International Edition No. 12 - year 1 - 21 April 2006


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 indirectly.
The satisfaction is that expressed by the participants who, at the end of the course, rewarded the organisers’ efforts with more than positive feedback.
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 Guiu March.
I wish you enjoyable reading.

Montserrat Guiu March
General Manager of CINEMES GUIU, La Seu D’Urgell, Spain

The 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 or cable.

– 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 return.
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 costs.
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 choice.
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.

D-Cinema: A Mathematical Model Of Prediction
Marco Del Mancino, Master’s degree in Marketing and Market Research

What 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 article)

Digital Cinema – The Integrated Solution

by Denis Kelly, Former Director for Europe of Eastman Kodak Digital Cinema Activities

One 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 article)