“Now, instead of shipping 50 pounds they’re shipping one pound, and instead of making photographic prints in a lab, they’re copying files onto a hard drive,” Skolnik said. “That’s a tremendous savings.”
This means that if a theater hopes to continue showing new releases, they must get rid of their old film projectors and substitute them for digital equipment, which costs about $65,000 per screen.
“For example, with ‘Dallas Buyers Club,’ there are no 35mm prints of it,” Skolnik said. “It’s all digital. We’re showing that movie now, and if we hadn’t made the transition, we wouldn’t be able to show it.”
“Dallas Buyers Club,” distributed by Focus Features, has already made over $12 million at the box office, so venues like the Cinema Arts Center can’t afford not to screen these movies simply because they don’t have the technology.
For large multiplexes, this is not an issue, but independent venues are struggling to make the change due to financial restrictions. According to the National Association of Theater Owners, approximately 20% of theaters in America will not convert to digital, and as a result will likely close in the next few years. That’s over 10,000 screens.
It isn’t just in film projection that we’re seeing this transition take place: film to digital is a larger trend throughout the industry, with thousands of directors opting to shoot their movies digitally.
These directors include Steven Soderbergh, James Cameron, The Coen Brothers, George Lucas, and Martin Scorcese. Scorcese’s new film, “The Wolf of Wall Street,” was shot 100% digitally, and the director says he never plans to touch film again.
On the other hand, old school filmmakers like Quentin Tarantino have sworn off adopting digital; Tarantino threatens to quit the industry if digital continues to take over.
“Digital is very good, but if you look closely you can see a difference, and film is definitely more beautiful,” said Skolnik. “There’s also just a special quality to film because it’s a physical medium, and it has a certain warmth that digital usually doesn’t have.”
Some argue that these directors are simply attached to film for sentimental reasons.
“The benefits of film are basically restrained to one’s sentimentality and familiarity with analog equipment,” said independent filmmaker Brad Roleandt. “Many older directors are attached to the materiality of film, something that can be physically cut and resorted, but with a generation of new filmmakers who were raised to take in digital space as reality, this distinction is unnecessary.”
Many of these indie filmmakers feel digital is the natural next step in the industry.
“Charlie Chaplin was against sound when it came out,” said independent filmmaker Dylan DeMarko. “Then he made ‘The Great Dictator.'”
But despite knowing this is where the industry is going, DeMarko said that for now, he still personally prefers to shoot on film.
“When you shoot digitally, you can get greedy and lazy because you can just keep rolling and cut later,” DeMarko said. “I’d rather have to fight my way out of a box than walk around aimlessly and deal with whatever I did later.”
This idea is one Tarantino himself has frequently expressed: when shooting on film, the camera is actually capturing still images onto a tangible product, which then has to be developed. With digital, the director is merely shooting onto a hard drive, like storing memory on a computer.
To many, the former process is a beautiful thing; to others, especially younger filmmakers, it’s simply not worth the expense.
“For someone my age, shooting on digital is basically my only option, but it’s also very beneficial to be experimenting on my own and to be able to immediately start filming when I see things on the street,” Roleandt said.
Ultimately, the visual differences between film and digital come down to personal preference, and at the end of the day, some find themselves ambivalent to the whole controversy.
“A 70mm film print beats a 4k digital scan any day, but to be honest, I just don’t care what you shoot your movie on,” said DeMarko. “It’s all going to the same place.”
The Cinema Arts Center was able to raise their $200,000 and now uses film projectors only to show older films on special occasions. All of their other screens are 100% digital.
Many other theaters have not been as lucky, though, and if the trend towards digital continues, many local multiplexes may not be around for much longer.
“There are theaters who have not been able to convert, especially when you’re talking about rural areas with theaters who are very vital to the community but who don’t make very much money,” said Skolnik. “It’s very sad, but those theaters are soon going to become a thing of the past.”Over the last seven years, the HDBank International Open Chess Tournaments welcomed more than 1,100 contestants, promising hundreds of players to register for the 2018 tournament.
Kirsan Ilyumzhinov, president of The Fédération Internationale des Échecs or World Chess Federation (FIDE), addressed the chess tournament for the first time: "Given the past accomplishments that the chess community and HDBank contributed to the popularity of the sport as well as the advancement of players in Vietnam, I have a firm belief that the country will successfully host FIDE's upcoming chess tournaments in the most professional manner, as the country is already fully equipped for the task."
The head of the World Chess Federation added that HDBank's international chess tournaments would potentially place Vietnam onto the world chess map.
In the afternoon of March 10, Vietnamese Deputy Prime Minister Vu Duc Dam offered his appreciation towards FIDE's support for the country's chess development, saying, "Chess is one of the few sports where Vietnamese players could earn a spot among the world's leading masters."
Additionally, Dam suggested FIDE to support Vietnamese chess in training, refereeing, and hosting future international events.
The DPM also stressed that the Vietnam Chess Federation and the Ministry of Culture, Sports and Tourism should cooperate closely with FIDE to popularise chess across the country by hosting more chess tournaments and chess events as well as introducing chess as an extracurricular school activity, fostering the sport among young generations.
Q: Why opamps honor fourier series but not other series, for exmaple, power series? A periodic function can be represented as an infinite sum in many bases. I know at least one other series apart from fourier:    
Power series:
\$\sin(t) = \sum\limits_{k=0}^{\infty} \frac{(-1)^kt^{2k}}{(2k)!}\$ 
Why do linear circuits respond like fourier series and not like a power series?
Is it possible to have circuits like opamps that respond to polynomial functions in an useful manner? For example:
input: \$t^2 + 5t^3+t^{10}+t^{150}\$
low pass filter output:  \$t^2+5t^3\$
high pass filter output:  \$t^{150}\$

A: Short answer: The complex exponential functions are eigenfunctions of the derivative and integral operators.
Some more explanation: The sine and cosine functions are somewhat more cleanly expressed as complex exponentials; that is, functions of the form
$$f(x)=e^{i\omega t}$$
using the identities
$$\sin \omega t = \frac{e^{i\omega t}-e^{-i\omega t}}{2i}$$
$$\cos \omega t = \frac{e^{i\omega t}+e^{-i\omega t}}{2}$$
And, you're probably aware, when you take the derivative or integral of an exponential function, you get another exponential out, with the same terms in the exponent. (This is what it means to be an eigenfunction of those operators).
So, if you design a circuit that performs linear operations (some combination of scalar multiplication, derivative, and integral, or a sum of several such operations) on an input signal, and you put a sine or cosine signal in, you will get a combination of sines and cosines out, at the same frequency.

Is it possible to have circuits like opamps that respond to polynomial functions?

I don't know if it's impossible, but it would at least be very difficult, for at least a couple of reasons:


*

*A polynomial function with a finite number of terms will eventually trend toward infinity beyond some positive and negative limits in time. But no real op-amp can produce a non-bounded output voltage.

*The response would have to be non-time-invariant. Meaning the circuit would have to keep track of the time and respond differently at different moments in time. It would also have to do this for times before \$t=0\$, meaning it would have to predict the future to know when some event is going to happen that will designate the reference instant of time for the system.
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