In January digital projection will take over as the most common method for displaying new releases.
到明年1月，數(shù)字放映將取代膠片放映，成為最普遍的新電影播放形式。

The last mainstream theatres in the United States will no longer use 35mm celluloid prints by the end of 2013, and across Western Europe the change will be complete by the end of 2014, according to a report by global market research company IHS Screen Digest.
一份來自媒體分析公司IHS Screen Diges的全球市場調(diào)查顯示，美國的主流電影院在2013年將不再使用35mm電影膠片，而大西洋對岸的西歐國家則在2014年完成這種放映形式的改革。

Celluloid will become a curiosity in art house cinemas determined to keep traditional film going.
為使傳統(tǒng)電影繼續(xù)延續(xù)下去，電影膠片將成為藝術(shù)家電影院的珍品。

David Hancock, an analyst at IHS, said: "Since 1889, 35mm has been the principal film projection technology, taking movie audiences from the slapstick of the silent age, through the great musicals of the sound era, to the epoch of the summer blockbuster."
IHS的分析師大衛(wèi)·漢考克說道：“自1889年以來，35mm膠卷放映一直都是主要的電影播放技術(shù)，這也讓觀眾從無聲的默劇年代，經(jīng)過擁有偉大音樂劇的有聲時代，到現(xiàn)在處處暑假大片的新紀元?！?/div>

Only two years ago digital projection was used for just 15 per cent of the world's cinema screens. The swiftness of the cinematic digital revolution can be traced directly to the success of a single film – "Avatar" in 2009.
就在兩年前，世界上只有15%的電影院使用數(shù)字放映。電影數(shù)字化的轉(zhuǎn)折點就是2009年的大熱電影——《阿凡達》。

James Cameron's science fiction epic became the highest grossing movie of all time, taking $2.8 billion (￡1.8 billion) at the box office. It sparked a boom in 3D films and put pressure on cinemas to upgrade to digital projection.
詹姆斯·卡梅隆的史詩級科幻巨作《阿凡達》成為歷史上的大賣電影，票房總額高達28億美元（約18億歐元）?！栋⒎策_》引發(fā)了3D電影的熱潮，并迫使電影院的放映技術(shù)升級至數(shù)字放映技術(shù)。

As a result demand for 35mm cinema film is expected to decline from 13 billion feet a year in 2008 to just four billion in 2012. Another factor in its demise is the high price of silver, which is needed to make the rolls of film.
于是，35mm膠片電影的膠片的需求將從2008年的13億英尺，預計降到2012年的4億英尺。而用于制作電影膠卷的銀的價格居高不下，也是導致膠片電影沒落的另一因素。

A single celluloid print of a movie can cost more than ￡1,500. A big release can see millions of dollars spent on prints to distribute to cinemas.
一卷電影膠卷至少得花費1500歐元，而大制作的電影在剪片中則要花費好幾百萬美元。

With digital projection each copy of the film can be sent out on a hard drive costing just ￡150. The lower cost makes simultaneous worldwide releases more feasible, which in turn reduces the risk of piracy.
通過數(shù)字放映科技，每部電影的副本能儲存在一個只花150歐元的硬盤里。低成本的硬盤實現(xiàn)了電影的全球同步上映，同時也降低盜版的風險性。

Earlier this year the two main companies making celluloid prints agreed to share out the remaining work from Hollywood.
在2011年初，兩家制作膠卷電影的大公司同意將手頭上剩余的、好萊塢的電影工作任務彼此分配。

Following a century of competition Technicolor and Deluxe said they were working together "as a result of digital image capture overtaking film capture."
影視后期公司Technicolor和洗印公司Deluxe已經(jīng)競爭了超過一個世紀，他們表示，因為數(shù)字捕抓技術(shù)已經(jīng)取代了電影采集技術(shù)，所以他們現(xiàn)在要同心協(xié)力。

Some Hollywood directors have enthusiastically embraced the use of digital projection because it gives a "cleaner" image, but others are already remembering celluloid wistfully.
一些好萊塢導演對于數(shù)字放映技術(shù)的使用表示“舉雙手雙腳贊成”，因為他們認為這種技術(shù)能產(chǎn)出“更干凈”的畫質(zhì)（感受）然而，還有些人卻一直惦記著膠片技術(shù)。

In London the Turbine Hall of the Tate Modern is currently being used to showcase "Film," a tribute to the dying art of 35mm film-making by the British artist Tacita Dean.
現(xiàn)在，倫敦的泰特現(xiàn)代美術(shù)館渦輪大廳成為了“膠片”展示廳，用以紀念英國藝術(shù)家塔希特·迪恩發(fā)明的、現(xiàn)正消亡的35mm電影膠卷技術(shù)。

In an accompaniment to the exhibition the director Steven Spielberg said: "My favourite and preferred step between imagination and image is a strip of photochemistry that can be held, twisted, folded, looked at with the naked eye, or projected on to a surface for others to see. Today, its years are numbered, but I will remain loyal to this analogue art form until the last lab closes."
在展覽會中，導演史提芬·斯皮爾伯格說道：“想象和圖像之間的連接方式，是用我最愛的、首選的那膠片的光化學帶，因為我們可以拿著它，扭曲折疊，還能用裸眼查看，或者投影讓別人觀看。到了今天，電影膠片的日子也到頭了，但是，不到最后一間實驗室關(guān)門，我都不會放棄這模擬的藝術(shù)形式?！?/div>

According to Keanu Reeves, the actor, the biggest difference on set is that a 1,000ft roll of 35mm film lasts only around nine-and-a-half minutes before running out. A digital tape or recording card can last 90 minutes, reducing the pressure on the director to "cut" to save film.
演員基努·里維斯認為，兩者在設置上的最大不同是，一卷1000英尺長的電影膠卷在使用完畢前只能錄制9分30秒，而一盤數(shù)字磁帶或一張記憶卡則能錄制90分鐘，減輕導演的剪片壓力，從而保護了電影的完整性。

But Reeves said: "I will miss walking on to a photochemical film set. It has a magic to me. When the director says 'Action' and the film is rolling it feels like something is at stake."
然而，里維斯也表示：“我會懷念那走在膠片電影攝像機前的時光，對于我而言，它是不可思議的。當導演說喊‘開機’，膠片就滾動起來，也讓我感覺到膠片正在不斷地消失?！?/div>

滬江小編：雖然現(xiàn)在的3D電影能給觀眾帶來超棒的視覺感覺，但是膠片電影的沒落消亡，也的確讓人覺得有些傷感?；仡^想想那些遺忘在時光里的東西，卡帶，黑膠唱片，還有現(xiàn)在的膠片電影，哪樣是你割舍不下的舊情懷？