And digital technology provides some surprising bonuses. Night after night the audience can enjoy the image quality of an opening night premier. No more dirt, scratches, burn holes, or fading. No more glitches caused by the mechanical nature of the projector such as jump, weave, and focus flutter. Defining what number of bits and contrast ratios are really necessary to make a seamless transition from film to digital has been a difficult task made all the more difficult because of the hundreds of millions of dollars involved annually.
Profits promote opinions and Hollywood is certainly no different.
Colors and contrast TI has taken a total approach to digital cinema. Although competing technologies convert the analog data from the master print to digital data for distribution purposes and then reconvert the data back to analog for display purposes, the DLP approach keeps the data in a digital format the whole way, from postproduction distribution to the movie screen and the viewer's eyes. The digital housing replaces the projector lens configuration on a conventional projector lamp, requiring only a change in the retroreflector behind the lamp to maximize optical efficiency. Each mirror is a sputter-deposited aluminum alloy attached to support posts by a pair of thin, compliant torsion hinges. So automatically we get a lift in terms of the number of time divisions we can do to produce gray scale, while at the same time avoiding the perception of flicker.