The industry-wide digital cinema roll-out moved a step closer with Sony's announcement that it had signed a VPF agreement with Digital Cinema Implementation Partners (DCIP), the consortium formed by AMC, Cinemark and Regal to manage their transition to digital. That leaves only Warner Bros. among the major studios to be without a VPF agreement for the second phase of the digital cinema conversion.

"We're in the middle of negotiations," Warners domestic distribution president Dan Fellman said. "We're close. So we might be the last one, but we're going to get there."

Sony signed its VPF pact with Digital Cinema Implementation Partners several weeks ago, but the news was delayed pending internal review of the formal announcement.

Through VPFs, studios volunteer to pay the equivalent of print costs for years after switching to digital distribution as a means of defraying most exhibitor costs to convert auditoriums. Sony refers to its VPF as a "digital conversion fee."

For Warners, set to release more films this year than any other distributor, the cost of a VPF is likely to run considerably higher than that for studios with lower annual output. Sony also is among the most prolific film distributors.

Of course, the roll-out will depend on the unlocking of the credit markets as the DCIP 14,000-screen deal alone will cost in the billion dollar range. Then comes the Cinema Buying Group's (CBG) approximately 7,000 screens - a more complex deal despite the smaller size owing to the number of companies, the diversity of markets, and types of theaters involved.

Digital Cinema Implementation Partners (DCIP), a consortium of exhibitors Regal Entertainment Group, AMC Theatres and Cinemark, announced they have struck a deal with five Hollywood studios to support their digital cinema rollout. According to AP:

Five Hollywood studios have agreed to help pay for a $1 billion-plus rollout of digital technology on about 20,000 movie screens in North America, a precursor to showing movies in 3-D.

Digital Cinema Implementation Partners, a consortium of major theater chains, announced the deal Wednesday. The rollout in the U.S. and Canada, covering about half of all screens, is planned to start early next year.

DCIP topper Travis Reid noted that the rollout remains contingent on securing financing for the deal - a difficult task in the midst of the ongoing credit crisis.

"We'll be needing to execute in the debt markets and we hope to do that during the fourth quarter," Reid said. "We don't believe that the markets will be closed forever."

NATO applauded the agreement, but noted there are numerous theaters and screens not covered by the agreement.

With a deal in place for the largest U.S. theater chains, it is time to conclude a similar digital cinema agreement for the hundreds of independent cinemas and thousands of screens not covered by this agreement. It is imperative for the health of the industry and for the millions of moviegoers in small towns and cities that the benefits of digital cinema be spread as widely as possible.

NATO, through the Cinema Buying Group (CBG) and its selected digital cinema integrator Access Integrated Technologies, Inc. (AIX), continues to work with the studios to ensure that CBG members, who are smaller and independent exhibitors, often in small towns, are not left behind.

CBG's website is here. 

 Publisher Nick Dager starts it off with a bang:

The answer lies in the fact that the studios, either by happenstance or by design, are taking a very passive-aggressive approach in their negotiations with DCIP. Several studios are demanding higher virtual print fees, which exhibitors insist they can’t afford. Other studios are demanding that exhibitors convert to digital now in order to justify the costs of the 3D features due out next summer.

In some cases that passive-aggressive attitude exists in the same studio. In interview after interview Jeffrey Katzenberg, CEO of Dreamworks Animation has led the charge all but demanding that exhibitors waste no time in converting to digital, this of course so that his 3D movies can make more money. Yet his long-time partner Steven Spielberg tried to block the digital release of Indian Jones and the Kingdom of the Crystal Skull. In a recent story on the topic reported in the Chicago Tribune Spielberg is quoted as saying, “Making a film on celluloid, as I like to do with all of my pictures, but then transferring it and releasing it and projecting it digitally is a very inferior image.”

Where does that leave the transition to digital cinema, and by necessity, 3D? 

 
Scylla, meet Charybdis:

John Fithian, president of the National Association of Theatre Owners, says the situation has placed exhibitors squarely between a rock and a hard place. "Several studio leaders currently hope to reduce substantially the virtual print fee support they are willing to provide for the digital cinema transition, at the same time that several other studio leaders demand that exhibition install many systems rapidly for the 3D slate in 2009,” he says.  “And at the same time one of the industry's filmmaking icons refuses to release a big summer picture on digital cinema screens except for locations where that is the only option. So, should we or should we not move faster with the digital roll out? How do they possibly believe that exhibitors will do anything less than push back? Maybe they should get their act together first before they try to tell us what to do."

So when do we put the "budge" in budget? Insiders differ. Some suggest the deals are dependent on a successful resolution to SAG/AMPTP negotiations, others ascribe the hold-up to the credit crunch fueled by the home mortgage meltdown.

What seems crystal clear (and you don't need special glasses to see it) is that the delay is all about the Benjamins. The 2009-2010 3D slate has only upped the urgency of resolving the basic calculation with a concrete and near-term demonstration of how much (and whose) money is at stake.