Modern VideoFilm, Inc.

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Digital Cinema

MVF offers Two D-Cinema Theatres

Digital cinema encompasses every aspect of the movie making process from production and post-production to distribution and projection.

A digitally produced or digitally converted movie can be distributed to theaters via satellite, physical media, or fiber optic networks. The digitized movie is stored by a computer/server which "serves" it to a digital projector for each screening of the movie. Projectors based on DLP Cinema™ technology are currently installed in over 200 theaters worldwide and remain the first and only commercially available digital cinema projectors.

GENERAL OVERVIEW:

Texas Instruments has developed DLP Cinema™ technology in collaboration with the movie industry since 1996. DLP Cinema™ technology consists of specialized equipment, processes and know-how that ensures accurate presentation from post-production to exhibition. The same DLP Cinema™ projector design that is used in the mastering process is also used in all DLP Cinema™ theatres to ensure consistent presentation of the creative vision. Specialized color processing and mastering processes developed by Texas Instruments enhance the image quality of each digital movie.

PROJECTOR RESOLUTION:

The DLP Cinema™ projector uses three TI Digital Micromirror Devices (DMD), each with an array of 2048x1080 microscopic aluminum mirrors for a total of over 6 million mirrors. For comparison, the imaging mirror array is within 1 mm of the size of a Cinemascope© film print image. The movie is projected through a normal lens for flat aspect ratio movies and an anamorphic projection lens for scope movies.

"The experience of color correcting Ghosts of the Abyss, in real time on the big screen in HD is a dream come true for me. After two decades of cursing the vagaries of photochemestry while color timing my films, it feels like we have rocketed out of medieval times into the 21st century. I really enjoyed working in Modern VideoFilm's big theater, which exactly reproduces the size and feel of a movie theater, and correcting the color on my film at the touch of a trackball. And not only changing color, but hue and black values and contrast, and so on, and with power windows, actually changing the color in certain areas of the shots.Working in the data environment, going from Inferno to I-Q to Da Vinci, we have performed hundreds of subtle manipulations to the shots without loss or noise being added, and the end result is as crisp and clean as the camera original. And to top it off, we've found that what we see on the big screen at Modern VideoFilm translates perfectly to film without requiring scene to scene corrections at the printing stage, even in IMAX. So it has been a slam dunk success of an experience."

- James Cameron

For Detailed Features:

Digital_Cinema.pdf

DLP Projection

DaVinci 2K

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