IBC DCD live blog: fourth session (misc)

We get to see the 'History of Digital Cinema' reel put together by the ETC.

Thomas Hoegh (Arts Alliance) - Gives what comes across as the afternoon keynote, but it's the same one I've heard before. Given that he has delivered it several times at previous events, I'm surprised that it is not more polished. Also, someone should point out that in the slide where he shows the programming of a digital multiplex of the future (the one where a film called "Gay Western" seems to play a lot) that several of the screenings are marked as "New Almoldovar". As Steve Perrin, who uses the director of 'Volver' a lot as an example, could tell him, there is only one 'L' in the Spanish director Pedro Almodovar's surname.

Thomas apologises for re-using the "Zone of Contention". Says "Harry Potter" films will grow but mediocre films will get squeezed out. I'm not sure about the tact of using the latest Adam Sandler film as an example of the latter when Al Barton is in the audience and it was SPE that released "Click". Now he talks about turning a Henrik Ibsen poem into a conceptual show in Japan. People are scratching their heads at the digital cinema relevance of this. Apparently digital projectors were used. Small Quicktime file shown. Five swirling vortexes on the screen and what sounds like an angry Japanese voice on the soundtrack. This goes on for the better part of a minute. Very strange. Then it's over. He said he would talk more about the other Norwegian project, but it was just the slide at the start. Ho-hum.

Kevin Wakeford (Sony Europe) - Will talk about the role and view of Sony and show "Poseidon" clip. With Danish subtitles. No powerpoint (well done!) and good historical prediction. Must ask him for a copy of it. Lists "Four reasons for 4K" - Emotional, Quality, Experience and Financial (I think. Sorry. I'm typing notes from previous session due to Vodafone problems with instant e-mail). We watch the "Poseidon" clip. Looks good, though I'm too far back to make out any detail. But why are clips heavy on CG footage done in 2K used so often for presentations of 4K? It was the same with the "I, Robot" clip that now appears to have been retired.

Neil Feldman (In-Three) - Good presentation on Dimensionalization (important note, this is a trade marked In-Three term, although the likes of James Cameron apparently uses it freely as a generic verb). He stresses that their process does not involve planes (layers) as they are in control of every aspect of the image. Calls the result "surround sound for the eyes" rather than gimmicky theme-park ride or headache-inducing Imax-like experience. Good presentation. Can't keep up with the typing. Stresses that their content works both with active glasses and passive (polarized) glasses. Small sop to Sony - 3D has to be part of the package. Calls it the 'killer application' of digital cinema.

Andrew Robinson (Harkness Hall) - Why screen technology matters, talk. Light loss and issue both for active and passive 3D. Can be as much as 50%. Explains each method. "Passive systems are clearly preferred rout in cinemas." Silver screen considerations. More inclined to hot spot and narrower viewing angle (25-30 degrees). Still thinks that silver screen is the way forward.

Matt Cowan (Real D) - talks about how much more "Chicken little" and "Monster house" earned in 3D. Talks about Real-D deployments. Lists future 3D films. Apparently there is rumours of a U2 concert in 3D (Bono - coming at you!!) He explains the technology behind the system. Second eye apparently only requires 15% extra bandwidth. Glasses are circular polarized for no ghosting. Lots of content promised for demo, Meet the Robinsons trailer will be only new one for me. Thanks given to Christie, QuVis and Harkness Hall.