Apologies for not getting around to writing any kind of summary of the digital cinema events at IBC sooner as there's been a lot to get on with immediately afterwards internally.
In my view, this was the year that IBC truly became a digital cinema event that was not to be missed. While there had been many previous years with good session, this was the first time that everything was so consistently good as to make it a definitive must-attend event.
A large part of the credit goes to the organisers for pulling together a great selection of speakers in a very good mix of panels. Hats off to Dave Monk in particular, the panel chairs and everyone who worked hard behind the scenes. There were lots of worthwhile events showcasing everything from digital stereoscopic cinema (SPE's "Monster House", with lines literally forming around the block) to various 4K equipment demos. Hats off here to Phil White, Rex Beckett and everyone in the projection booth. There were also plenty of interesting digital cinema-related stands to visit and meetings to be had on the IBC show floor.
Without taking anything away from the organisers, though, it could also be that digital cinema is maturing as an industry, though it is still in its starting blocks. (Perhaps we should see everything that went on before as the training and warm-up for the main event, i.e. something that should not be skipped over, even though to the un-initiated outsider it's a bore to wait for the race to get underway.) I'm not saying that everything was perfect or that everyone got everything right - I know one colleague who will now never forget that DCM stands for 'Digital Cinema Master' and not 'Digital Cinema Material' - but even the best of events should have scope for improvement, and this year IBC set the bar fairly high for itself next year based on the really good quality of this years conference and show.
One of the good elements of IBC as the EDCF meetings. I know that there were a few raised eyebrows when it was announced that John Wilkinson of the CEA was replacing Ase Kleveland as President of the EDCF. But John more than delivered in what was an inaugural presentation that mixed the right level of insight, humour and realisation of what is needed for the EDCF to move ahead. Having the head of a cinema industry association leading the EDCF is a very important step in engaging the exhibitor community and it turns out that it being Mr Wilkinson he understands the EDCF and the priorities it should have (such as engaging at the right level with Brussels). So hats off to him and the EDCF board too. (Remember, I wore both a Deluxe hat and a NORDIC hat at IBC, so I've got plenty of hats to raise). It wasn't fireworks, but that's not what the EDCF needs right now, rather quiet determination to make it work in this critical phase.
I don't want to get too navel gazing about the blog, but as many of your took the time to offer comments, feedback and constructive criticisms, it's only fair that I acknowledge it here. I will be the first to put my hand up and say that I have not found the right tone for it yet. I know what it isn't (E-Cinema Alert Mark II), but I'm still not 100% sure what it is. A way to keep you informed about the digital cinema industry, including what Deluxe is doing in it, is the best description I can think of.
Some said I wrote too much or had comments that were slightly too barbed or just not funny. Perhaps. But having commented on this industry since 1999 I have more respect for everyone still hanging in there than you might guess and even admire the achievements of our would-be competitors. (Cue harp playing and a golden halo appearing over the head of yours truly).
On the specific charge that I shouldn't be the first to throw stone, particularly correcting other people's Powerpoint spelling errors when my own blog postings are littered with them too. Fair 'nuff, up to a point. I type out these in a rush, often on a tiny Blackberry keyboard in dimly lit spaces, as opposed to having prepared them in advance and shown it several times at international conferences. And if you must get a name wrong, it's particularly unfortunate if it happens to be that of one of the greatest and most famous European directors alive and working today. But enough of a solipsistic introspective self-critique.
Interesting news reaches us from AccessIT, which has made three senior appointments as the company continues its break-neck growth. "ACCESSITÂ’S CHRISTIE/AIX UNIT ANNOUNCES THREE EXECUTIVE HIRES" Chuck Goldwater is absolutely right when he says that "Christie/AIX is the clear leader in the deployment of digital cinema in the United States" and I'm glad I got a chance to catch up with him at IBC (you too can meet all Digital Cinema All-Stars at next year's IBC, but book now if you want to find an affordable hotel!). All three executives have solid groundings and I hope to meet them myself when I'm in Los Angeles next. It might be worth mentioning that Deluxe and AccessIT have a very good working relationship in the US, where Deluxe has supplied their growing chain of installations with more films in digital than anyone else, thanks to the digital push of our partner studios. If/when AccessIT roll out in Europe, which I am sure they will do, I hope that we too in Deluxe Digital Cinema Europe (DDCE) will get to extend that co-operation to our shores. See managed to work a relevant plug for Deluxe into that piece of news. I'm learning, I'm learning.
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