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The Virtual Print Fee model was created to address this by passing some of the saving on to the cinemas.
As of 4 May , 37, screens out of a total of 40, screens in the United States have been converted to digital, 3, screens in Canada have been converted, and 79, screens internationally have been converted.
Realization and demonstration, on October 29, , of the first digital cinema transmission by satellite in Europe    of a feature film by Bernard Pauchon,  Alain Lorentz, Raymond Melwig  and Philippe Binant.
Digital cinemas can deliver live broadcasts from performances or events. This began initially with live broadcasts from the New York Metropolitan Opera delivering regular live broadcasts into cinemas and has been widely imitated ever since.
The Royal Opera House, Sydney Opera House, English National Opera and others have found new and returning audiences captivated by the detail offered by a live digital broadcast featuring handheld and cameras on cranes positioned throughout the venue to capture the emotion that might be missed in a live venue situation.
In addition these providers all offer additional value during the intervals e. In the last ten years this initial offering of the arts has also expanded to include live and recorded music events such as Take That Live, One Direction Live, Andre Rieu, live musicals such as the recent Miss Saigon and a record-breaking Billy Elliot Live In Cinemas.
Live sport, documentary with a live question and answer element such as the recent Oasis documentary, lectures, faith broadcasts, stand up comedy, museum and gallery exhibitions, TV specials such as the record-breaking Doctor Who fiftieth anniversary special The Day Of The Doctor , have all contributed to creating a valuable revenue stream for cinemas large and small all over the world.
Subsequently, live broadcasting, formerly known as Alternative Content, has become known as Event Cinema and a trade association now exists to that end.
Ten years on the sector has become a sizeable revenue stream in its own right, earning a loyal following amongst fans of the arts, and the content limited only by the imagination of the producers it would seem.
Theatre, ballet, sport, exhibitions, TV specials and documentaries are now established forms of Event Cinema. Event Cinema is defined more by the frequency of events rather than by the content itself.
On occasion more successful events have returned to cinemas some months or even years later in the case of NT Live where the audience loyalty and company branding is so strong the content owner can be assured of a good showing at the box office.
The digital formation of sets and locations, especially in the time of growing film series and sequels, is that virtual sets, once computer generated and stored, can be easily revived for future films.
A broad choice of effects can be sampled simply and rapidly, without the physical constraints posed by traditional cut-and-stick editing.
Low-cost cameras and computer-based editing software have gradually enabled films to be produced for minimal cost. The ability of digital cameras to allow film-makers to shoot limitless footage without wasting pricey celluloid has transformed film production in some Third World countries.
Unlike celluloid film, there is no projection mechanism or manual handling to add scratches or other physically generated artefacts.
Provincial cinemas that would have received old prints can give consumers the same cinematographic experience all other things being equal as those attending the premiere.
Russell  and Quentin Tarantino  have publicly criticized digital cinema and advocated the use of film and film prints.
He attempted at one stage to release Indiana Jones and the Kingdom of the Crystal Skull solely on film. Moreover, 4K post production was becoming more common as of Each frame has greater detail.
Owing to the smaller dynamic range of digital cameras, correcting poor digital exposures is more difficult than correcting poor film exposures during post-production.
A partial solution to this problem is to add complex video-assist technology during the shooting process. However, such technologies are typically available only to high-budget production companies.
The speed and ease of modern digital editing processes threatens to give editors and their directors, if not an embarrassment of choice then at least a confusion of options, potentially making the editing process, with this 'try it and see' philosophy, lengthier rather than shorter.
Because of the quick speed in which they are filmed, these stories sometimes lack essential narrative structure. The evolutions of adding sound and wide screen could largely be accommodated by bolting on sound decoders, and changing lenses.
This well proven and understood technology had several advantages 1 The life of a mechanical projector of around 35 years 2 a mean time between failures MTBF of 15 years and 3 an average repair time of 15 minutes often done by the projectionist.
On the other hand, digital projectors are around 10 times more expensive, have a much shorter life expectancy due to the developing technology already technology has moved from 2K to 4K so the pace of obsolescence is higher.
The MTBF has not yet been established, but the ability for the projectionist to effect a quick repair has gone. The electronic transferring of digital film, from central servers to servers in cinema projection booths, is an inexpensive process of supplying copies of newest releases to the vast number of cinema screens demanded by prevailing saturation-release strategies.
Theaters have been reluctant to switch without a cost-sharing arrangement with film distributors. A solution is a temporary Virtual Print Fee system, where the distributor who saves the money of producing and transporting a film print pays a fee per copy to help finance the digital systems of the theaters.
By contrast, a digital cinema playback system—including server, media block , and projector—can cost two to three times as much,  and would have a greater risk of component failure and obsolescence.
In Britain the cost of an entry level projector including server, installation, etc. Archiving digital masters has also turned out to be both tricky and costly.
In a study, the Academy of Motion Picture Arts and Sciences found the cost of long-term storage of 4K digital masters to be "enormously higher—up to 11 times that of the cost of storing film masters.
Archived digital content must be periodically removed from obsolete physical media to up-to-date media. The expense of digital image capture is not necessarily less than the capture of images onto film; indeed, it is sometimes greater.
From Wikipedia, the free encyclopedia. This article focuses on digital projection and distribution in cinemas. For digital image capture, see digital cinematography.
The use of digital projectors and computer storage devices in cinemas. Retrieved 17 October Digital Signal Processing. Swartz editor , Understanding digital cinema , , p.
MKPE consulting. Retrieved The Hindu. March 29, New York Times. New York. Retrieved November 19, IHS Technology.
January 26, Retrieved September 1, March 19, The Times, Trenton. Motion Picture Association of America. Filmmaker Magazine. Archived from the original PDF on March 19, Archived from the original on Digital Cinema Initiatives.
March 7, Retrieved January 1, December 12, Archived from the original PDF on March 26, Retrieved May 6, From a Physical Point of View in french Introduction au laser.
Samsung US Newsroom. July 12, Animating a Personal Flash Epic. Studio Daily. May 22, Accessed on: May 22, March 25, Springer — via Google Books.
February 20, Archived from the original PDF on May 13, Digital Culture: Understanding New Media. Open University Press. The Hollywood Reporter.
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