In the United States, on June 18, 1999, Texas Instruments' DLP Cinema projector technology was publicly demonstrated on two screens in Los Angeles and New York for the release of Lucasfilm's Star Wars Episode I: The Phantom Menace.
Texas Instruments, DLP Cinema Prototype Projector, Mark V, 2000
#CINEMA OPTIX HDX 650 PROJECTOR MOVIE#
In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States ( Philadelphia, Portland (Oregon), Minneapolis, Providence, and Orlando). On October 23, 1998, Digital Light Processing (DLP) projector technology was publicly demonstrated with the release of The Last Broadcast, the first feature-length movie, shot, edited and distributed digitally.
It was not until the late 1990s that feature-length films could be sent over the "wire" (Internet or dedicated fiber links). Transfer of content between remote locations was slow and had limited capacity. In early digital video units, content was usually restricted to several minutes of material. Early video data storage units ( RAIDs) fed custom frame buffer systems with large memories. Cinema in the 1990s typically combined analog video with digital audio.ĭigital media playback of high-resolution 2K files has at least a 20-year history. Bradley at the University of Surrey in 1987, and then Dolby Laboratories adapted the MDCT algorithm along with perceptual coding principles to develop the AC-3 audio format for cinema needs. The DCT was adapted into the MDCT by J.P. It is a modification of the discrete cosine transform (DCT) algorithm, which was first proposed by Nasir Ahmed in 1972 and was originally intended for image compression. Its main basis is the modified discrete cosine transform (MDCT), a lossy audio compression algorithm. The transition from film to digital video was preceded by cinema's transition from analog to digital audio, with the release of the Dolby Digital (AC-3) audio coding standard in 1991. 3.2 National Association of Theatre Owners.DCI stands for Digital Cinema Initiatives.Īs digital-cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. The 2K and 4K resolutions used in digital cinema projection are often referred to as DCI 2K and DCI 4K. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048×1080 or 2.2 megapixels) or 4K (4096×2160 or 8.8 megapixels). The NLE is often a video editing application installed in one or more computers that may be networked to access the original footage from a remote server, share or gain access to computing resources for rendering the final video, and to allow several editors to work on the same timeline or project.Īlternatively a digital movie could be a film reel that has been digitized using a motion picture film scanner and then restored, or, a digital movie could be recorded using a film recorder onto film stock for projection using a traditional film projector.ĭigital cinema is distinct from high-definition television and does not necessarily use traditional television or other traditional high-definition video standards, aspect ratios, or frame rates. Whereas film reels have to be shipped to movie theaters, a digital movie can be distributed to cinemas in a number of ways: over the Internet or dedicated satellite links, or by sending hard drives or optical discs such as Blu-ray discs.ĭigital movies are projected using a digital video projector instead of a film projector, are shot using digital movie cameras and edited using a non-linear editing system (NLE). For digital image capture, see digital cinematography.ĭigital cinema refers to adoption of digital technology within the film industry to distribute or project motion pictures as opposed to the historical use of reels of motion picture film, such as 35 mm film. This article focuses on digital projection and distribution in cinemas.
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