Editing Digital cinema (section)

==History==
The transition from film to [[digital video]] was preceded by cinema's transition from analog to [[digital audio]], with the release of the [[Dolby Digital]] (AC-3) [[audio coding standard]] in 1991.<ref name="Britanak">{{cite journal |last1=Britanak |first1=V. |title=On Properties, Relations, and Simplified Implementation of Filter Banks in the Dolby Digital (Plus) AC-3 Audio Coding Standards |journal=IEEE Transactions on Audio, Speech, and Language Processing |date=2011 |volume=19 |issue=5 |pages=1231–1241 |doi=10.1109/TASL.2010.2087755|s2cid=897622 }}</ref> Its main basis is the [[modified discrete cosine transform]] (MDCT), a [[lossy compression|lossy]] [[audio compression (data)|audio compression]] algorithm.<ref>{{cite journal |last1=Andersen |first1=Robert Loring |last2=Crockett |first2=Brett Graham |last3=Davidson |first3=Grant A. |last4=Davis |first4=Mark Franklin |last5=Fielder |first5=Louis D. |last6=Turner |first6=Stephen C. |last7=Vinton |first7=Mark S. |last8=Williams |first8=Phillip |title=Introduction to Dolby Digital Plus, an Enhancement to the Dolby Digital Coding System |journal=[[Audio Engineering Society|Audio Engineering Society Convention]] |date=October 2004 |issue=117th AES Convention |pages=1–29 |url=https://www.dolby.com/in/en/technologies/aes-convention-paper-intro-to-dolby-digital-plus.pdf |archive-url=https://web.archive.org/web/20160626160329/http://www.dolby.com/in/en/technologies/aes-convention-paper-intro-to-dolby-digital-plus.pdf |archive-date=2016-06-26 |url-status=live |access-date=17 October 2019}}</ref> It is a modification of the [[discrete cosine transform]] (DCT) algorithm, which was first proposed by [[N. Ahmed|Nasir Ahmed]] in 1972 and was originally intended for [[image compression]].<ref name="Ahmed">{{cite journal |last=Ahmed |first=Nasir |author-link=N. Ahmed |title=How I Came Up With the Discrete Cosine Transform |journal=[[Digital Signal Processing (journal)|Digital Signal Processing]] |date=January 1991 |volume=1 |issue=1 |pages=4–5 |doi=10.1016/1051-2004(91)90086-Z |url=https://www.scribd.com/doc/52879771/DCT-History-How-I-Came-Up-with-the-Discrete-Cosine-Transform}}</ref> The DCT was adapted into the MDCT by J.P. Princen, A.W. Johnson and Alan B. Bradley at the [[University of Surrey]] in 1987,<ref>{{cite book |last1=Princen |first1=J.P. |last2=Johnson |first2=A.W. |last3=Bradley |first3=Alan B. |title=ICASSP '87. IEEE International Conference on Acoustics, Speech, and Signal Processing |chapter=Subband/Transform coding using filter bank designs based on time domain aliasing cancellation |date=1987 |volume=12 |pages=2161–2164 |doi=10.1109/ICASSP.1987.1169405|s2cid=58446992 }}</ref> and then [[Dolby Laboratories]] adapted the MDCT algorithm along with [[perceptual coding]] principles to develop the AC-3 audio format for cinema needs.<ref name="Britanak"/> [[1990s in film|Cinema in the 1990s]] typically combined analog photochemical images with digital audio.

Digital media playback of high-resolution 2K files has at least a 20-year history. Early video data storage units ([[RAID]]s) fed custom frame buffer systems with large memories.  In early digital video units, the content was usually restricted to several minutes of material. Transfer of content between remote locations was slow and had limited capacity. It was not until the late 1990s that feature-length films could be sent over the "wire" (Internet or dedicated fiber links). On October 23, 1998, [[Digital light processing]] (DLP) projector technology was publicly demonstrated with the release of ''[[The Last Broadcast (film)|The Last Broadcast]]'', the first feature-length movie, shot, edited and distributed digitally.<ref>{{cite web|url=http://www.upenn.edu/pennnews/current/1998-10-15/editors-pick/live-satellite-first-digital-premiere |title=Live via satellite: the first digital premiere &#124; Penn Current |publisher=Upenn.edu |date=1998-10-15}}</ref><ref>{{cite news|url=http://www.indiewire.com/article/d_day_for_two_digital_movies_as_the_cruise_and_the_last_broadcast_debut_in_ |title=D Day for Two Digital Movies as "The Cruise" and "The Last Broadcast" Debut in Theaters Today &#124; Filmmakers, Film Industry, Film Festivals, Awards & Movie Reviews |work=Indiewire }}</ref><ref>{{cite web|url=http://www.thelastbroadcastmovie.com/tlb99/filmmakersbios.htm |title=The Last Broadcast |publisher=Thelastbroadcastmovie.com }}</ref> In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States ([[Philadelphia]], [[Portland, Oregon|Portland (Oregon)]], [[Minneapolis]], [[Providence, Rhode Island|Providence]], and [[Orlando, Florida|Orlando]]).

===Foundations===
[[File:Texas Instruments, DLP Cinema Prototype System, Mark V, Paris, 2000 - Philippe Binant Archives.jpg|thumb|Texas Instruments, DLP Cinema prototype projector, Mark V, 2000]]
In the United States, on June 18, 1999, Texas Instruments' ''DLP Cinema'' projector technology was publicly demonstrated on two screens in Los Angeles and New York for the release of Lucasfilm's ''[[Star Wars: Episode I – The Phantom Menace|Star Wars Episode I: The Phantom Menace]]''.<ref>[[Charles S. Swartz]] (editor), ''Understanding digital cinema'', 2005, p. 159.</ref><ref>{{Cite web|url=https://rondiamond.medium.com/star-wars-and-the-phantom-celluloid-1999-82398d503739|title=Star Wars and the Phantom Celluloid|website=rondiamond.medium.com|date=5 November 2022 }}</ref> In Europe, on February 2, 2000, Texas Instruments' ''DLP Cinema'' projector technology was publicly demonstrated, by Philippe Binant, on one screen in Paris for the release of ''[[Toy Story 2]]''.<ref>[[Jean-Michel Frodon]] and [[Dina Iordanova]] (editors), ''Cinemas of Paris'', University of St Andrews, Scotland, 2016, p. 149.</ref><ref>{{Cite web|url=http://www.silverscreens.com/ts2digit.php|title=Silver Screens - Toy Story en numérique à Paris|website=www.silverscreens.com}}</ref>

From 1997 to 2000, the [[JPEG 2000]] [[image compression]] standard was developed by a [[Joint Photographic Experts Group]] (JPEG) committee chaired by Touradj Ebrahimi (later the JPEG president).<ref>{{cite book |last1=Taubman |first1=David |last2=Marcellin |first2=Michael |title=JPEG2000 Image Compression Fundamentals, Standards and Practice: Image Compression Fundamentals, Standards and Practice |date=2012 |publisher=[[Springer Science & Business Media]] |isbn=9781461507994 |url=https://books.google.com/books?id=y7HeBwAAQBAJ&pg=PA402}}</ref> In contrast to the original 1992 [[JPEG]] standard, which is a DCT-based [[lossy compression]] format for static [[digital images]], JPEG 2000 is a [[discrete wavelet transform]] (DWT) based compression standard that could be adapted for motion imaging [[video compression]] with the [[Motion JPEG 2000]] extension. JPEG 2000 technology was later selected as the [[video coding standard]] for digital cinema in 2004.<ref name="Swartz">{{cite book |last1=Swartz |first1=Charles S. |title=Understanding Digital Cinema: A Professional Handbook |date=2005 |publisher=[[Taylor & Francis]] |isbn=9780240806174 |page=147 |url=https://books.google.com/books?id=tYw3ehoBnjkC&pg=PA147}}</ref>

===Initiatives===
On January 19, 2000, the [[Society of Motion Picture and Television Engineers]], in the United States, initiated the first standards group dedicated towards developing digital cinema.<ref>{{cite news |url=http://www.mkpe.com/publications/d-cinema/misc/dc28_takes_off.php |title=SMPTE's Digital Cinema Committee Takes Off Running |publisher=MKPE consulting |year=2000 |access-date=2011-10-25}}</ref> By December 2000, there were 15 digital cinema screens in the United States and Canada, 11 in Western Europe, 4 in Asia, and 1 in South America.<ref>{{cite web|url=http://www.europa-distribution.org/files/bruxelles/digital_cinema_figures.pdf |archive-url=https://web.archive.org/web/20090107012002/http://www.europa-distribution.org/files/bruxelles/digital_cinema_figures.pdf |archive-date=2009-01-07 |url-status=live |title=Digital Cinema – Key Figures & Facts |date=2006-07-23}}</ref> [[Digital Cinema Initiatives]] (DCI) was formed in March 2002 as a joint project of many motion picture studios ([[Walt Disney Studios (division)|Disney]], [[20th Century Fox|Fox]], [[MGM]], [[Paramount Pictures|Paramount]], [[Sony Pictures]], [[Universal Pictures|Universal]] and [[Warner Bros.]]) to develop a system specification for digital cinema.<ref name="spec"/> The same month it was reported that the number of cinemas equipped with digital projectors had increased to about 50 in the US and 30 more in the rest of the world.<ref>[https://www.forbes.com/2002/03/18/0318digitaldistribution.html Attack Of The Digital Movie]</ref>

In April 2004, in cooperation with the [[American Society of Cinematographers]], DCI created standard evaluation material (the ASC/DCI StEM material) for testing of 2K and 4K playback and compression technologies. DCI selected [[JPEG 2000]] as the basis for the compression in the system the same year.<ref>{{Cite web | url=https://www.imdb.com/title/tt1666288/trivia |title = ASC-DCI StEM (2004)|website = [[IMDb]]}}</ref> Initial tests with JPEG 2000 produced [[bit rate]]s of around 75{{ndash}}125&nbsp;[[Mbit/s]] for [[2K resolution]] and 100{{ndash}}200&nbsp;Mbit/s for [[4K resolution]].<ref name="Swartz"/>

===Worldwide deployment===
In China, in June 2005, an e-cinema system called "dMs" was established and was used in over 15,000 screens spread across China's 30 provinces. dMs estimated that the system would expand to 40,000 screens in 2009.<ref>{{cite web| url = http://www.dmcc.gov.cn| title = China Digital Cinema Development Center}}</ref> In 2005 the UK Film Council Digital Screen Network launched in the UK by Arts Alliance Media creating a chain of 250 2K digital cinema systems. The roll-out was completed in 2006. This was the first mass roll-out in Europe. AccessIT/Christie Digital also started a roll-out in the United States and Canada. By mid 2006, about 400 theaters were equipped with 2K digital projectors with the number increasing every month. In August 2006, the [[Malayalam]] digital movie ''[[Moonnamathoral]]'', produced by Benzy Martin, was distributed via satellite to cinemas, thus becoming the first Indian digital cinema. This was done by Emil and Eric Digital Films, a company based at Thrissur using the end-to-end digital cinema system developed by Singapore-based DG2L Technologies.<ref name="The Hindu">{{cite news | url=http://www.hindu.com/2006/08/19/stories/2006081901860200.htm | archive-url=https://web.archive.org/web/20061210045041/http://www.hindu.com/2006/08/19/stories/2006081901860200.htm | url-status=dead | archive-date=2006-12-10 | title= Digital movie in Malayalam released | date=2006-08-19 | newspaper=[[The Hindu]] | access-date=2006-08-23 }}</ref>

In January 2007, ''[[Guru (2007 film)|Guru]]'' became the first [[Indian film]] mastered in the DCI-compliant JPEG 2000 Interop format and also the first Indian film to be previewed digitally, internationally, at the Elgin Winter Garden in Toronto. This film was digitally mastered at Real Image Media Technologies in India. In 2007, the UK became home to Europe's first DCI-compliant fully digital multiplex cinemas; Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens, were launched on 9 February 2007. By March 2007, with the release of Disney's ''[[Meet the Robinsons]]'', about 600 screens had been equipped with digital projectors. In June 2007, Arts Alliance Media announced the first European commercial digital cinema [[Virtual Print Fee]] (VPF) agreements (with [[20th Century Fox]] and [[Universal Pictures]]). In March 2009 [[AMC Theatres]] announced that it closed a $315 million deal with [[Sony]] to replace all of its [[movie projector]]s with 4K digital projectors starting in the second quarter of 2009; it was anticipated that this replacement would be finished by 2012.<ref>{{Cite news   | last = Taub  | first = Eric A.  | title = AMC to Get Sony Digital Projectors  | newspaper = New York Times  | location = New York  | date = March 29, 2009  | url = https://www.nytimes.com/2009/03/30/technology/companies/30sony.html  | access-date = November 19, 2009}}</ref>

As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection.<ref>{{cite web|url=https://variety.com/2013/film/news/digital-cinema-conversion-nears-end-game-1200500975/|title=Digital Cinema Conversion Nears End Game|author=Leo Barraclough|date=June 23, 2013|work=Variety}}</ref> In January 2011, the total number of digital screens worldwide was 36,242, up from 16,339 at end 2009 or a growth rate of 121.8 percent during the year.<ref>{{cite web | url=http://www.isuppli.com/media-research/marketwatch/pages/digital-screen-numbers-and-forecasts-to-2015-are-finalised.aspx | title=Digital Screen Numbers and Forecasts to 2015 are Finalised | work=IHS Technology | date=January 26, 2011 | access-date=September 1, 2016}}</ref> There were 10,083 d-screens in Europe as a whole (28.2 percent of global figure), 16,522 in the United States and Canada (46.2 percent of global figure) and 7,703 in Asia (21.6 percent of global figure). Worldwide progress was slower as in some territories, particularly Latin America and Africa.<ref>{{cite web|last=Romanek |first=Neal |url=http://www.screendaily.com/news/inaugural-uk-digital-cinema-conference-assesses-the-state-of-digital-cinema/5051676.article?blocktitle=ScreenTech&contentID=283 |title=Inaugural UK Digital Cinema Conference assesses the state of digital cinema &#124; News &#124; Screen |publisher=Screendaily.com |date=2013-02-07}}</ref><ref name="nj2012">{{cite web| title= Newtown's old-time movie house looks for revival in the digital age| url=http://www.nj.com/mercer/index.ssf/2012/03/newtowns_old-time_movie_house.html | date= March 19, 2012 | first=Joyce J. |last=Persico|work= [[The Times (Trenton)|The Times, Trenton]] | publisher= New Jersey On-Line LLC| access-date=2012-04-07}}</ref> As of 31 March 2015, 38,719 screens (out of a total of 39,789 screens) in the United States have been converted to digital, 3,007 screens in Canada have been converted, and 93,147 screens internationally have been converted.<ref name="natoonline.org">{{cite web|url=http://natoonline.org/initiatives/cinema-technologies/|title=Cinema Technologies|work=natoonline.org| access-date=September 1, 2016 |date=2013-07-20}}</ref> By the end of 2017, virtually all of the world's cinema screens were digital (98%).<ref>{{cite web |title=2017 THEME Report |url=https://www.mpaa.org/wp-content/uploads/2018/04/MPAA-THEME-Report-2017_Final.pdf |archive-url=https://web.archive.org/web/20180405152843/https://www.mpaa.org/wp-content/uploads/2018/04/MPAA-THEME-Report-2017_Final.pdf |archive-date=2018-04-05 |url-status=live |website=[[Motion Picture Association of America]]}}</ref> Digital cinema technology has continued to develop over the years with 3D, RPX, 4DX and ScreenX, allowing moviegoers with more immersive experiences.<ref>{{Cite web |title=4DX |url=https://www.cj4dx.com |website=4DX}}</ref>

Despite the fact that today, virtually all global movie theaters have converted their screens to digital cinemas, some major motion pictures even as of 2019 are shot on film.<ref>{{Cite web|url=https://www.kodak.com/US/en/motion/customers/productions/default.htm|title=StackPath|website=www.kodak.com|access-date=2019-09-14}}</ref><ref>{{Cite web|url=https://filmmakermagazine.com/107353-23-films-35mm-released-in-2018/|title=24 Films Shot on 35mm Released in 2018|last=Rizov|first=Vadim|website=Filmmaker Magazine|date=24 April 2019 |language=en-US|access-date=2019-09-14}}</ref> For example, [[Quentin Tarantino]] released his latest film ''[[Once Upon a Time in Hollywood]]'' in 70&nbsp;mm and 35&nbsp;mm in selected theaters across the United States and Canada.<ref>{{Cite web|url=https://www.indiewire.com/2019/07/once-upon-a-time-in-hollywood-35-mm-70-mm-movie-theater-locations-quentin-tarantino-1202160721/|title=Where to See 'Once Upon a Time in Hollywood' on Celluloid, Quentin Tarantino's Preferred Format|last1=Brueggemann|first1=Tom|date=2019-07-24|website=IndieWire|access-date=2019-09-14}}</ref>