Optical network technologies for future digital cinema

Digital technology has transformed the information flow and support infrastructure for numerous application domains, such as cellular communications. Cinematography, traditionally, a film based medium, has embraced digital technology leading to innovative transformations in its work flow. Digital cinema supports transmission of high resolution content enabled by the latest advancements in optical communications and video compression. In this paper we provide a survey of the optical network technologies for supporting this bandwidth intensive traffic class. We also highlight the significance and benefits of the state of the art in optical technologies that support the digital cinema work flow

Digital Cinema : Opportunities and Challenges

This paper considers how the film industry might effect the transition from film to digital product. Using public sources to predict the eventual technological solutions which will prevail is problematic as no independent academic analysis appears to have been carried out. Technology companies are clearly wedded to their own solutions, pointing out flaws in competing technologies while downplaying the shortcomings of their own. Industry wide bodies that have been set up to promote d-cinema or establish standards, understandably tend to avoid taking sides and promote all solutions equally[i]. Rather than contributing further to the debate about the qualities of competing technologies or the creative merits or demerits of digital product, this paper will focus on the search for new business models in an industry wedded for over one hundred years to an analogue process. In the sections which follow it will consider- the strategies of the companies at the forefront of the technology; the financial implications associated with change; and how different territories might adapt in order to accommodate this transition. [i] Anna Wilde Mathews, Digital cinema's time is nearing. Detailed specifications are supposed to be ready early next year. The Wall Street Journal, May 25 2003

Design Implementation of Next Generation Wireless LAN for Mass Digital Cinema

We have been designing an over 1.2 Gbps throughput wireless for next generation WLAN system conform with IEEE802.11TGac’s requirements. It reaches 33 meter propagation distance by using 80MHz of bandiwdth on 5GHz band. 4x5 antennas configuration contribute 2nd-order diversity gain and maintain both the high throughput and performance. The Greenfield format preamble was proposed for its high efficiency. Novel phase rotation is employed to lower the PAPR signal. Run test for transmitting 90 frames of 40961714 pixels/frame under in-door channel model proves that the proposed system shall be considered for providing an excellent performance mass digital cinema. Index Terms—Gigabit wireless LAN, IEEE802.11 TGac, digital cinema transmissio

Electric moving shadow garden

Electric Moving Shadow Garden is a multi-directional exploration of the links between artists and cinema, with multiple reference and contextual points. it accompanied the exhibition, UnSpooling: Artists & Cinema, curated by Bracey and Dave Griffiths at Corernhouse, Manchester, who also edited the publication. Published to accompany the Cornerhouse exhibition, UnSpooling: Artists & Cinema, curated by artists Andrew Bracey and Dave Griffiths. This illustrated catalogue explores how international contemporary artists are deploying text, image, sound, chemistry, light, personal archives, gesture and spoken word to prompt reflection on past, present and potential forms of cinema. A wide range of media is showcased including innovative painting, drawing, film and video from the last decade, plus newly commissioned performance, installation, and architectural and street interventions. Together the work explores a field where cinema - as experience, language, history, theory and artefact – is unraveled as potent material and strategy for artistic production. These reinvented visual technologies and forensic dissections of iconic scenes indicate the continuing project by contemporary artists to critically recycle cinema history, to reveal the fundamental illusory nature of celluloid, and question the dominant digital model.

Videogames as digital audiovisual performance

Video games are an ideal medium for creating a live-cinema experience because of their potential for cinematic narrative and open structure. "Performing digital media' as opposed to 'performing with digital media' or using digital media in performance, means to play the media like a musical instrument as much as possible. This is to be able to control and finely nuance the audiovisual and kinetic data stream through live manipulation and interaction on stage. This is, in a sense, to grant the performance an immediacy that belies remediation. This paper looks at recent instances in which the media itself is being performed and a similar audiovisual contract to that of cinema is being entered to by an audience. Thus, the performance or live event itself becomes a product of media technologies yet is indistinctly unified with them

Cinema-going trajectories in the digital age

The activity of cinema-going constantly evolves and gradually integrates the use of digital data and platforms to become more engaging for the audiences. Combining methods from the fields of Human Computer Interaction and Film Studies, we conducted two workshops seeking to understand cinema audiences’ digital practices and explore how the contemporary cinema-going experience is shaped in the digital age. Our findings suggest that going to the movies constitutes a trajectory during which cinemagoers interact with multiple digital platforms. At the same time, depending on their choices, they construct unique digital identities that represent a set of online behaviours and rituals that cinemagoers adopt before, while and after cinema-going. To inform the design of new, engaging cinemagoing experiences, this research establishes a preliminary map of contemporary cinema-going including digital data and platforms. We then discuss how audiences perceive the potential improvement of the experience and how that would lead to the construction of digital identities

Cinema in the Digital Age: A Rebuttal to Lev Manovich

In his book The Language of New Media, Lev Manovich claims the index is an ontological condition of cinema. Manovich asserts digital cinema can never be indexical and therefore has fundamentally altered the very nature of cinema, reducing it to a form of animation. This paper offers a refutation of Manovich’s redefinition of cinema, showing that digital cinema can be indexical, but indexicality is not an ontological condition of cinema

Tecnología digital y cine español contemporáneo (2000-2010). En busca de la modernidad perdida

La tecnología digital ha permitido el desarrollo de un cine contemporáneo que se ha liberado de los condicionamientos del cine analógico. Esta nueva realidad técnica posibilita la recuperación de algunas de las inquietudes artísticas de la modernidad cinematográfica en torno a tres de sus características definitorias: la hibridación documental-ficción, la captación del tiempo y la materialización del pensamiento cinematográfico. La modernidad digital contemporánea se configura como un fenómeno transversal que recorre los espacios de la no-ficción, la ficción y el cine experimental. El presente artículo analiza las primeras manifestaciones de esta nueva experiencia digital en el cine español.Digital technology has allowed the development of a contemporary cinema that has freed itself from the conditioning of analog cinema. This new technical reality makes possible the recovery of some of the artistic concerns of modern cinema around three of its defining characteristics: the hybridization between documentary and fiction, the capture of time and the materialization of cinematic thinking. The contemporary digital modernity is configured as a transversal phenomenon that runs through the spaces of non-fiction, fiction and experimental cinema. This article aims to analyse the first manifestations of this new digital experience in Spanish cinema

A Technician's Dream? The Critical Reception of 3-D Films in Britain

Recent debates about the role of 3-D within cinema (and other media) have contained the traces of a largely anti-stereoscopic agenda that can be traced back to critical responses to 3-D in the 1950s. This article considers how British film reviews from the 1950s and 1980s established potent terms of discussion around the 3-D technology, its potential aesthetic development, and the role of stereoscopy within cinema. Exploring the parameters that the original reviewers set in place concerning the 3-D aesthetic, notably claims around realism, novelty, and gimmickry, the article argues that the language and terms of 1950s British film reviewers have worked to set an agenda that resonates through both the 1980s 3-D revival and modern day digital 3-D