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The rate at which digital cinema technology is progressing across the globe can be seen as both a blessing and a potential hazard. There are still many issues that need to be resolved before the film industry as a whole can be confident about what the future holds. Agreements have yet to be made on resolution and standardization issues, and although this is being addressed globally, because of the wide and varying differences of opinion between all those associated with film production and exhibition, it will be some time before any conclusions are drawn.

The technology itself is also developing at an alarming rate, and while the UK Film Council has just announced that it will be investing approxi- mately 13 million pounds in 2K projection, the first 4K projector prototype from NTT in Japan has just been demonstrated in the UK. Questions about massive investment now in technology that could be redundant in five years’ time need to be addressed and this is one of the reasons for the

reluctance of commercial exhibitors to invest in digital technology. While filmmakers strive for the perfect picture, distributors strive for cheaper distribution methods and the manufacturers are vying for attention – the audiences at present do not seem to be concerned one way or the other whether they watch a digital or 35 mm film. Having said that, recent audi- ence responses to the screening of Warner’s digitalized classics Casablanca,

Singin’ in the Rainand The Adventures of Robin Hood at the National Film Theatre (NFT) have been overwhelmingly positive.

The Digital Test Bed (DTB) at the NFT was born out of the need for an independent and neutral testing facility for exploring the new digital technology that is already having an impact on cinema exhibition and film- making. The inspiration came out of the industry cooperation that resulted in the road-show ‘Celluloid or Silicon?’, which toured London, Glasgow, Cardiff, Bradford and Belfast in November to December 2000 and was funded by the DTI (Department of Trade and Industry) and DCMS (Department for Culture, Media and Sport). There was also a call for a UK/European equiva- lent to the Digital Cinema Lab set up by the Entertainment Technology Centre (ETC) in Hollywood. These two elements came together in the DTB. The Test Bed is funded by the DTI, with support from the British Film Institute (BFI) and members of the film and technology industry that have contributed their equipment and/or time and expertise. These include Barco Digital Systems, Christie Digital, Denon, Digital Projection International, Digital Theatre Systems Dolby, JVC, Panastereo, Panasonic, QuVis, Screen Digest, Snell & Wilcox, SohoNet, Sony and Texas Instruments. The NFT is an ideal location to house the Test Bed because of its history, impartiality and high level of cinema expertise, as well as connections with the British and international film industry.

The objectives of the project are as follows, and initially the project will run for two years although it is expected that there will be a need for this

Objective 1

To build and operate a D-cinema Test facility to demonstrate all elements of digital cinema distribution and reproduction. This will enable experi- ments and investigations to be carried out on various parts of the D-cinema chain to gather data for the world standardization of parameters in D-cinema.

Objective 2

To produce reports on the experiments/investigations as output to the various D-cinema standardization bodies.

facility for some time and further funding will be sought from other poten- tial funding partners.

The Test Bed will test and explore every aspect of the emerging technology of digital creation, distribution and exhibition of film, as well as other forms of alternative content. There is considerable work to be done in areas such as standardization, training and education and the Test Bed will provide a forum for debate for the industry. There are also new areas, such as inter- activity, that are only in the early stages of development. The subject of the audiences’ response to digital display has also only been marginally explored and the NFT and Test Bed will be presenting digitalized classics to its audience throughout 2004, as part of a Digital Futures programme, and finding out what these audiences think about the various issues regarding digital cinema.

The project will work with creatives, cinema exhibitors and technology providers and, not least, the audience to help make the transition from 35 mm film for cinema display to digital projection an improved experience that benefits all parties. In doing so, it is envisaged that the Test Bed will work with similar projects around the world, such as those in Japan, Brazil

Why a Digital Test Bed?

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Objective 3

To offer equipment and systems suppliers the means of developing and testing new equipment and technology.

Objective 4

To offer content creators the opportunity to understand and adopt new E-/D-cinema concepts.

Objective 5

To produce a website to help disseminate the information gathered in the experiments and investigations. This site will be updated on, at least, a 14-day cycle.

Objective 6

To create awareness and understanding within the cinema and equip- ment industry through consultation, demonstration and dissemination of information.

Source:Boyd, R and Trigg, S (2000) Digital Test Bed Objectives. Bid Document, National Film Theatre

and Europe. Not least it is envisaged that it will work with the Entertainment Technology Centre (ETC) in Hollywood and the European Digital Cinema Forum (EDCF).

There are several projects and events that the DTB is scheduled to perform in its initial two year existence in order to reach its objectives. These range from holding seminars on the various aspects of digital, under- taking demonstrations of new technologies, carrying out standards and technology tests and comparisons, and exploring interactive possibili- ties. Some of the most recent events are an HD TV event to educate television producers about the use of HD, a Screen Digest Seminar on the alternative uses of digital cinema technology and demonstrations and tests of the 4K prototype from NTT in Japan, as well as other pieces of equipment. January 2004 saw the first seminar for archivists, who were able to explore the possibilities of digitalizing their collections, and a workshop for projectionists will introduce them to the technology that they could soon be using.

The Test Bed is equipped with the most advanced cinema technology in the world used for digital distribution, storage and projection. This includes several different projectors from different manufacturers (Barco, Christie, Digital Projection International) and using different technologies (Texas Instruments’ DLP Cinema®_{and JVC’s D-ILA), servers, routers, up-} converters and most digital tape and disc formats, as well as digital audio and associated equipment.

The NFT plans to make use of the projection technology and capability of the Test Bed for its own film screenings throughout the life of the project. The HD digital projector means that any digitally originated film, whether a DV Dogma film or the latest Pixar animation, can be shown in its original and intended format.As more and more films take the digital route – whether shot on mini-DV, 24p high-definition (HD) cameras, digital intermediate (DI) or computer generated imagery and animation – they will no longer have to be transferred to 35 mm prints to be screened. Films can be shown off tape, DVDs, hard drives or piped in over cable or satellite. Older films from archives can also be re-mastered in digital and screened repeatedly without the copy getting scratched or worn over time. Most recently the Test Bed facility has enabled the NFT to host ResFest (November 2003) – an international digital film festival for new and established filmmakers. The test bed was used during the 2003 London Film Festival and will be used for all of the NFT festivals in 2004/05.

The DTB will work with organizations such as the UK Film Council, Skillset, the British Kinematograph Sound and Television Society (BKSTS) and the DTI, as well as international agencies such as the EDCF, SMPTE (the Society of Motion Picture and Television Engineers) and DCI (Digital Cinema Initiatives), and act as a catalyst for the dissemination of information

about this technology across the industry. It is envisaged that the NFT will contribute towards the new Digital Screen Network (set up by the UK Film Council), which will enable it to reach new and wider audiences, particularly with education events and their Guardian Interviews, which are restricted to audiences on the South Bank.

Equipment

There are several key manufacturers whose equipment is vital to the Test Bed and the following explains the equipment specifications and purpose. One of the highlights of the Test Bed has been the positive work- ing relationship that has developed between the various manufacturers and the quality of work being produced is testament to this. Most notably technical support from Rex Becket and David Monk from Texas Instruments have proved invaluable, as well as support from Peter Wilson from projector manufacturers Snell & Wilcox, and not least the NFT projection team.