{"id":78479,"date":"2014-02-15T01:37:34","date_gmt":"2014-02-14T17:37:34","guid":{"rendered":"https:\/\/wp-productionenv-bjg9h2g2bgg5b8aa.southeastasia-01.azurewebsites.net\/news\/latin-america-experiencing-an-uptick-in-digital-cinema-distribution\/"},"modified":"2014-02-15T01:37:34","modified_gmt":"2014-02-14T17:37:34","slug":"latin-america-experiencing-an-uptick-in-digital-cinema-distribution","status":"publish","type":"post","link":"https:\/\/starpath.global\/news\/latin-america-experiencing-an-uptick-in-digital-cinema-distribution\/","title":{"rendered":"Latin America Experiencing an Uptick in Digital Cinema Distribution"},"content":{"rendered":"<\/p>\n<p>[Via Satellite 02-14-2014] The global transition to digital cinema technology is gaining more traction in Latin America, and increasing the role of satellite in movie theaters. <strong>International Datacasting Corporation\u2019s<\/strong> (IDC) Latin American digital cinema partner, <strong>Grupo ChileFilms<\/strong> and their affiliate, <strong>Cinecolor SAT<\/strong> recently &nbsp;closed a deal with <strong>Cinecolombia<\/strong>, one of Latin America\u2019s larger movie theater chains, to provide SuperFlex Pro Cinema Cache Servers which enable the satellite transmission of movies and live events. Walter Capitani, VP of marketing at IDC, believes that after years of setbacks, renewed interest and financing is paving the way for electronic distribution.<\/p>\n<p>\u201cThis is a follow on order for our Latin American network,\u201d Capitani told <i>Via Satellite<\/i>. \u201cThis basically signals the growth of digital cinema in Latin America. Cinecolombia \u2026 they are joining on to a larger network that\u2019s operating all throughout Latin America. This is part of a bigger effort where we are going to cover Latin America.\u201d<\/p>\n<p>The adoption of digital distribution technology varies by continent. Latin America and Asia are seen as markets where the desire to use electronic formats is high. Financing for the transition, however, is not always easy to come by.<\/p>\n<p>\u201cThe North American market was set to convert in 2008, and then, with the financial crisis, the debt financing that had been put together to finance the purchase of all this equipment was put away,\u201d said Capitani. \u201cBecause of that, the digital transition was delayed by three and a half years.\u201d<\/p>\n<p>The transition in Europe and America has been ahead of the rest of the world, with Europe leading the way. Theaters must complete the conversion before they can receive higher quality electronic content by satellite. Capitani estimates that 75 to 80 percent of theaters in Europe are equipped for electronic delivery. The U.S. is slightly behind this figure because of the presence of several small \u201cmom and pop\u201d theaters that often find it too expensive to convert.&nbsp; The transition across Latin America has been much less uniform.<\/p>\n<p>\u201cEven though Latin America has been labeled as the last territory reaching digitalization, it varies from country to country, as each country has its own policies, duties, realities and structures,\u201d Carlos Acero, general manager of Cinecolor Colombia told <i>Via Satellite <\/i>in an email. \u201cBut digitalization has been led by Mexico and Colombia. Countries like Bolivia and Argentina are the ones left behind.\u201d<\/p>\n<p>The key drivers for electronic distribution\u2014especially by satellite\u2014are the ability to host live events and to support higher quality viewing experiences like 3D and 4K. This, in turn, boosts the need for bandwidth.<\/p>\n<p>\u201cI would definitely say 4K is growing the fastest. All the new projectors being installed are basically 4K,\u201d said Capitani. \u201cCertainly in the Americas, the big deals are all in 4K and every manufacturer has a 4K offering.\u201d<\/p>\n<p>But if making the jump to digital is expensive, reaching further for 4K is even more. Not everyone agrees that 4K is the next big step.<\/p>\n<p>\u201c[The] next generation of 3D (HFR), and 2D (roll out) are the next drivers,\u201d said Acero. \u201c4K is not really positively affecting the digitalization, as costs are still higher compared to 2K, and honestly speaking, the customer does not see any value (cannot note the difference) between 2K and 4K; neither are the exhibitors willing to invest stronger.\u201d<\/p>\n<p>An agreed-upon motive with less debate than 4K is the ability to support alternative content such as live shows. Electronic distribution equipment is a necessity for this increasingly popular form of media, and it may be a way for satellite to keep an edge over fiber.<\/p>\n<p>\u201cThe cinema experience is going beyond traditional exhibition of movies,\u201d said Acero. \u201cAlternative content has been seen as a content differentiation, and exhibitors are clamoring for new types of content.\u201d<\/p>\n<p>\u201cThere\u2019s one thing fiber\u2019s not as good at and that is live distribution,\u201d added Capitani. \u201cI think that for the foreseeable future, satellite is the way cinemas want to connect electronically because of its ability to deliver content to live events. Nothing does live like satellites.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[Via Satellite 02-14-2014] The global transition to digital cinema technology is gaining more traction in Latin America, and increasing the role of satellite in movie theaters. International Datacasting Corporation\u2019s (IDC) Latin American digital cinema partner, Grupo ChileFilms and their affiliate, Cinecolor SAT recently &nbsp;closed a deal with Cinecolombia, one of Latin America\u2019s larger movie theater [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":78482,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[2],"tags":[],"class_list":["post-78479","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/posts\/78479"}],"collection":[{"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/comments?post=78479"}],"version-history":[{"count":0,"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/posts\/78479\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/media\/78482"}],"wp:attachment":[{"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/media?parent=78479"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/categories?post=78479"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/starpath.global\/blog\/wp-json\/wp\/v2\/tags?post=78479"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}