Volume IV No. 3

A publication of the National Association of Theatre Owners

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Digital Cinema:
The Nexus Between Technical and Business Considerations

As the industry gathers for the 35th annual ShoWest convention, issues regarding the coming transition to digital cinema permeate many conversations. From the trade floor to sponsors rooms to discussions in the hotel hallways, were all talking digital. Much progress has been made planning for this momentous change in the way we do business – and much work remains to be done.

NATO continues to pursue three primary antecedents to the transition as established by our membership. First, exhibitors believe that the quality of digital cinema must exceed that of film. Second, cinema operators worldwide seek global, uniform technical standards to promote interoperability and compatibility of equipment. Finally, theatre operators seek a fair business model before the transition can begin. On these three goals, we see mixed results.

We are pleased with the progress of digital cinema quality. With 2k projectors available now, and even higher quality equipment coming in the future, we believe that digital cinema technologies have come a long way in a relatively short amount of time. Continued improvement is necessary and certain to happen.

The inability to address basic business issues
prevents
completion of the technical standards.

Similarly, much has been accomplished on standards work. Our studio partners have produced significant technical specifications through their joint venture – Digital Cinema Initiatives (DCI). NATO has worked to support the efforts of DCI by meeting regularly with DCI executives and providing input, suggestions and commentary on the draft specifications as requested. DCI, in turn, has been very responsive to the input of our industry. We are grateful for the work performed by DCI. Indeed, in most substantive areas, DCI’s technical specification work has progressed appropriately and has provided important leadership for the coming transition.

Exhibitor representatives also continue to participate in the essential work of the Society of Motion Picture and Television Engineers (SMPTE). We are pleased that SMPTE’s DC28 Technology Committee has made tremendous progress developing digital cinema standards.

On the issue of business modeling, however, I believe that more progress is needed. Dating back to 2000, NATO has called on our studio partners to come together with us, to the extent permissible under the law, and develop a fair business model. In early 2004, we have made some progress but have much more work to do.

The inability to address basic business issues also prevents completion of the technical standards. Particularly in the area of digital cinema security, there is a strong nexus between technical and business considerations. Simply put, the technical standards for digital cinema cannot be completed until some basic business questions are answered.

Along with our European partners in the Union Internationale des Cinemas (UNIC), NATO described many of these important questions in a letter to DCI and SMPTE on Dec. 18 (the full text of the letter is available on the NATO Website). In this space I will offer only three examples of those many questions. When, if ever, should the digital distribution and exhibition of a movie be prevented and the movie screen left to go dark? What content (e.g., movies, trailers, shorts, etc.) should be included in an inviolate set of digital files that cannot be separated? For what universe of distribution (cinema circuit, cinema complex, or cinema auditorium) should digital movie files and de-encryption keys be targeted?

Technology standards cannot be complete without answers to these and many other related business questions. The answers also have critical impact on theatres, as the issues are determinative of whether cinema operators continue to control their own operations.

We have seen some progress and some positive reaction to our letter in December. And we are hopeful that studios and exhibitors can resolve these questions. The technology and business issues involved in digital cinema are intertwined, and must be addressed together. Otherwise, the transition will never begin.

 

 

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