Unique Digital and MACCS International have completed the integration of a full end-to-end digital workflow for digital delivery to cinemas. The integrated systems enable film distributors to automate the delivery of DCPs and KDMs to cinemas via the DCinemaHub and Movie Transit platforms.
Ymagis Group and National Film Transport have agreed to jointly provide Digital Cinema Package duplication services to the UK film industry. As part of this new partnership, Ymagis, through its London-based subsidiary, has set up a new duplication hub for hard drives, using proprietary technology, at NFT’s facility near Heathrow Airport.
Pearl & Dean Cinemas has signed a new agreement with Unique Digital to continue as provider of all digital cinema package production services.
German post house CinePostproduction has deployed high-speed file transfer software Aspera to speed the delivery of Digital Cinema Packages directly to cinemas.
QuVIS has announced the availability of the Ovation II DCP player, a player capable of supporting 4K playback in a small form factor and at an affordable price. The company believes Ovation II can ease the challenges faced by independent film festival organizers for playback and screening and provide a platform for independent film producers to efficiently and effectively test out their digital cinema packages before showing them on the big screen.
The digital cinema rollout brought cinemas everywhere to a uniform technology, for the first time in generations, and perhaps for the last time ever. This one-time event is often celebrated as the new norm. But in truth, it is anything but normal. Consider the distribution challenges of just one movie – last year’s The Hobbit: The Battle of the Five Armies – and you’ll begin to understand what I mean. Diversity is already returning to the cinema footprint. To best live with it, we need better tools to manage it. To do that, we need to fix the digital cinema package.
The responses to my recent article here – What’s Wrong With The DCP? – suggest to me that there are several widespread misconceptions about digital cinema packages in general and about Interop and SMPTE DCP in particular. These are the top five:
DCP stands for Digital Cinema Package. It’s the name for the collection of digital files that make up a digital movie distribution. Actually, there’s a proper name for the collection of files that make up a movie – called the Composition – but no one seems to like that name, and everyone likes the name DCP. There are two kinds of DCPs in the world, because engineers can never leave things alone. The Good DCP and the Bad DCP. When I say Bad DCP, I mean the one called Interop DCP. When I say Good DCP, I’m talking about the one called SMPTE DCP.
Wim Wenders' production company Neue Road Movies entrusted online artist Christian Tröger and SGO's Mistika at Arri Mitte to complete the post-production of Every Thing Will Be Fine.
Archimedia Technology will host a demo room at the 2015 HPA Tech Retreat, February 9-15 in Palm Springs, California. Archimedia will demonstrate its Atlas professional media player, which now plays 4K 60p and high dynamic range content on any display to the best of that display's native ability.
