Realizing the potential of digital cinema, most of the big banner films in the last one year have slowly started moving towards digital cinema format. In the future this percentage is bound to go up with more and more cinemas converting to the digital cinema format. The cost of digitizing a film to High Definition format is a mere one time cost of Rs.60000.

To ensure the highest quality and pristine viewing experience, the negatives of the film shall be first colour graded and then telecined at High Definition (1920x1080 Resolution) onto D5 tapes. This will then be converted into an uncompressed AVI/ MOV file, after which the same shall be encoded and encrypted into MPEG-4 format, which is the latest encoding format available, allowing a high compression ratio, while still maintaining the quality of the film.

No. We only sell NTSC format of VHS. Some Video Players have a switch that allows you to play both PAL and NTSC VHS formats. PAL format is used mainly outside of North America.

Yes! SERVO Online is an exact replica of the print edition. It provides the same visual experience, but is delivered and viewed via the web, using Published Web Format (PWF) technology. It enables readers to link directly to advertiser information and additional web content referenced in articles. SERVO Online is viewed via the web and is printable and downloadable.

A - We have movies available in Fullscreen and Widescreen ("Letterboxed" or "Theatrical View") formats. Some of the titles are even available in a widescreen enhanced or "16:9" version, optimized for viewing on widescreen televisions. Please refer to the item description of the individual film, which provides detailed information about the video and audio specifications as well as all additional features and bonuses.

standards were published by the The Society of Motion Picture and Television Engineers (SMPTE) by mid-2007. Some 27 drafts are either in progress or remain to be started. Further, some standards may need to be revised as experience in the field is gained with real products. A full suite of standards is not expected until 2009. There is no mechanism to learn if products meet SMPTE standards, or if they meet NATO's Digital Cinema System Requirements.

its core, digital cinema relies upon state-of-the-art information technology. It is complex, and a lot of work remains, particularly in the supply chain, before digital cinema will be ready for tens of thousands of screens. Top items on the list: Key Delivery Messages (KDMs), Facility List Messages (FLMs), and Security Logs all incorporate digital signatures so that receiving equipment can authenticate the origin of the message.

While the number of installations has grown substantially, the sales rate for digital cinema systems has not kept pace. As a result, a slowdown in the number of installations is expected at the end of 2007 as installations catch up to sales. Naturally, this potential slowdown will be offset if DCIP (Digital Cinema Implementation Partners) or CBG (Cinema Buying Group) are ready to move forward with installations. Technology adoption cycles have been studied for over 20 years.

On the contrary the operation of the Digital Cinema system is a two click process. The User interface of the system is extremely simple to operate and only a click is required to start and stop a film. The scheduling system is also extremely simple to operate. Two hours training is sufficient to train any person to operate the system.

Digital cinema encompasses every aspect of the movie making process, from production and post-production to distribution and projection. While digital cameras are nothing new, and post-production houses have been using digital equipment to edit and master movies and animation for some time, the all-digital distribution and projection of movies has only recently arrived to complete the chain.

For moviemakers, their movies are seen exactly the way they are intended to be seen, with light, shade and texture captured with digital accuracy. For movie distributors, it provides a better quality viewing experience of their movies and allows tremendous cost savings in film print reproduction and distribution. For movie exhibitors, they are able to offer a consistently better visual experience to the customer while having greater flexibility in movie and theatre usage.

You can Re-encode Mpeg2 movies to quicktime for FinalCut Pro using Cleaner5.0.2 using the following settings. There is no de-interlacing, so you don't lose anything. The files increase in size 10 fold, so make sure you have enough HD space. This procedure gives you quicktime movies suitable for use with final cut. image > image size constrain to 720*480, display size normal, do not deinterlace, field dominance-SHIFT DOWN Some have had good results with their decoder cards.

The digital orthophotos are available on CD-ROM in uncompressed TIFF image format, (approximately 115 Mb per square mile), and MrSID compressed format, (approximately 20 Mb per square mile).

The digital topographic data is available on CD-ROM. All topographic data is available in AutoCAD Rel.14 drawing format. The data is tiled in PLSS Section tiles based on the Washington County parcel base map. The topographic data for each section tile is comprised of 3 separate AutoCAD files: The contour & spot elevation data is also provided in Arc/Info format: approx. 0.7 Mb per section tile.

The de Sève Cinema is used mostly for Film Studies classes during the school year, so there is limited time available. Please visit our Availability Calendar to see when the Cinema is available.

Yes, there are 2 single plugs onstage, spaced 15 feet apart. Power is also available at the teaching podia. There are also two 15A circuits at the back of the room which are suitable for spotlights (each duplex is located at a height of approximately 50"). We can provide 2 Leko theatre lights. As well, there is a vertical lighting bracket located next to each outlet (Leko theatre lights can be supplied).

The clinical images can be can be submitted on a CD. The instructions for submitting the clinical images on CD will be in the testing materials package the site gets when they apply for accreditation. In multi-detector-row CT (MDCT), the reconstructed slice thickness is not always the same as the Tomographic thickness of one data channel (T as defined in the ACR accreditation documents).

We've partnered with a company called Zinio to create a convenient, new digital format that features the same great content and the same great design delivered straight to your desktop over the Internet. (back to top)

Digital cinema will provide the latest films on the day of their release, which shall ensure higher box office collections and push up the existing capacity utilization. Good quality images will be a big draw for the cinema audience. Additionally the Exhibition Franchisee shall have the facility of multi scheduling, whereby he can schedule different films for different shows with no extra costs for prints. All this shall directly translate into increased revenues.

Texas Instruments has developed the digital projection technology, DLP Cinema® that is making the transition to digital cinema both possible and practical. DLP Cinema® technology has its roots in a development initiative that Texas Instruments launched in the early 1980s. Since the first demonstration of DLP® technology in 1994, Texas Instruments has collaborated with studios and filmmakers to develop and improve DLP Cinema® projection.

Digital Cinema Initiative (DCI) was formed a few years ago by the seven major Hollywood studios to tackle standards for digital cinema, and Texas Instruments has worked closely with DCI to assist in educating on digital cinema. They released the third version of their Digital Cinema System Specification standards in December 2003, and all DLP Cinema®- based projectors support their system requirements.

The short answer is no. The longer answer is that we have looked at the idea of making Gem Trek maps available on CD several times over the last few years, but the numbers don't work for us yet in terms of production costs and projected sales.

You will be able to find almost any movie you could want. You have over 10 million files to choose from.

The digital projector is only the final element in the delivery of digital cinema. In the projection booth, a digital storage system, or server, is required to store the digital movie data until it is projected. (The server is loosely analogous to the platter in current 35MM systems.) Several companies have introduced server products specifically for digital cinema applications.