|  | Digital technology sparks drive to convert current movie theaters into digital cinemas (D-Cinema)Jun 7, 2010 - 10:43 - WAM Abu Dhabi, 7th June 2010 (WAM) -- Digital technology is providing new flexibility and security within the entertainment industry and has sparked an initiative to convert current movie theaters into digital cinemas (D-Cinema) based on newly agreed upon standards, said Hagan Carlile, Vice President of D3P.
''Clear value propositions, financial incentives, new content and demonstrated box-office returns has led to an exponential growth in D-Cinema across the USA, Canada, China and the UK, he said during a lecture organised for the first time in the region by Anasy Media Production.
Amidst the D-Cinema wave, he added, 3D has established itself as the most tangible and profitable incentive to convert to D-Cinema, as it is currently drawing twice the audience and earning three times per screen than its 2D counterparts.
J.P Morgan indicates that audiences are also willing to pay up to 10% more for the 3D experience. While D-Cinema's are all capable of 3D screenings, they require extra equipment to actually provide the 3D experience. Essentially, 3D is provided as an add-on to the D-Cinema infrastructure. Both D-Cinema and specialized 3D D-Cinema chains are growing worldwide, and have ramped up construction in anticipation of many anticipated Hollywood 3D productions in 2010.
For the last century, he continued, cinema has been dominated by one standard - 35 mm film. Traditionally, motion pictures are shot on 35 mm film stock, edited and assembled into a 35 mm final print for distribution to the cinemas.
Depending on the scale of the specific films release, a 35 mm duplicate print is then manufactured for each cinema. This print is shipped and projected in theaters for an audience. These prints degrade with time and the substantial transportation costs involved in major releases (1500-2000 cinemas) have made the business of distributing films expensive, risky and unresponsive to audience demands for new content.
Advances in digital technology that began initially in post-production and visual effects, filtered through to acquisition (cameras) and exhibition (projectors in cinemas).
These advances relate to image quality, storage capacity, processing power, interfaces and industry standards and support.
''The digital revolution is reducing the financial barriers of entry without sacrificing quality, while simultaneouslyincreasing market accessibility to global audiences.
This advantage has only recently set the stage for a new era in innovation and entertainment,''he added.
Speaking about leading D-cinema territories, the Canadian famous 3D producer explained in 2007 there were 5,500 D-Cinema screens, accounting for 3.3% of total screens worldwide. By 2009/2010 there are 16,405 D-cinema screens around the world, an increase of 86.4 per cent on 2008. This means that 14.8 per cent of the world's modern cinema screens are digitized.
The "Screen Digest" report on D-Cinema (2008) predicts that as many as 40,000 screens will be available globally by 2012. The Driver market is the United States with the majority of the installed base, but Europe is rapidly catching up. At the end of 2009, there were 4,580 digital screens in Europe, up from 1,547 in 2008.
On the 3D growth, he added in 2007, at about 1,500 screens, 3D capable cinemas accounted for about 1.1% of total screens worldwide. By 2009 there were over 5,900 digital 3D screens. The growth of 3D screens in 2009 was nothing short of explosive, with a global growth rate of 254.5 per cent. In 2010, there are now 9000 3D Cinemas- representing 55 per cent of total digital screens (now at 16,405 worldwide) The "Screen Digest" report on D-Cinema (2008) predicts that as many as 17,000 3D screens will be available by 2012.
Although the USA still has the largest base of 3D Cinemas (over 5000) progress has been especially rapid in Western Europe, with French d-screens growing 277 per cent during 2009.
Abiut the future of 3D, he said 3D is emerging as foremost reason for exhibitors to go digital. It is providing a new entertainment medium that has little to do with the poor 1950's and 80's technology (anaglyph).
Today's stereoscopic technology provides a vibrant, crystal clear immersive experience that is drawing record numbers (3 times the revenue) at the box office.
Financial industry firm J.P. Morgan predicts: 30% more viewers will be drawn to 3D over 2D movies.
Audiences will be willing to pay up to 10% more for the 3D experience.
Hollywood can also expect to save 6 billion dollars through the elimination of print and piracy costs.
As the D-Cinema transformation occurs theatrically, the future of 3D lies in Home and Mobile Markets.
Regarding the home 3D market, he indicated that in the 2008 3D TELEVISION REPORT, the 3DTV market was seen as very small, with the solution being add-ons that only worked with special displays.
Advances in display technology and 3D video formats, plus additional 3D content from the cinema, games and other sources, indicated that this was likely to change in the coming years.
The 3 topics key to the penetration of 3DTV into the consumer market were indicated as follows: 3D content that will interest consumers and attract them to 3DTV 3D content distribution technology and formats that will bring this content to the consumer's home 3D display technology capable of producing HDTV-quality images for the consumer in both 2D and 3D modes.
By 2010 all three factors are converging in a way likely to start the widespread penetration of 3D into consumer TV.
In January 2010, major television broadcasters, including Discovery, ESPN and SKY announced the launch of 3DTV Channels to be launched this year.
Over 82 sporting events will be televised in 3D in 2010, starting with the FIFA World Cup in South Africa.
Leading television manufacturers Vizio, Sony and Samsung are all releasing 3DTV's for Home Entertainment this year. The 2010 3DTV Forecast Report by Insight Media indicates that there will be 3.3 million 3DTV units sold by 2010/2011 and 50 million by 2015.
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