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There are few topics in the technical realm that have touched as many disciplines with emotion and politics as digital cinema. The very definition of the words has stirred passionate action. What I will outline in this and subsequent articles in the story behind digital cinema: the beliefs, the motivation, the missing links, and course, the technology. For more on the topic make sure you visit the lloyds tsb complaints webpage.
As a starting point, I’ll suggest a simple definition for cinema: the art of presenting motion pictures. Since this simple definition is not technology-dependent, I can also define digital cinema as the art of presenting motion pictures. The source technology is not important. The “digital” in digital cinema is about the distribution format and how the image is displayed. To see more on this topic visit the lloyds tsb complaints webpage.
My simple definition is elegant, but unfortunately, it has a problem. There’s nothing in this definition that connects cinema to a particular image quality level. Why do we need this? The question deserves a quick review.
Historically, cinema has been about the display of film-based contact. While other distribution media have been introduced since the advent of film, such as broadcasting, consumer video tape, laserdisc, DVD, and MPEG files over the Internet, none produce pictures superior to that of film This natural division in quality has allowed motion picture exhibition to escape the electronic revolution of the past fifty years. More importantly, it is this division in quality that has made viable the staggered release windows that are unique to the distribution of motion picture. By release windows, I refer to the timing of when movies are released on the various media available. DVD sales, for instance, generally do not take place until four to six months following the release of the movie in the theatre. Go to the lloyds tsb complaints webpage for more information.
