![]() The legacy of these projects will not, however, come from their content but by their method of distribution. Whilst they do broadcast globally, they remain a minority interest for exhibitors (although a growing one, due to their success). This is a method that has been spearheaded in the UK by such projects as National Theatre Live and Opera Live. Under satellite systems, the film is literally downloaded from a secure server and the film is activated for use via satellite projectors can even be controlled remotely through the satellite, which centralizes the entire process externally. Increasingly, satellite technology is being explored in order to reduce the cost of distribution (which has already more than halved in the past 10 years). Some cinemas have a licence retainer, or master licence for content.īecause most multiplex cinemas are part of an exhibition chain, they are typically less vigilant in safeguarding their content, and will handle the management of their content internally, negating such stringent protection. The DCP is signed for by the cinema, and then the projectionist is given the licence activation code to allow the content to be played. A slightly more old fashioned variation of this is large portable hard-drives, but these are being phased out of circulation too.Ī DCP is simply a file that requires activation from a licence. It improves accountability on behalf of cinema-pirates, as each Pen has a certain number of licences on it. Many cinemas use a system called DCP which is literally a USB pen that gets shipped around inside a case. The rest of the world is moving in exactly the same direction, but with different levels of immersion in the cinematic process. It is usually measured as an experiment, and just as the introduction of sound, colour and 3D cinemas required refits and refurbishment, this is now happening with digital distribution. Due to its cinematic heritage and relative size, the UK is almost always used as the 'control' in rolling out cinematic technologies. ![]() Digital projectors have been industry standard since 2005 in the UK, but much earlier in America and China. ![]() In early 2002, Hollywood sought to standardize this technology for the incredible advantages it possessed. Modern cinema, by which I mean the industry that distributes and exhibits mainstream content (so any new releases), are exclusively distributed in digital format. Whilst there are some cinemas that still retain use of 35mm projectors, it's fair to say that these are only used for special events.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |