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a preview of coming attractions; digital projectors could bring drastic changes to movie industry
by：XY Screens
2019-11-20
James in Munich gold
22. 1999 in recent years, almost every aspect of the film industry has been changed by new technologies, from computerized dinosaurs and other special effects to the collection and analysis of box office data.
If it weren\'t for a surprising constant: the film reels themselves, the industry was barely recognizable even a decade ago.
Even with all the digital magic, the movie is made through the chemical film process, and then projected onto the screen using techniques that have changed in the last century, like butter popcorn.
Now, the industry is on the threshold of what many experts call a breakthrough, which may have a far-reaching impact.
The economic changes of cinema and movie viewing experience itself.
If financial barriers and industry politics can be overcome, potential benefits include
No lint and scratches on the screen image, new type in-
Theater special effects, as well as the ability of the theater owner in the center to get the same first passage
Released as a city cinema.
It is expected that the cinema will start installing the first generation of digital projectors within two years.
35 reels
Millimeter film-
A few feet in diameter, very heavy--
It will eventually disappear and replace it with an electronic projector using a tape or digital disk.
At a meeting of the National Association of Theater Owners on March 10, two new electronic projectors ---
One of them is Texas Instruments, which relies on a chip with millions of small mirrors, and the other is the competitive technology that uses the light valve produced by Hughes. JVC --
Will show what they can do. The same four-
The minute movie clip will be shown on each new projector, along with the traditional 35-
Mm projector
If a few recent presentations here are a guide, exhibitors will observe a sharp quality in the same rich and warm color as the most original film print;
In other words, without the usual tight frame, harsh audio tracks and dust spots, this is usually the standard of March, a lot
Print of the theater.
In short, the cinema owner will witness the birth of \"electronic cinema.
They will then begin to discuss practical issues that may slow down the process.
Doug Darrow, marketing and business development manager for the electronic projector business at Texas Instruments, said: \"There is now technology to make projectors . \".
The real problem is economy and emotion.
The film company has to say that we want to make a change.
\"Phil singhton, president of the United States
The cinema chain, which has 236 cinemas, said: \"We can\'t wait for the day when we are freed from 35 cinemas --
Millimeter print
But conversion is also the biggest problem in the first place.
Of course, money is the biggest problem.
Theater owners insist that the cost of installing a new projector is expected to be about $100,000 per system, while the cost of a traditional projection booth is about $30,000 and must be shared.
Studio executives generally agree with the view, but they are even cautious about openly discussing the issue because they fear it may affect negotiations that may be long and difficult.
\"Look, there must be some studio subsidy for installing these projectors,\" said a senior studio executive who spoke on condition that he was not identified.
\"I don\'t want to say anything until we know exactly how this will work.
\"No one doubts what benefits the new system will bring.
First of all, film companies will no longer need to make and ship thousands of clunky movie reels.
The cost per print is about $2,000, and up to 5,000 prints are required for a major film.
Under the new system, these costs will almost disappear, and in the new system, the entire movie can be sent to the cinema via satellite signals.
William F. said the ad \"for the time being, most of the savings will be spent on the studio and the cost will be spent on the theater owner \".
Kartozian, president of the National Association of Theater Owners.
\"Obviously, this must be a cooperative effort.
It won\'t happen unless it\'s good for everyone.
\"There is also a problem of quality and consistency.
In the process of making the print from the master, the replica loses some vitality in a softer focus and less formvibrant colors.
Experts say the film also began to wear out after about 30 screenings.
E-cinema can solve many such problems.
The film will still be in the traditional 35-
Millimeter film and terminal
The product will appear in the movie at least initially.
Then, a machine called Telecom is used for digital printing, and each subsequent digital copy is a perfect replica.
There will be no wear and tear in every performance.
The images the audience sees in the theater will still be projected onto the screen by the projector.
However, the digital projector will generate images from data stored as computer code, rather than by glowing on film-
CD player or new home-
The video DVD disc player converts digital data to sound and images.
\"I took part in a demo where the only way I could tell the difference between the film and the electronic version was that the movie had a tense action, and the E-movie didn\'t, \"Martin Cohen, the person in charge of the latter, said
Production of dream factory SKG.
They\'re here at nitty-gritty.
They are finally in quality.
\"Digital movies can be offered in a number of ways, all of which can save money.
First, they may be delivered to the theater in the form of electronic tapes or disks.
In the end, however, they will be delivered via satellite and then stored on the server.
Please click on the box to verify that you are not a robot.
The email address is invalid. Please re-enter.
You must select the newsletter you want to subscribe.
View all New York Times newsletters.
The prospect excited some theater owners.
At present, cinemas in big cities often get the first picture of popular movies, and cinemas in small towns have to wait.
The new system can show new films at the same time.
This also means that movies can switch and trick instantly.
If a movie does a good job, the diversified cinema can add the show to other screens by clicking the mouse without having to wait a few days to deliver a new print.
If different audio tracks are provided, the language in which the movie is played can be switched immediately.
For example, a theater near the Hispanic community can arrange to show the same movie in Spanish and English.
The traditional advertising system already uses digital sound, and usually there are six tracks available in the audio part of the movie;
The new system can handle 12 audio channels.
These additional channels will allow innovation that can revolutionize the movie experience.
From the top, back and bottom of the audience, to the program where digital signals come into contact with devices that shake seats and even smell to the theater, there may be a variety of sounds.
The new projector brings another potential benefit to the theater: they can do live activities more easily and cheaper, with high-quality images projected onto the screen
Digital TV.
They can, pay-per-
Watch Awards, concerts or other live events.
But there are also major issues, such as piracy.
It is currently estimated that film companies lose $3 billion or more each year for illegally copying films.
Sometimes the thief will take the goods off the actual reel and copy or delete the video.
Most film companies worry that if a movie is delivered to a theater via satellite transmission, cyber thieves may intercept the signal and steal a perfect copy.
Cinecomm Digital Camera, one of the companies trying to get into the business, believes the problem has been solved.
Cinecomm is a new company owned by Qualcomm.
Hughes producing telecom equipment-
A unit of JVC in Japan that produces digital projectors.
Qualcomm says it will bring a very advanced technology for encrypting movie transfers for the new company, which is almost unbreakable.
\"We won\'t cancel that $2.
Gary Garland, vice president of business development at Qualcomm, said: \"The number of piracy in about a year has reached 5 billion, but you will have a big impact in this regard . \".
But one of the biggest problems is who will control the spread of this to the cinema, as well as its cost.
Cinecomm claims to have solved the problem as well.
It is intended to provide
Stop Shopping, provide satellite uplink facilities, dishes for theaters, systems for encryption and compression transmission, and then decrypt them, as well as projectors.
In addition, in order to avoid the huge capital cost of dismantling the old projector and installing the new projector, Cinecomm stated that it intended to bear all the initial costs on its own.
To cover these costs, it will charge the theater based on the number of screenings per film.
All adsin-
However, a bag made many studios nervous.
The system will enable studio and theater owners to rely on a single supplier and will conduct
Between the distributor and the film exhibitor or between the gatekeeper.
Many studio executives say this dependence is unacceptable.
\"This is a trendy word: the doorman,\" said a studio executive . \".
\"We don\'t allow gatekeepers.
\"Ken Williams, president of the digital studio division of Sony Pictures Entertainment, a major participant in this area, said:\" Everyone acknowledges that digital images have to be encrypted,, no system is accepted or approved by any major studio.
No one will believe anyone with a proper black box.
It must be an open system.
Cinecomm expressed doubts about this concern.
Michael tagev, chairman and chief executive of Cinecomm, said: \"There is no doubt that you will have a problem at any time when you have a supplier . \".
\"We have answers to all these questions.
We don\'t want anyone to be in a position they don\'t want to be in.
\"It is not clear who will provide these answers, but now most experts think they will be found.
\"First of all, the average audience will watch the movie the way the creative people want them to watch it,\" said Paul briddelov, director of Texas Instruments.
We are constantly improving the quality of text archives.
Please send feedback, error reports, and suggestions to archid_feedback @ nytimes. com.
A version of this article was printed on page C00001 of the National edition on February 22, 1999, with the title: a preview of future attractions;
Digital projectors may bring earth-shaking changes to the film industry.
22. 1999 in recent years, almost every aspect of the film industry has been changed by new technologies, from computerized dinosaurs and other special effects to the collection and analysis of box office data.
If it weren\'t for a surprising constant: the film reels themselves, the industry was barely recognizable even a decade ago.
Even with all the digital magic, the movie is made through the chemical film process, and then projected onto the screen using techniques that have changed in the last century, like butter popcorn.
Now, the industry is on the threshold of what many experts call a breakthrough, which may have a far-reaching impact.
The economic changes of cinema and movie viewing experience itself.
If financial barriers and industry politics can be overcome, potential benefits include
No lint and scratches on the screen image, new type in-
Theater special effects, as well as the ability of the theater owner in the center to get the same first passage
Released as a city cinema.
It is expected that the cinema will start installing the first generation of digital projectors within two years.
35 reels
Millimeter film-
A few feet in diameter, very heavy--
It will eventually disappear and replace it with an electronic projector using a tape or digital disk.
At a meeting of the National Association of Theater Owners on March 10, two new electronic projectors ---
One of them is Texas Instruments, which relies on a chip with millions of small mirrors, and the other is the competitive technology that uses the light valve produced by Hughes. JVC --
Will show what they can do. The same four-
The minute movie clip will be shown on each new projector, along with the traditional 35-
Mm projector
If a few recent presentations here are a guide, exhibitors will observe a sharp quality in the same rich and warm color as the most original film print;
In other words, without the usual tight frame, harsh audio tracks and dust spots, this is usually the standard of March, a lot
Print of the theater.
In short, the cinema owner will witness the birth of \"electronic cinema.
They will then begin to discuss practical issues that may slow down the process.
Doug Darrow, marketing and business development manager for the electronic projector business at Texas Instruments, said: \"There is now technology to make projectors . \".
The real problem is economy and emotion.
The film company has to say that we want to make a change.
\"Phil singhton, president of the United States
The cinema chain, which has 236 cinemas, said: \"We can\'t wait for the day when we are freed from 35 cinemas --
Millimeter print
But conversion is also the biggest problem in the first place.
Of course, money is the biggest problem.
Theater owners insist that the cost of installing a new projector is expected to be about $100,000 per system, while the cost of a traditional projection booth is about $30,000 and must be shared.
Studio executives generally agree with the view, but they are even cautious about openly discussing the issue because they fear it may affect negotiations that may be long and difficult.
\"Look, there must be some studio subsidy for installing these projectors,\" said a senior studio executive who spoke on condition that he was not identified.
\"I don\'t want to say anything until we know exactly how this will work.
\"No one doubts what benefits the new system will bring.
First of all, film companies will no longer need to make and ship thousands of clunky movie reels.
The cost per print is about $2,000, and up to 5,000 prints are required for a major film.
Under the new system, these costs will almost disappear, and in the new system, the entire movie can be sent to the cinema via satellite signals.
William F. said the ad \"for the time being, most of the savings will be spent on the studio and the cost will be spent on the theater owner \".
Kartozian, president of the National Association of Theater Owners.
\"Obviously, this must be a cooperative effort.
It won\'t happen unless it\'s good for everyone.
\"There is also a problem of quality and consistency.
In the process of making the print from the master, the replica loses some vitality in a softer focus and less formvibrant colors.
Experts say the film also began to wear out after about 30 screenings.
E-cinema can solve many such problems.
The film will still be in the traditional 35-
Millimeter film and terminal
The product will appear in the movie at least initially.
Then, a machine called Telecom is used for digital printing, and each subsequent digital copy is a perfect replica.
There will be no wear and tear in every performance.
The images the audience sees in the theater will still be projected onto the screen by the projector.
However, the digital projector will generate images from data stored as computer code, rather than by glowing on film-
CD player or new home-
The video DVD disc player converts digital data to sound and images.
\"I took part in a demo where the only way I could tell the difference between the film and the electronic version was that the movie had a tense action, and the E-movie didn\'t, \"Martin Cohen, the person in charge of the latter, said
Production of dream factory SKG.
They\'re here at nitty-gritty.
They are finally in quality.
\"Digital movies can be offered in a number of ways, all of which can save money.
First, they may be delivered to the theater in the form of electronic tapes or disks.
In the end, however, they will be delivered via satellite and then stored on the server.
Please click on the box to verify that you are not a robot.
The email address is invalid. Please re-enter.
You must select the newsletter you want to subscribe.
View all New York Times newsletters.
The prospect excited some theater owners.
At present, cinemas in big cities often get the first picture of popular movies, and cinemas in small towns have to wait.
The new system can show new films at the same time.
This also means that movies can switch and trick instantly.
If a movie does a good job, the diversified cinema can add the show to other screens by clicking the mouse without having to wait a few days to deliver a new print.
If different audio tracks are provided, the language in which the movie is played can be switched immediately.
For example, a theater near the Hispanic community can arrange to show the same movie in Spanish and English.
The traditional advertising system already uses digital sound, and usually there are six tracks available in the audio part of the movie;
The new system can handle 12 audio channels.
These additional channels will allow innovation that can revolutionize the movie experience.
From the top, back and bottom of the audience, to the program where digital signals come into contact with devices that shake seats and even smell to the theater, there may be a variety of sounds.
The new projector brings another potential benefit to the theater: they can do live activities more easily and cheaper, with high-quality images projected onto the screen
Digital TV.
They can, pay-per-
Watch Awards, concerts or other live events.
But there are also major issues, such as piracy.
It is currently estimated that film companies lose $3 billion or more each year for illegally copying films.
Sometimes the thief will take the goods off the actual reel and copy or delete the video.
Most film companies worry that if a movie is delivered to a theater via satellite transmission, cyber thieves may intercept the signal and steal a perfect copy.
Cinecomm Digital Camera, one of the companies trying to get into the business, believes the problem has been solved.
Cinecomm is a new company owned by Qualcomm.
Hughes producing telecom equipment-
A unit of JVC in Japan that produces digital projectors.
Qualcomm says it will bring a very advanced technology for encrypting movie transfers for the new company, which is almost unbreakable.
\"We won\'t cancel that $2.
Gary Garland, vice president of business development at Qualcomm, said: \"The number of piracy in about a year has reached 5 billion, but you will have a big impact in this regard . \".
But one of the biggest problems is who will control the spread of this to the cinema, as well as its cost.
Cinecomm claims to have solved the problem as well.
It is intended to provide
Stop Shopping, provide satellite uplink facilities, dishes for theaters, systems for encryption and compression transmission, and then decrypt them, as well as projectors.
In addition, in order to avoid the huge capital cost of dismantling the old projector and installing the new projector, Cinecomm stated that it intended to bear all the initial costs on its own.
To cover these costs, it will charge the theater based on the number of screenings per film.
All adsin-
However, a bag made many studios nervous.
The system will enable studio and theater owners to rely on a single supplier and will conduct
Between the distributor and the film exhibitor or between the gatekeeper.
Many studio executives say this dependence is unacceptable.
\"This is a trendy word: the doorman,\" said a studio executive . \".
\"We don\'t allow gatekeepers.
\"Ken Williams, president of the digital studio division of Sony Pictures Entertainment, a major participant in this area, said:\" Everyone acknowledges that digital images have to be encrypted,, no system is accepted or approved by any major studio.
No one will believe anyone with a proper black box.
It must be an open system.
Cinecomm expressed doubts about this concern.
Michael tagev, chairman and chief executive of Cinecomm, said: \"There is no doubt that you will have a problem at any time when you have a supplier . \".
\"We have answers to all these questions.
We don\'t want anyone to be in a position they don\'t want to be in.
\"It is not clear who will provide these answers, but now most experts think they will be found.
\"First of all, the average audience will watch the movie the way the creative people want them to watch it,\" said Paul briddelov, director of Texas Instruments.
We are constantly improving the quality of text archives.
Please send feedback, error reports, and suggestions to archid_feedback @ nytimes. com.
A version of this article was printed on page C00001 of the National edition on February 22, 1999, with the title: a preview of future attractions;
Digital projectors may bring earth-shaking changes to the film industry.
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