International Edition No.2 - year 1 - 24 February 2006
Europe: after experimentation
At the Berlin Film Festival, MEDIA Salles kept its appointment with the cinema community that pays the closest attention to economic and technological developments in the sector, presenting the 2005 final edition of the “European Cinema Yearbook”.
As well as the first previews of the overall results of cinema-going in Europe in 2005, the prominent data in the Yearbook includes the situation of screens equipped with DLP CinemaTM projectors, described at the end of 2005, from which it can be seen that there has been a significant increase in digital installations. In this new, online publication, we shall release, issue by issue, the figures for the various European countries, that are essential for an understanding of the present evolution of digital screening in Europe and the world. We begin, in this issue, with the situation in Italy up to December 2005 (Click to see the table).
Today digital screens worldwide number 600, with a considerable rise – touching on 150 units – compared to last June. A fair amount of this growth can be attributed to Europe itself, which seems, over the past 12 months, to have set a faster pace than other continents.
In this climate of keen interest in digital projection in Europe, also confirmed by the release if European films in digital format during 2005, as in the case of Deep Blue and March of The Penguins, comes the training initiative offered by MEDIA Salles with the third edition of “DigiTraining Plus: New Technologies for European Cinemas”.
Cinemas, audiences and technologies are changing
From 5 to 9 April 2006 in Kuurne (Belgium) 5-day course for you, on which you will be able to exchange opinions with other exhibitors in an international setting, bring yourself up-to-date with the new technologies through seminars and hands-on sessions, compare, together with experts, different business models for digital transition and listen to the comments of those who have already gained significant experience in this field.
All this in the surroundings of the leading supplier of digital cinema projectors in Europe, with the opportunity to visit movie theatres at the forefront in adopting the new technologies and watch films and alternative content digitally projected, right up to the new threshold of 3-D. Enrolments are open until 24 February.
| Unique Prize Draw offered by Barco to
3 of the trainees:
"Have a Digital Cinema projector in your theatre for free for 1 month"
|(see description and technical fact card on the D-Cine Premiere DP100)
"Being able to handle a digital projector and to obtain technical details was really very useful. I appreciated it, during the 2005 edition of DigiTraining Plus"
|Standards: the (only?) way to digital
Interview with Angelo D'Alessio,
SMPTE Director - International Sections
They were published last July to a very positive welcome from many professional figures in the cinematographic life cycle: about 190 pages containing the DCI specifications are the basis of work by the SMPTE, which has already written almost 2,000 to date on the definition of the standards. Nonetheless there are those who remain perplexed and those who consider the DCI path risky for European digital cinema, to the advantage of the big American productions. Today we talk to a “defender” (and one of the authors) of the standards, Angelo D’Alessio, who is International Director of SMPTE.