Cinema Technology Mar. 28, 2023
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Arts Alliance Media (AAM) is the global leader in digital cinema software and services, offering a wide range of solutions which help exhibitors to reduce costs, increase efficiency, and improve the cinematic experience for their customers.

AAM’s extensive portfolio, including Producer, Screenwriter, Lifeguard, MX4D, and HeyLED, touches over 42,000 screens worldwide, while their network operations centre (NOC) supports several thousand screens.
AAM is part of the Luxin-Rio Group, the world’s foremost cinema technologies provider.

QSC is the global leader in cinema signal processing, power amplifiers, and loudspeakers for all applications within today's modern cinema entertainment center. Our “SystemSynergy” design approach ensures that the entire system, from source to sound, delivers an audio experience as intended by the filmmakers. Beyond cinema audio for the movies, QSC also provides complete audio systems with network control and monitoring for other areas in the cinema entertainment complex, such as lobbies, concession, food service, arcades, and bowling centers.

GDC Technology is a leading manufacturer and provider of cinema equipment and solutions including cinema automation systems, cinema servers, cinema enterprise software, cinema storage, cinema audio solutions, and cinema projectors that meet the highly demanding performance, security and reliability requirements established by motion picture studios.

welcome to Cinionic
welcome to wow

These days, it’s no longer just about technology, it’s about experiences – WOW experiences. We are a team of cinema and technology experts from around the globe – Barco, ALPD, and CGS – who help you in creating surprising experiences.  We combine innovative cinema technologies with our unique and comprehensive service models to guarantee your peace of mind. So you can focus on new ways to surprise and delight your customers for years to come. Together, we engage to deliver a world-class cinema experience - the one you’ve been waiting for.

Strong Cinema, a segment of Ballantyne Strong, Inc., consists of:

Strong Technical Services, that offers a comprehensive suite of cinema-focused services, including installation, maintenance, and technical support, to exhibitors throughout the United States.

Strong MDI, one of the world's leading cinema screen manufacturers that produces and sells specialty screens, screen support structures, and other film exhibition equipment for customers globally.  

USHIO manufactures the highest-quality digital cinema projection bulbs available. USHIO xenon short-arc lamps boast a spectrum that is closer to natural sunlight than that of any other artificial light source. In addition to commercializing products for search and spot lights, which demand precise, powerful white beam lamps, USHIO became the first in the world to develop a xenon short-arc lamp exclusively for large scale, theater-use movie projectors.

SHARP NEC Display Solutions’ Digital Cinema Projector Series offers the most comprehensive digital cinema solution on the market today. These 3D-capable models enable theaters to deliver stunning digital images regardless of screen size, while simplifying theater management and reducing costs. All of SHARP NEC's digital cinema projectors meet DCI specifications for performance and reliability, meeting the requirements of today’s cinema industry. SHARP NEC also offers full digital signage solutions, highlighted by its award-winning 32”-98” LCD displays, multimedia projectors and desktop monitors for lobbies, concessions and concourses.

Christie is a leader in visual solutions for world-class organizations, offering diverse applications for business, entertainment, and industry. A leading innovator in film projection since 1929 and a pioneer in projection systems since 1979, Christie has established a global reputation as a total service provider and the world's single source manufacturer of a variety of display technologies and solutions. Christie offers comprehensive solutions for cinema, large audience venues, control rooms, business presentations, training facilities, 3D and Virtual Reality, simulation and education as well as industrial and government environments.

Industry Partners

The Inter-Society for the Enhancement of Cinema Presentation, Inc. promotes interactive dialogue and information exchange between cinema-related entities with the goal of resolving issues affecting the overall cinema presentation. Founded in 1978 by Eastman Kodak VP Ken Mason, membership is composed of its four charter trade organizations - International Cinema Technology Association (ICTA), the Motion Picture Association of America (MPAA), the National Association of Theatre Owners (NATO), and the Society of Motion Picture and Television Engineers (SMPTE) - along with over 40 member companies, made up of trade organizations, motion picture studios, exhibition companies, manufacturers, technical consultants, and other industry stakeholders.

The Union Internationale des Cinémas/International Union of Cinemas (UNIC) represents the interests of cinema trade associations and cinema operators covering 37 countries in Europe and neighboring regions.​ ​

For more than a century, the people of SMPTE (pronounced “simp-tee”) have sorted out the details of many significant advances in media and entertainment technology, from the introduction of “talkies” and color television to HD and UHD (4K, 8K) TV. Since its founding in 1916, SMPTE has received an Oscar® and multiple Emmy® Awards for its work in advancing moving-imagery engineering across the industry. 

The International Cinema Technology Association is a global network of professionals in the motion picture industry. Members of the ICTA are those companies that manufacture, service and create the equipment that goes into movie theatres. Our members are on the cutting edge of new technologies and have been the driving force in digital, 3D, immersive sound systems, high frame rates and lasers. The ICTA promotes technological advancements in the motion picture industry through educational seminars and programs. The ICTA logo stands for excellence and professionalism and when on a member’s letterhead signifies that the company is reliable, competent and committed.

The EDCF is a not-for-profit voluntary organisation that aims to act as a "Forum" to discuss key issues surrounding Digital Cinema in Europe. The purpose of EDCF is to provide a basis of common understanding across all European territories of the business and technical matters of digital cinema. 

Shows & Events

CinemaCon 2023 has been scheduled for 24-27 April 2023 at Caesars Palace in Las Vegas.  Check the links below for the latest information. 

ShowEast 2022 scheduled to be held in Miami from Oct 17-20, 2022 at Fontainebleau Miami Beach, features a range of exclusive product presentations and screenings from both Independent and Major Hollywood studios to help you make important programming decisions for the 4th quarter box office.  Powerhouse seminars offer valuable insight from top executives on the latest industry trends and concerns; while our EXPO experience offers delegates a glance at the latest and best technologies, entertainment, services, comforts, and conveniences to make their theatres must-attend destinations.  ShowEast’s International program draws a large contingency of Latin and South American delegates – more than any other convention of its kind. A one and a half day program dedicated to the latest content and concerns and within this rising region.

CineEurope 2022, has been scheduled for June 20-23, 2022 in Barcelona.  CineEurope promises to bring you another year with the very best in exclusive studio screenings and product presentations, cinematic technologies and innovations and educational seminars to keep your business on top of industry trends.

CineAsia 2022 has been scheduled for Dec 5-8, 2022 in Bangkok.  Check links for more information.  The CineAsia trade show is where cinema exhibition and distribution professional come to do business and network. The convention will also feature product presentations and screenings of major upcoming films, exclusive sponsored events, and seminars relating to current and future trends happening across the industry.  Additional information on CineAsia can be found at

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Los Angeles—Sep 5, 2003

ASC And DCI Creating Digital Cinema Test Film

The American Society of Cinematographers (ASC) and Digital Cinema Initiatives (DCI) have taken an important  step towards producing  standardized test material for evaluating the performance of digital projectors and other elements of digital cinema systems. The test is being produced under the auspices of the ASC Technology Committee in partnership with DCI, which represents seven Hollywood film studios.

“Our purpose is to help assure that standards recommended for digital cinema enhance the movie-going experience and maintain the integrity of the art form,” says Curtis Clark, ASC, who chairs the organization’s Technology Committee. “The test material we are producing will provide a standard way to evaluate the capabilities of digital projectors and compare them to film.   

“DCI is excited about working with ASC and it’s Technology Committee on this project that will enable us to perform various testing using standardized evaluation material to generate consistent and objective results,” noted Walt Ordway, DCI’s Chief Technology Officer. “We are also pleased to make this test material available to other companies and organizations for use in their various testing programs.” 

Clark says that members of DCI and the ASC Technology Committee had an in-depth dialogue before reaching a consensus regarding the original footage needed to adequately “stress test” digital projectors for technical performance and also to compare the emotional impact of digital and 35 mm film. The film sequences they produced will be used as a standard test for evaluating current and future digital projectors. 

Members of the ASC Technology Committee agreed on parameters for the test, including nuances in colors, contrast, textures and camera movement.  

Dante Spinotti, ASC, AIC, who designed the shooting script, says it was a team effort, including Ron Garcia, ASC, Daryn Okada, ASC, Clark, other cinematographers, and associate members of the organization who work in various sectors of the industry.  

“I had an idea for a wedding scene that takes place in a 1950s Italian village,” Spinotti says. “The bride is dressed in white, the groom in black with different colors in other costumes and backgrounds. The bride and groom and their wedding party come out of a church, walk down a street, around a corner and arrive at a crowded dinner table in the middle of a village square. We planned to film the master shot at least six times in different situations, from dawn to magic hour and also in the rain.” 

Spinotti says that the scene contains powerful emotional content, and it also includes various challenging situations. He explains that when film images are converted to digital format the files are “compressed” for efficient distribution and handling in digital projection booths. Aggressive camera movement during production can create artifacts if the film isn’t properly scanned and projected. The test was designed to shoot with multiple cameras in Super 35 and anamorphic formats, with selected 65 mm shots. 

“Up until now, projector manufacturers have selected scenes from existing films to demonstrate products,” says Okada. “There was no way of telling whether the source material was negative, interpositive or internegative film, and that makes a big difference. We believe the same source material should be used for all demonstrations and for side-by-side comparisons. Our plan was to scan the negative at 4K now and at higher resolutions in the future, presuming that continuing advances are made in projectors.” 

The test was filmed on August 26 and 27 in the European Village on the Universal Studios backlot. Peter James, ASC, ACS was the executive producer and Allen Daviau, ASC was cinematographer. Daviau assembled an experienced crew, including cinematographers Roy Wagner, ASC, Michael Negrin, ASC and Peter Anderson, ASC. The A and B cameras were used to record images in Super 35 format, and the C camera carried anamorphic lenses. Anderson operated the 65 mm camera.   

One of the 35 mm cameras was on a Technocrane with a 30-foot long telescoping arm, and the others generally tracked on dollies. Daviau created contrast to visually punctuate dramatic moments, and he used color gels to make the light warmer in some shots and cooler in others staged at different times of day and with varying emotional overtones. Daviau also used smoke to diffuse light in one shot, and rain in another.  

“We are talking about making a fundamental change in how audiences will experience motion pictures in the future,” he says. “It is important to set the standards for digital projection high enough so it properly serves the art form. We don’t want to look back someday and regret that we didn’t aim high enough or take the time to do it right.” 

Clark says that ASC and DCI are currently planning the next step, including culling appropriate short scenes from nearly two hours of original footage. Those scenes will be scanned and converted to digital files that will be used to master the standard materials designed to test the performance of digital projectors compared to film. 

“I’m extremely pleased at the results of the ASC DCI shoot at this time.  The cinematographers exceeded all expectations in the capturing of these images on film.  I’m looking forward to a highly technical post-production process where we intend to push the boundaries of digital image processing,” said Howard Lukk, DCI’s Director of Technology.   

“This has been an exhilarating experience,” Clark says. “The people who we are working with at DCI are passionate about their mission and determined to do it right. Many ASC members are participating, giving freely of their time and talent. We have had tremendous support from other people and companies. We still have a lot of work to do, but we have already made tremendous progress. I’m optimistic about the future.”  

Digital Cinema Initiatives, LLC (DCI) was created in March, 2002, as a joint venture of Disney, Fox, MGM, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios. DCI’s primary purpose is to establish and document specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control. DCI will also facilitate the development of business plans and strategies to help spur deployment of digital cinema systems in movie theatres. 

The ASC Technology Committee was formed earlier this year. It consists of some 50 cinematographers and technology thought leaders from all sectors of the industry. Clark says the goal is to create an open forum “where some of the best minds in the industry” can exchange ideas about the evolution of film, digital and hybrid technologies for the purpose of recommending standards and practice that enhance the art form. 

ASC was founded in 1919 for the main purpose of advancing the art of narrative filmmaking. There are some 215 cinematographers and visual effects artists in the organization today and another 135 associate members who work in allied sectors of the industry.

About Digital Cinema Initiatives, LLC: Digital Cinema Initiatives, LLC (DCI) was created in March 2002, and is a joint venture of Disney, Fox, Paramount, Sony Pictures, Universal and Warner Bros. The primary purpose of DCI is to establish and document specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, interoperability, reliability and quality. See for more information. Digital Cinema Initiatives, LLC Directory page
About The American Society of Cinematographers (ASC): The American Society of Cinematographers (ASC) is a nonprofit organization dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. The American Society of Cinematographers (ASC) Directory page

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More Digital Cinema Initiatives News:
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Christie®, a global leader in visual display technology, is pleased to announce that its Solaria™ Series 2 CP4230 and CP4220 projectors have obtained Digital Cinema Initiatives, LLC (DCI) certification following compliance testing by CineCert, LLC.

Oct 13, 2008 Digital Cinema Initiatives, LLC Signs Licensing Agreements for Compliance Testing
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Feb 21, 2006 Digital Cinema Initiatives (DCI) Announces Collaboration With Fraunhofer Institute to Develop Digital Cinema System Compliance Test Procedures
Sep 8, 2004 DCI Announces Completion of Overall System Requirements and Specifications for Digital Cinema; Member Studios Unanimously Agree to Extended Term
Mar 19, 2004 DCI Announces Completion and Availability of “StEM Mini-Movie” for Digital Cinema Testing
Nov 12, 2003 DCI Member Studios Unanimously Approve Pursuit of Delivery System Architecture for Digital Cinema to Accommodate Both 4K and 2K Projectors
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