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'Personally, I would want to be the one who pays for it,' says Hancock, 'because letting someone else pay for it means they control it.' From this point of view, the economics heavily favour digital, and the aesthetics are probably now about even. Ultimately, despite all our great movie memories, from the exhibitor's point of view the movie is merely the driver that pulls together an audience to which it can sell other things. About half comes from concessions, and the remaining quarter from screen advertising. Only 25 per cent of a theatre's profits come from selling movie tickets. But for them, there's little benefit in spending the £70,000 or so that it costs to convert to digital projectors. The people who have traditionally paid projection costs are the theatre owners. Ironically, the big squabble that's holding digital back is economic: who pays? The people who are going to save money by using digital are the studios and distributors. 'It's an opportunity for independents to get their films on to screens where they couldn't before,' says a spokesman. This is exactly what the UK Film Council's initiative is all about. From the lens, the light is projected on to the cinema screen as an image.ĭigital delivery will make it possible to put on special screenings and short runs of movies that are currently unecononic. These light beams are recombined and steered to the projector's lens by an array of tiny, independently moving mirrors. Cinema-quality projectors use three of these chips - one for each of the three primary colours in refracted light. Designs using these chips have been available for several years, but until the current generation of projectors, the quality wasn't quite good enough. The groundwork for the big change was laid in 1987, when a scientist at Texas Instruments invented a new type of chip to power projectors.

Given the speed with which technology develops, any perceived lack in digital as compared to film is likely to be made up in time. It's a great optical illusion - except there was a huge great scratch right down the middle of the picture that had happened between the rehearsal and the screening.' The curtains opened and there's Patton walking out in front of that giant American flag. 'I was sitting right next to Roger when it happened. The festival had a terrific theatre, a pristine print, and a rehearsal. Rose was a guest at Ebert's Overlooked Film Festival in 2004, when they showed the 1970 film Patton to highlight the little-seen 70mm large-screen format. 'I had that conversation with Roger,' says Bernard Rose, the British director of Candyman and Ivansxtc.

Star Wars Ep. III: Revenge of the Sith for apple instal free