RealD Wins

The US International Trade Commission (USITC) ruled this month in favor of RealD to block importation into the US of MasterImage products that infringe RealD’s light doubling patent.

The USITC decision can be read here.

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Revisiting X-Curve

X-Curve is the name given to the frequency response curve applied in all cinemas today. In an era where relatively cheap real time analyzers (RTAs) arrived in the hands of not-always-well-trained technicians, X-Curve was applauded. Aligning a cinema to X-Curve on an RTA produced far better results than when an inexperienced technician attempted to align to a flat line. (If you ever have the ability to try this, you will quickly understand what I mean.) But as time passed, X-Curve became a target curve, whether needed or not. It once was the case that cinema sound mixes were presumed to be flat, without spectral coloration. But today, the evidence is mounting that this is no longer the case, separating cinema sound, which is now considered colored by a growing cadre of experts, from the body of other media sound, which no one would object to saying is intended to be uncolored, or flat. Several studies were published over the past year and a half on cinema sound and X-Curve, providing an opportunity to review this subject yet again.
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The DCDC Model

Digital Cinema Distribution Coalition (DCDC) has become a model of distribution efficiency for the world. I’ve been approached by more than one country seeking ways to adapt the model in their own territory. Unfortunately, the model doesn’t translate well into most countries. There was a time when I didn’t think DCDC would even survive if competitors underpriced it to undermine its business. But DCDC’s strategy of reducing costs to distributors has worked very well. This report explains the model further.
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There Are Better Ideas For In-Home Movies Than Screening Room

Cinema is accustomed to a high degree of differentiation to home entertainment through technology. But this is rapidly changing. UHD for home includes 4K and the Rec 2020 color space, which is more inclusive than DCI P3 of Pointer’s gamut of real world reflected colors. Even home entertainment security is improving thanks to the efforts of Movie Labs, funded by the six major studios. In the US, the FCC fuels change through its Open Internet rules, also known as Net Neutrality, which commoditize the pathways for internet to the home, embracing the concept of 3rd party delivery of content over internet. With technology no longer in the way of fully experiencing movies in the home, the only barrier that remains standing is cinema’s exclusivity that defines the first release window. It’s no wonder that this is now under the microscope with proposals such as Sean Parker’s Screening Room to stream movies to home during the first release window for $50. …you can read the rest by clicking here!

Direct LED Impresses (Again) At Infocomm

Last year Infocomm impressed with the advancements in direct LED wall displays. There is a lot to like. Very high resolution, wide color gamut, saturated colors, deep blacks, high peak whites, and high dynamic range are qualities that can be difficult with projectors but come easily to this technology. This year’s Infocomm indicated that more is on the way. …you can read the rest by clicking here!

How To Create Better Cinema Standards

Historically, cinema standards were created after the fact. In fact, they weren’t called standards. The earliest collaborative cinema document from SMPTE is an Engineering Guideline dating back to the late 70’s. In the 80’s, SMPTE moved on to publish Recommended Practices, and only began to jointly publish standards with ANSI in the late 80’s. These documents recorded actual practice. As cinema moved into the digital domain, two new concepts emerged in the standards process: collaborative invention in committee, and RAND licensing. Both need review. …you can read the rest by clicking here!