The comprehensive roll-out of high-end digital projection in cinemas could begin as early as 2004. Yet already today there are several thousand low-end networked digital projectors installed in cinemas around the world, being used every day, whether for pre-show digital advertising, alternative content, business meetings, gaming and more.

Digital Cinema Business Models examines every aspect of the new technology and change in business practices to establish who will benefit from the transition and where there is new money to be made or savings to be had, as well as the opportunities for new players and new forms of large screen entertainment and content.

This report is the essential tool for understanding the greatest challenge to face the cinema industry in its 100-year history.

Key Points:

• Winners and losers profiled: what will be the dominant technologies and which manufacturers have the best chance to cash in on the digital cinema conversion process.
• Role of digital advertising: The 2,750 digital 'pre-show' projectors currently in use around the world are having more of an impact than the 160+ digital cinema projectors in Europe, Asia and North and South America.
• Global lessons: Early trials in Brazil, China and Sweden could re-write the rules for how films get screened in both existing multiplexes as well as new screening sites
• New entertainment: Alternative content is maturing as a business proposition and 2003 promises to be a breakthrough year for new forms of large screen entertainment.
• Film analysis: Detailed breakdown of ALL films screened in digital cinemas in US and internationally gives explanation of hidden costs and problems of digital releasing.
• Driving factors: Key factors in driving conversion to digital cinema, including changing release patterns, growth of day-and-date international releases and ultra-wide releases are weighed up against $1.36bn annual saving from eliminating making and handling of film prints.

Table of Contents:

Executive summary

A brief history of the cinema

Genesis
Rise of the feature film
Sound
Golden days
Television and its consequences
Paramount Decree
Colour television
The blockbuster era
Home video and home cinema
Overbuilding, bankruptcy and re-birth
Digital threats and opportunities
HDTV

Technology
Introduction
Historical investment
Redundancy
Standards
The myth of a uniform 35mm standard
D-cinema standards bodies
Branding and certification
1K, 2K, 4K and 1,080 lines
HD vs. SD
Horizontal vs. vertical
Mastering vs. projection
Compression, CA, audio and more
Players
Overview
Price and initial sales
Licence
Projector Technologies
Texas Instruments
JVC
Sony (GLV)
Laser
DLP Cinema projector manufacturers
Barco
Christie Digital
DPI/NEC
Others
Server technologies
Avica Technology
EVS
GDC Technology
QuVis
Qualcomm
Encryption
Cinea
TecSec
Octalis

Film print savings
The 35mm film process
Cost factors
Estimating costs
MPAA figures
Lab figures
Europe
Distribution and handling
Prints—trailer, advertising and other
Per-screening calculation
Ultra-wide releases
Windows and release patterns
Piracy and import levels
Diminishing role of cinema
Various cost savings
The many lives and profits of film
Conclusion

Film content
Digital chicken-or-egg
Terminology
Cost of mastering
Different types of origination
Animation—CG
Animation—cell
Digital video—high end
Digital video—low end
35mm film
Digital intermediate
Digital as cost saver
Growth of orphan titles
Digital cinema for re-release
Geographical differences
Support of creatives
Conclusion

Studio report card
Hollywood
Disney/Buena Vista
Warner Bros
Sony Pictures
Universal
Twentieth Century-Fox
Miramax
MGM
Dreamworks SKG
Paramount
New Line Cinema
Other
Europe
Asia-Pacific
Latin America
Other/independents

Exhibitors
Geographical divisions
North America
Europe
Latin America
Asia-Pacific
Post-production

Third-party players
Overview
The proposition
Film business companies
Technicolor
Kodak
Industry insider companies
Digital Cinema Initiatives
Digital Projection Partners
Telecom and satellite integrator companies
Boeing
Elsacom/E-Screen
NTT
Alternative networks
Digital Cinema Solutions
Folkets Hus/Digitala Hus
Other companies
GDC
Pixnet
TeleImage
T-Joy
Conclusion

Advertising
Overview
Analogue limitations
Digital proposition
Arguments against digital
Standards—SD or HD?
Business case
Theory
Reality
US-Europe differences
The digital Trojan horse
Profiles
BREAK
CECIS
Cinema advertisers
CAPA
Carlton Screen Advertising (CSA)
Cinemark
National Cinema Network (NCN)
Pearl & Dean Cinemas
Regal CineMedia
ScreenVision US & Europe
Val Morgan
Others
Digireel
Kodak
Microsoft-BMW
Ovation Interactive

Alternative content
Introduction
Alternative content vs. alternative use
Technology
High definition (HD)
Standard definition (SD)
Other issues
Conclusion
Glossary
Charging
Direct ticketing
Indirect—concessions
Sponsorship/promotions
Rental
Members/passes
Micro-payments
Attitudes
Sport
Stage
Music
Games
Television
Education
Business
Religious
Other
Summary
Profiles
Arenaplex
BTN—Broadway Television Network
CCDE—Closed Circuit Digital Events
ESports Arena
TVN Entertainment
WorldStage/InTheater Entertainment
Exhibitors
UCI
Emagine Entertainment
Galaxy Cinemas
Famous Players
Regal CineMedia
Categories
Sport
Football
Extreme sports
Other sports
PPV sports
Music
Pop/rock
Classical
Musical/stage
Television
Alternative use
Gaming/interactive
Education
Corporate
Conclusion

Alternative venue operators
Profiles
Past 'failures'
Largo DMN
Network Event Theaters
Current ventures
CineMuse
Cinetransformer
Emerging Cinemas
Enterprise Broadcasting Corporation
Immersion Studios
VTHR

Conclusion, outlook and forecast