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Digital cinema refers to the use of digital technology to distribute or project motion pictures as opposed to the historical use of motion picture film. A movie can be distributed via hard drives, the Internet, dedicated satellite links or optical disks such as Blu-ray Discs. Digital movies are projected using a digital projector instead of a conventional film projector. Digital cinema is distinct from high-definition television and is not dependent on using television or high-definition video standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048×1080 or 2.2 megapixels) or 4K (4096×2160 or 8.8 megapixels). As digital cinema technology has improved in early 2010s, most of the theaters across the world have converted to digital.〔(Digital Cinema Conversion Nears End Game )〕 ==History== Digital media playback of hi-resolution 2K files has at least a 20-year history with early video data storage units (RAIDs) feeding custom frame buffer systems with large memories. Content was usually restricted to several minutes of material. Transfer of content between remote locations was slow and had limited capacity. It wasn't until the late 1990s that feature-length projects could be sent over the 'wire' (Internet or dedicated fiber links). On October 23, 1998, digital light processing (DLP) projector technology was publicly demonstrated for the first time with the release of ''The Last Broadcast'', the first feature-length movie, shot, edited and distributed digitally.〔(【引用サイトリンク】title=Live via satellite: the first digital premiere | Penn Current )〕 In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States (Philadelphia, Portland (Oregon), Minneapolis, Providence, and Orlando). On June 18, 1999, Texas Instrument's ''DLP Cinema'' projector technology was publicly demonstrated on four screens in North America (Los Angeles and New York) for the release of Lucasfilm's ''Star Wars: Episode I: The Phantom Menace''.〔Charles S. Swartz (editor), ''Understanding digital cinema'', 2005, p. 159.〕 Theaters with digital projectors were projecting footage right from Pixar Animation's computers. On January 19, 2000, the Society of Motion Picture and Television Engineers, in North America, initiated the first standards group dedicated towards developing Digital Cinema. By December 2000, there were 15 digital cinema screens in North America, 11 in Western Europe, 4 in Asia, and 1 in South America. Digital Cinema Initiatives (DCI) was formed in March 2002 as a joint project of many motion picture studios (Disney, Fox, MGM, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios) to develop a system specification for digital cinema. 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 JPEG2000 as the basis for the compression in the system the same year.〔http://www.imdb.com/title/tt1666288/trivia〕 In China, an E-Cinema System called "dMs" was established on June 2005, and is 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.〔(China Digital Cinema Development Center )〕 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. Equipment used: - Christie CP2000S, NEC NC800C, initially QuVIS Cinema Players which were replaced by Doremi DCP2000's mid way through the roll out in mid 2006. This was the first mass roll out in Europe. Axis IT/Christie Digital also started a roll out in North America. By mid 2006, about 400 theaters were equipped with 2K digital projectors with the number increasing every month. Several digital 3D films surfaced in 2006 and several prominent filmmakers committed to making their next productions in stereo 3D. VUE West End was one of the first 3D Digital Cinemas along with Odeon Printworks Manchester and VUE Cheshire Oaks with the RealD Inc. equipment installed. All sites supported at the time by Arts Alliance Media. In August 2006, the Malayalam digital movie ''Moonnamathoral'', produced by Mrs. 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. In 2007 the UK became home to Europe's first DCI-compliant fully digital multiplex cinemas, Odeon Hatfield and Odeon Surrey Quays (London) with a total of 18 digital screens were launched on Friday 9 February 2007. By March 2007, with the release of Disney's ''Meet the Robinsons'', about 600 screens had been equipped with 2K digital projectors that feature Real D Cinema's stereoscopic 3D technology, marketed under the Disney Digital 3-D brand. In June 2007, Arts Alliance Media announced the first European commercial digital cinema Virtual Print Fee (VPF) agreements (with Twentieth Century Fox and Universal Pictures). As of July 2007, there were some cinemas in Singapore showing digital 4K films to public using Sony 4K digital projectors. They are located at Golden Village Cinema in Vivocity (Hall 11), Eng Wah Cinema in Suntec (Hall 3), Shaw Cinema in Bugis (Hall 1 & 3) and at Cathay Cineplex (Hall 7). In September 2007, Muvico Theaters Rosemont 18 in Rosemont, Illinois became the first theater in North America to have Sony's 4K digital projectors for all 18 screens. In January 2007, "Guru" became the first Indian movie mastered in the DCI compliant Jpeg2000 Interop format and also the first Indian film to be previewed digitally, internationally, at the Elgin Winter Garden in Toronto. "Guru" was digitally mastered at Real Image Media Technologies, India. In March 2009 AMC Theatres announced that it closed on a $315 million deal with Sony to replace all of its movie projectors with 4K digital projectors starting in the second quarter of 2009 and completing in 2012. By June 2010, there were close to 16,000 digital cinema screens, with over 5000 of them being stereoscopic setups. Considering an article written by David Hancock, the total number of d-screens worldwide came in at 36,242, up from 16,339 at end 2009 or a growth rate of 121.8 percent during the year.〔http://www.isuppli.com/media-research/marketwatch/pages/digital-screen-numbers-and-forecasts-to-2015-are-finalised.aspx〕 There were 10,083 d-screens in Europe as a whole (28.2 percent of global figure), 16,522 in North America (46.2 percent of global figure) and 7,703 in Asia (21.6 percent of global figure). As regards digital 3D screens, there were a total of 21,936 3D screens, which equals 60.5 percent of all d-screens. This was a rise from the 55 percent in 2009 but is expected to drop slightly in 2011 to 57.5 percent. By the end of 2012, according to ''Screen Digest'', 91.4% of UK screens had been converted to digital and the rest expected to be so by the middle of 2013.〔Screen Digest〕 Worldwide progress was slower as in some territories, particularly Latin America and Africa, progress was much slower. However almost all screens worldwide were expected to be converted by the end of 2015. 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 (15,643 of which are 3D capable), 3,007 screens in Canada have been converted (1,382 of which are 3D), and 93,147 screens internationally have been converted (59,350 of which are 3D).〔http://natoonline.org/initiatives/cinema-technologies/〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「digital cinema」の詳細全文を読む スポンサード リンク
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