Digital Cinema

In the climate of economic liberalization which has hitherto characterized the world of cinematographic production, and which straddles the line between bruising competition and the protection of intellectual property, digital cinema (or “D-cinema”) has given birth to a new initiative of international proportions. The distinctiveness of this initiative is reflected in a new commitment to global cooperation and in the special role of the International Telecommunication Union in this area.

Joseph A. Flaherty, a Vice-Chairman of Study Group 6 (or simply SG 6) of the Radiocommunication Sector (ITU-R) has undertaken a range of activities which should result in international harmonization of the digital cinema production and distribution chain and in the adoption of Recommendations on this subject.

To ensure worldwide D-cinema interoperability for this new audiovisual service, end-to-end standards will be required, and such D-cinema standards are now under study in several standards organizations around the world (MPEG, EDCF, SMPTE, ISO, IEC, etc.) and in at least three industry groups (DVB, MPA and NATO). More importantly, ITU, as a UN-treaty organization, is responsible for international standards involving radio-frequency spectrum, satellite, cable, and terrestrial broadcasting as well as for international production, postproduction, and recording standards for international programme exchange.

The merging of television and cinema technologies puts ITU in a prime position to influence the worldwide D-cinema standards to ensure international interoperability and quality. From ITU’s viewpoint, the D-cinema encompasses more than what is normally thought of as digital cinema in the United States, for example. ITU sees D-cinema as group viewing on large high-quality screens in theatres and in all non-residential areas.

ITU has the unique responsibility for international transmission issues including cable, satellite radio and television broadcasting. The ITU meaning of “broadcasting” as it relates to the D-cinema is not the same as the intuitive everyday understanding of this term.

It is important to note that broadcasting applications are not limited to the real-time delivery of programmes to television and radio home receivers. Digital television broadcasting includes the ability to carry any sort of digital content in the form of data packets and streams, both in real and in non-real time, via traditional means, via disc-based media, and via all the ITU-T cable and fibre-wired systems to a variety of targeted recipients.

Thus, the ITU Constitution defines the “Broadcasting Service” as “a radiocommunication service in which the transmissions are intended for direct reception by the general public. This service may include sound transmissions, television transmissions or other types of transmission.”

In short, ITU has the responsibility of D-cinema standards in its scope of work. To begin this important and urgent work, ITU-R Study Group 6 in March 2001 established an Ad Hoc Group on D-cinema studies and appointed Mr Flaherty its Chairman, with messrs J. Kumada, R.K. Najm, V. Stepanian and V. Baroncini as Vice-Chairmen, along with Mr K. Tatsuzawa, a key expert and Rapporteur on Extremely High Resolution Imaging (EHRI).

Digital cinema — a definition

Digital cinema is a new service which applies the most advanced television technologies to the world of cinematography. It simulates conventional cinema (projection of films on giant screens for large audiences) by using the technologies that brought us high definition digital television. The objective is to attain at least the quality of 35 mm films as currently projected in cinemas worldwide.

The challenges of digital cinema

Cinema has been with us for more than 100 years, and television for over half a century. Since television first made its début in people’s homes, the two media have used totally incompatible distribution and projection systems. For example, it was impossible to read a video cassette with cinematographic projection equipment, and only films could be projected in cinema halls. Over the years, numerous attempts have been made to equip cinemas with television-type projectors, but the quality obtained on the big screen was inadequate. Moreover, this equipment was added to the systems already in use and could not replace them, hence the need for additional costly investment.

Today’s technological advances are so great that the “electronic screens” used in modern, very high definition digital cinemas easily rival the projection methods of traditional cinema and are quite capable of supplanting them. There is now an alternative to the traditional cinematographic set-up (film/projector/operator), with the possibility of delivering “digital films” by satellite, optical fibre, cable or recorded media and projecting them from the playback of high definition video servers. The cost of electronic projectors, though still high, is largely offset by the savings achieved through the elimination of thousands of copies of 35 mm colour films, not to mention their transportation and their replacement once they become worn.

The multimedia centres of the future

With the advent of digital cinema, existing cinema complexes can be transformed into genuine multimedia centres, where, in addition to digital films, it will be possible to broadcast live high definition television programmes, stage productions, concerts and all manner of sporting and cultural events. Moreover, the new high definition digital programmes could combine all the elements that go to make up today’s cinema, using all the most modern digital and electronic tools and tricks, but without the difficulties associated with the handling of film reels. Lastly, digital cinema should facilitate the speedier and less costly distribution of cinematographic works to smaller or less developed markets. In this sense, D-cinema is an example of cutting-edge technology that can be used to overcome the digital divide.

The plan of action

SG 6 has set up a multidisciplinary Task Group 6/9 to coordinate activities and communication between the various firms and competent agencies. These activities concern the entire digital cinema production chain, i.e. D-cinema programme acquisition, production, post-production and printing; programme recording and transfer to film for purposes of international trade and cinema release; programme coding, encryption and assembling; and, finally, programme delivery by terrestrial broadcasting or satellite.

SG 6 decided to base its studies on an assessment of the visual and sound quality of D-cinema, the stated intention being to offer at least the same quality as traditional 35 mm cinema. The method of analysis will be both objective and subjective, and will thus call for viewer panels and the selection of objective quality parameters. Preparatory work has already been done towards this end and a digital cinema test card has already been developed.

The first meeting of the Task Group is scheduled for March 2002 and the relevant activities and publication of Recommendations on digital cinema are due to be completed by the end of 2003.

Thus, thanks to international cooperation and the impetus provided by ITU, digital cinema will soon be coming to our screens...

... with the hope, of course, that the films, events and shows offered to cinema-goers match up to their expectations!