Digital Cinema:
Digital cinema refers to the use of digital technology to distribute and project motion pictures. A movie can be distributed via hard drives, optical disks, optical disks or satellite and projected using a digital projector instead of a conventional film projector. Digital cinema is distinct from high-definition television and, in particular, is not dependent on using television or HDTV standards, aspect ratios, or frame rates. Digital projectors capable of 2K resolution began deploying in 2005, and since 2006, the pace has accelerated.
Digital capture:
As of 2009, the most common acquisition medium for digitally projected feature is 35mm film scanned and processed at 2K (2048x1556) or 4K (4096x2160) resolution via digital intermediate. Most digital features to date have been shot at 1920x1080 HD resolution using cameras such as the Sony CineAlta, Panavision Genesis or Thomson Viper. New cameras such as the Arri Alexa can capture 2K resolution images, and the Red Digital Cinema Camera Company's Red One can record 4K. The marketshare of 2K projection in digital cinemas is over 98%. Currently in development are other cameras capable of recording 4K RAW, such as Dalsa Corporation's Origin and Canon's 4K "Multipurpose", and cameras capable of recording 5K, such as the RED EPIC, and cameras capable of recording 3K such as the RED SCARLET.
Digital post-production:
In the post-production process, cameras-original film negatives are scanned into a digital format on a scanner or high-resolution telecine. Data from digital motion picture cameras may be converted to a convenient image file format for work in a facility. All of the files are 'conformed' to match an edit list created by the film editor, and are then color corrected under the direction of the film's staff. The end result of post-production is a digital intermediate used to record the motion picture to film and/or for the digital cinema release.
Digital mastering:
When all of the sound, picture, and data elements of a production have been completed, they may be assembled into a Digital Cinema Distribution Mater (DCDM) which contains all of the digital material needed for projection. The images and sound are then compressed, encrypted, and packaged to form the Digital Cinema package (DCP).
Digital capture:
As of 2009, the most common acquisition medium for digitally projected feature is 35mm film scanned and processed at 2K (2048x1556) or 4K (4096x2160) resolution via digital intermediate. Most digital features to date have been shot at 1920x1080 HD resolution using cameras such as the Sony CineAlta, Panavision Genesis or Thomson Viper. New cameras such as the Arri Alexa can capture 2K resolution images, and the Red Digital Cinema Camera Company's Red One can record 4K. The marketshare of 2K projection in digital cinemas is over 98%. Currently in development are other cameras capable of recording 4K RAW, such as Dalsa Corporation's Origin and Canon's 4K "Multipurpose", and cameras capable of recording 5K, such as the RED EPIC, and cameras capable of recording 3K such as the RED SCARLET.
Digital post-production:
In the post-production process, cameras-original film negatives are scanned into a digital format on a scanner or high-resolution telecine. Data from digital motion picture cameras may be converted to a convenient image file format for work in a facility. All of the files are 'conformed' to match an edit list created by the film editor, and are then color corrected under the direction of the film's staff. The end result of post-production is a digital intermediate used to record the motion picture to film and/or for the digital cinema release.Digital mastering:
When all of the sound, picture, and data elements of a production have been completed, they may be assembled into a Digital Cinema Distribution Mater (DCDM) which contains all of the digital material needed for projection. The images and sound are then compressed, encrypted, and packaged to form the Digital Cinema package (DCP).