The many faces of digital
Our journey inside the world of digital projection
continues. A world which, although still in its early days – or
perhaps for this very reason – is extremely complex and takes different
forms. Starting from the “split” between D- and E-Cinema and
from the related difficulty of finding and agreeing on homogeneous criteria
for defining each of them. In fact, if some of the professional operators
in the cinematographic cycle identify the former with respect for high
standards of quality, for an equal number of other professionals the definition
should be far broader.
Technology: a democratic choice?
Special Rate at 450€
5-9 April 2006, Kuurne (Belgium),
Among the lecturers, Mads Egmont Christensen, Mecano Film (Moderator of the course), Eric Dillens, nWave Pictures; Gabriel Fehervari, Chief Executive Officer, Alfacam/Euro1080; Rickard Gramfors, Digital Houses-FHP; Denis Kelly, Cinema Operations Manager, Eastman Kodak; Ben Stassen, nWave Pictures; Glenn Wastyn, Business Development Manager, Barco.
| Unique Prize Draw offered by Barco to
3 of the trainees:
"Have a Digital Cinema
projector in your theatre
description and technical fact card on the
D-Cine Premiere DP100)
"I took part in "DigiTraining Plus" 2005. The fact that practical suggestions were advanced, both with regard to content and with regard to business models, was really very useful”.
Antonio Vincenzo Padula,
Nordisk Film Biografer A/S
We believe that the
conversion to digital cinema is the largest operational and technological
change to hit the industry since the first “talkie” (The Jazz Singer) was
released in 1927. The paradox is that the conversion is both a big
opportunity and a big threat to exhibitors large and small.