01/02/2008

The sixth edition of the IDIFF (International Digital Film Forum - see news), held in Paris yesterday, presented an opportunity to take a closer look at digital exhibition.

According to recent statistics, 6000 screens are digitally equipped across the world (compared to 2000 at the end of 2006), including 15% in Europe. However, this considerable increase in digital deployment, for the most part fuelled by the US, is currently undergoing a hiatus there due to negotiations of new agreements for Virtual Print Fee (third-party investor system), while Asia has seen rapid advances in this area over the past six months.

In Europe, the UK leads the way with 300 screens (including 240 installed as part of the Digital Screen Network promoted by the UK Film Council), followed by Germany whose market is developing the most rapidly (130 screens), Belgium (65 screens) and France (approximately 50 screens).

It should also be noted that Ireland and Norway are among the most dynamic European countries in terms of digital deployment, whereas in Portugal, Greece, the Netherlands, Hungary and the Baltic countries, technological advances have reached a stand-still despite a few tentative efforts in this direction.

The discrepancies are primarily due to the differences between the European markets, where no single economic model can be applied to all, even if the technical issues seem to have been resolved.

France appears to be on the verge of fully launching itself into digital following CGR Cinémas’ decision to convert all of its 390 screens to digital projection before the end of 2009 (see news) and the opening in Lyon of the Pathé Vaise which has eight digitally equipped screens out of a total 14 and is set to stand as a benchmark for the Europalaces group.

Also of significance is the agreement signed by the National Centre for Cinematography (CNC) and Germany’s FFA, dealing with the technical aspects of the transition to digital projection (see news).

(Translated from French)