture 897:The Day Of The Doctor 872: 861: 665:DLP Cinema projectors 401: 317:video coding standard 252: 163:audio coding standard 123:high-definition video 97:digital movie cameras 72:links, or by sending 29: 2933:8640p (16K Ultra HD) 2864:High-definition (HD) 2722:. Projector Reviews. 2616:Simon & Schuster 2374:. February 20, 2015. 2226:Communiqué de presse 1491:Taylor & Francis 1364:"The Last Broadcast" 1124:Digital intermediate 964:prints for his film 938:Paul Thomas Anderson 865:antenna in Stuttgart 813:Digital distribution 394:Worldwide deployment 190:University of Surrey 3046:Filming and storage 2928:4320p (8K Ultra HD) 2923:2160p (4K Ultra HD) 2708:. eBay. 2012-04-17. 2154:Samsung US Newsroom 1805:"2017 THEME Report" 783:Samsung Electronics 202:Cinema in the 1990s 58:motion picture film 2135:2018-04-03 at the 1953:on March 19, 2013. 1929:on 31 August 2012. 1864:Filmmaker Magazine 1754:The Times, Trenton 1736:. Screendaily.com. 1713:. January 26, 2011 1411:Jean-Michel Frodon 1400:. 5 November 2022. 1134:Display resolution 878: 874:Red Digital Cinema 867: 732:Meet the Robinsons 509:5.1 surround sound 450:Universal Pictures 437:Meet the Robinsons 407: 299:format for static 255: 218:The Last Broadcast 194:Dolby Laboratories 192:in 1987, and then 129:(2048×1080 or 2.2 32: 3228: 3227: 2974:Digital broadcast 2760:Charles S. Swartz 2470:978-0-335-22197-4 2445:978-0-335-22197-4 2393:IHS Screen Digest 2010:on March 26, 2009 1377:Charles S. Swartz 1119:Digital projector 1031:Virtual Print Fee 1026:film distributors 946:Quentin Tarantino 934:Christopher Nolan 838:Telecommunication 831:Virtual Print Fee 737:polarized glasses 649:Texas Instruments 632:Texas Instruments 552:frames per second 473:Quentin Tarantino 452:). In March 2009 442:Virtual Print Fee 429:became the first 423:In January 2007, 309:video compression 303:, JPEG 2000 is a 297:lossy compression 285:image compression 227:Portland (Oregon) 198:perceptual coding 186:image compression 174:audio compression 95:, are shot using 3263: 3153:Ultra HD Blu-ray 2965:MUSE (Hi-Vision) 2948: 2943:Analog broadcast 2858: 2851: 2844: 2835: 2834: 2824: 2802: 2778: 2758: 2744: 2743: 2730: 2724: 2723: 2716: 2710: 2709: 2702: 2696: 2695: 2687: 2681: 2680: 2669: 2663: 2662: 2650: 2644: 2643: 2636: 2630: 2629: 2607: 2601: 2600: 2593: 2587: 2586: 2579: 2573: 2572: 2561: 2555: 2554: 2543: 2537: 2536: 2534: 2532: 2517: 2508: 2507: 2496: 2490: 2489: 2481: 2475: 2474: 2456: 2450: 2449: 2431: 2412: 2411: 2409: 2407: 2401: 2390: 2382: 2376: 2375: 2368: 2362: 2361: 2350: 2344: 2343: 2323: 2317: 2316: 2314: 2313: 2304:. Archived from 2298:"France Telecom" 2294: 2288: 2287: 2267: 2261: 2260: 2258: 2251: 2235: 2229: 2219: 2213: 2204:Frazer, Bryant. 2202: 2196: 2195: 2188: 2182: 2181: 2179: 2178: 2172:news.samsung.com 2164: 2158: 2157: 2156:. July 12, 2017. 2146: 2140: 2115: 2109: 2108: 2106: 2105: 2091: 2085: 2084: 2082: 2080: 2068: 2062: 2061: 2054: 2048: 2047: 2040: 2034: 2033: 2026: 2020: 2019: 2017: 2015: 2009: 2002: 1994: 1988: 1987: 1976: 1970: 1969: 1961: 1955: 1954: 1952: 1946:. Archived from 1945: 1937: 1931: 1930: 1919: 1913: 1912: 1905: 1899: 1898: 1896: 1895: 1880: 1874: 1873: 1871: 1870: 1855: 1849: 1848: 1846: 1845: 1831: 1825: 1824: 1822: 1809: 1801: 1795: 1794: 1792: 1790: 1775: 1766: 1765: 1763: 1762: 1744: 1738: 1737: 1729: 1723: 1722: 1720: 1718: 1703: 1697: 1696: 1684: 1678: 1677: 1675: 1673: 1657: 1651: 1650: 1648: 1647: 1626: 1620: 1619: 1612: 1606: 1605: 1592: 1586: 1581: 1575: 1574: 1572: 1570: 1559: 1550: 1549: 1547: 1540: 1532: 1526: 1525: 1523: 1522: 1511: 1505: 1504: 1480: 1471: 1470: 1446: 1440: 1439: 1428: 1422: 1419:Cinemas of Paris 1408: 1402: 1401: 1390: 1384: 1374: 1368: 1367: 1360: 1354: 1353: 1342: 1336: 1335: 1328: 1322: 1321: 1297: 1291: 1290: 1267:(January 1991). 1261: 1255: 1254: 1252: 1250: 1244: 1231: 1222: 1216: 1215: 1198:(5): 1231–1241. 1187: 1178: 1177: 1166: 1088: 1083: 1082: 1081: 1037:long-play system 951:Steven Spielberg 942:David O. Russell 876:filming in Miami 699:Stereo 3D images 462:movie projectors 446:20th Century Fox 313:Motion JPEG 2000 3271: 3270: 3266: 3265: 3264: 3262: 3261: 3260: 3231: 3230: 3229: 3224: 3208: 3172: 3069: 3062: 3041: 3005: 2969: 2955:819 line system 2946: 2945: 2937: 2918:1440p (Quad HD) 2913:1080p (Full HD) 2908:1080i (Full HD) 2891: 2865: 2862: 2822: 2819: 2800: 2797: 2776: 2756: 2753: 2748: 2747: 2732: 2731: 2727: 2718: 2717: 2713: 2704: 2703: 2699: 2688: 2684: 2671: 2670: 2666: 2651: 2647: 2638: 2637: 2633: 2626: 2608: 2604: 2595: 2594: 2590: 2581: 2580: 2576: 2563: 2562: 2558: 2545: 2544: 2540: 2530: 2528: 2518: 2511: 2498: 2497: 2493: 2482: 2478: 2471: 2457: 2453: 2446: 2432: 2415: 2405: 2403: 2402:on May 13, 2014 2399: 2388: 2384: 2383: 2379: 2370: 2369: 2365: 2352: 2351: 2347: 2340: 2324: 2320: 2311: 2309: 2296: 2295: 2291: 2284: 2268: 2264: 2256: 2249: 2237: 2236: 2232: 2220: 2216: 2203: 2199: 2190: 2189: 2185: 2176: 2174: 2166: 2165: 2161: 2148: 2147: 2143: 2137:Wayback Machine 2116: 2112: 2103: 2101: 2093: 2092: 2088: 2078: 2076: 2069: 2065: 2056: 2055: 2051: 2042: 2041: 2037: 2028: 2027: 2023: 2013: 2011: 2007: 2000: 1996: 1995: 1991: 1978: 1977: 1973: 1962: 1958: 1950: 1943: 1939: 1938: 1934: 1921: 1920: 1916: 1907: 1906: 1902: 1893: 1891: 1881: 1877: 1868: 1866: 1856: 1852: 1843: 1841: 1833: 1832: 1828: 1820: 1807: 1803: 1802: 1798: 1788: 1786: 1777: 1776: 1769: 1760: 1758: 1745: 1741: 1730: 1726: 1716: 1714: 1705: 1704: 1700: 1685: 1681: 1671: 1669: 1658: 1654: 1645: 1643: 1628: 1627: 1623: 1614: 1613: 1609: 1594: 1593: 1589: 1582: 1578: 1568: 1566: 1561: 1560: 1553: 1545: 1538: 1534: 1533: 1529: 1520: 1518: 1513: 1512: 1508: 1501: 1493:. p. 147. 1481: 1474: 1467: 1447: 1443: 1430: 1429: 1425: 1409: 1405: 1392: 1391: 1387: 1383:, 2005, p. 159. 1375: 1371: 1362: 1361: 1357: 1344: 1343: 1339: 1330: 1329: 1325: 1298: 1294: 1262: 1258: 1248: 1246: 1242: 1229: 1223: 1219: 1188: 1181: 1168: 1167: 1163: 1158: 1084: 1079: 1077: 1074: 1048:digital masters 1022: 1013: 1008: 930: 918: 913: 856: 846:in Europe of a 840: 810: 789:World Tower in 779: 767: 701: 686: 645: 612: 600: 591: 526: 521: 487: 396: 325: 247: 147: 54:motion pictures 24: 17: 12: 11: 5: 3269: 3259: 3258: 3253: 3251:Cinematography 3248: 3243: 3226: 3225: 3223: 3222: 3216: 3214: 3210: 3209: 3207: 3206: 3201: 3196: 3191: 3186: 3180: 3178: 3174: 3173: 3171: 3170: 3165: 3160: 3155: 3150: 3148:Super Audio CD 3145: 3140: 3138:MUSE LaserDisc 3135: 3130: 3125: 3120: 3115: 3110: 3105: 3100: 3095: 3090: 3085: 3080: 3074: 3072: 3064: 3063: 3061: 3060: 3055: 3049: 3047: 3043: 3042: 3040: 3039: 3034: 3029: 3024: 3022:Surround sound 3019: 3013: 3011: 3007: 3006: 3004: 3003: 2998: 2993: 2988: 2983: 2977: 2975: 2971: 2970: 2968: 2967: 2962: 2957: 2951: 2949: 2939: 2938: 2936: 2935: 2930: 2925: 2920: 2915: 2910: 2905: 2899: 2897: 2893: 2892: 2890: 2889: 2884: 2879: 2873: 2871: 2867: 2866: 2861: 2860: 2853: 2846: 2838: 2832: 2831: 2818: 2817:External links 2815: 2814: 2813: 2796: 2793: 2792: 2791: 2774: 2752: 2749: 2746: 2745: 2725: 2711: 2697: 2682: 2664: 2661:on 2013-11-13. 2645: 2642:. 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