To:
`
`Subject:
`
`Sent:
`
`Sent As:
`
`Attachments:
`
`MATSUSHITA ELECTRIC INDUSTRIAL CO., LTD. (TMEFS@LSLLP.COM)
`
`TRADEMARK APPLICATION NO. 77436468 - DIGITAL CINEMA COLOR - 13307
`
`7/2/2008 3:05:49 PM
`
`ECOM107@USPTO.GOV
`
`Attachment - 1
`Attachment - 2
`Attachment - 3
`Attachment - 4
`Attachment - 5
`Attachment - 6
`Attachment - 7
`Attachment - 8
`Attachment - 9
`Attachment - 10
`
`UNITED STATES PATENT AND TRADEMARK OFFICE
`
`(cid:160) (cid:160)(cid:160)(cid:160) SERIAL NO:(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160) MARK: DIGITAL CINEMA COLOR(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) (cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`SCARSDALE, NY 10583(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) (cid:160)
`HOWARD N. ARONSON(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`LACKENBACH SIEGEL LLP(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`LACKENBACH SIEGEL BUILDING(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) APPLICANT:(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`INDUSTRIAL CO., LTD.(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) (cid:160)(cid:160)(cid:160)(cid:160)(cid:160) CORRESPONDENT’S REFERENCE/DOCKET NO :(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)
`13307(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) CORRESPONDENT E-MAIL ADDRESS:(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`*77436468*
`
`RESPOND TO THIS ACTION:
`http://www.uspto.gov/teas/eTEASpageD.htm
`
`(cid:160)G
`
`ENERAL TRADEMARK INFORMATION:
`http://www.uspto.gov/main/trademarks.htm
`
`77/436468
`
`(cid:160)(cid:160)(cid:160) CORRESPONDENT ADDRESS:
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`ONE CHASE ROAD
`
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`(cid:160) MATSUSHITA ELECTRIC
`
`TMEFS@LSLLP.COM
`
`OFFICE ACTION
`
`(cid:160)T
`
`O AVOID ABANDONMENT, THE OFFICE MUST RECEIVE A PROPER RESPONSE TO THIS OFFICE ACTION WITHIN 6 MONTHS
`OF THE ISSUE/MAILING DATE.
`
`(cid:160)I
`
`SSUE/MAILING DATE: 7/2/2008
`
`The referenced application has been reviewed by the assigned trademark-examining attorney.(cid:160) Applicant must respond timely and completely to
`the issue(s) below.(cid:160) 15 U.S.C. §1062(b); 37 C.F.R. §§2.62, 2.65(a); TMEP §§711, 718.03.
`
`(cid:160)S
`
`EARCH
`
`(cid:160) T
`
`he Office records have been searched and there are no similar registered or pending marks that would bar registration under Trademark Act
`Section 2(d), 15 U.S.C. §1052(d). TMEP §704.02.
`
`(cid:160)
`(cid:160)(cid:160)
`

`
`DISCLAIMER REQUIRED
`
`(cid:160)A
`
`pplicant must disclaim the descriptive wording “DIGITAL CINEMA” apart from the mark as shown because it merely describes a feature of
`applicant’s goods. (cid:160) See 15 U.S.C. §1056(a); TMEP §§1213, 1213.03(a). The term “DIGITAL CINEMA” is used in relation to a televisions and
`video displays to reference a type of display or picture that utilizes digital technology for clarity. See attached evidence demonstrating use of the
`term. The meaning of the wording in applicant’s mark is that applicant’s goods involve digital cinema technology to achieve the color of the
`picture. Hence, a disclaimer is required.
`
`(cid:160)T
`
`he computerized printing format for the Office’s Trademark Official Gazette requires a standardized format for a disclaimer.(cid:160) TMEP
`§1213.08(a)(i).(cid:160) The following is the standard format used by the Office:
`
`No claim is made to the exclusive right to use “DIGITAL CINEMA COLOR” apart from the mark as shown.
`
`(cid:160)T
`
`MEP §1213.08(a)(i); see In re Owatonna Tool Co., 231 USPQ 493 (Comm’r Pats. 1983).
`
`(cid:160)I
`
`DENTIFICATION OF GOODS
`Applicant’s use of “or” is unacceptable because “or” suggests that it could be either, but is not necessarily both.
`not be listed, and if it is both, “and” is accurate.
`LCD television sets and plasma television sets; slim television sets equipped with a flat display; video apparatus, namely, video cassette
`recorders, digital video disc players and digital video disc recorders, all equipped with a flat display, in International Class 9.
`
`(cid:160) If it is not both, both should
`
`(cid:160)P
`
`lease note that, while the identification of goods may be amended to clarify or limit the goods, adding to the goods or broadening the scope of
`the goods is not permitted.(cid:160) 37 C.F.R. §2.71(a); TMEP §1402.06.(cid:160) Therefore, applicant may not amend the identification to include goods that are
`not within the scope of the goods set forth in the present identification.
`
`(cid:160)F
`
`or assistance with identifying and classifying goods and/or services in trademark applications, please see the online searchable Manual of
`Acceptable Identifications of Goods and Services at http://tess2.uspto.gov/netahtml/tidm.html.
`
`Combined Applications
`
`(cid:160)I
`
`f applicant prosecutes this application as a combined, or multiple-class application, then applicant must comply with each of the following for
`those goods and/or services based on an intent to use the mark in commerce under Trademark Act Section 1(b):
`
`(1)(cid:160)(cid:160) Applicant must list the goods and/or services by international class with the classes listed in ascending numerical order.(cid:160) TMEP §
`1403.01; and
`
`(2)(cid:160)(cid:160) Applicant must submit a filing fee for each international class of goods and/or services not covered by the fee already paid (current fee
`information should be confirmed at http://www.uspto.gov).(cid:160) 37 C.F.R. §2.86(a)(2); TMEP §§810 and 1403.01.
`
`(cid:160)F
`
`ee
`
`(cid:160)T
`
`he filing fee for adding classes to an application is as follows:
`
`(1)(cid:160)(cid:160)(cid:160)(cid:160) $325 per class, when the fees are submitted with a response filed online via the Trademark Electronic Application System (TEAS) at
`http://www.uspto.gov/teas/index.html; and
`
`(2)(cid:160)(cid:160)(cid:160)(cid:160) $375 per class, when the fees are submitted with a paper response.(cid:160)(cid:160)
`
`37 C.F.R. §§2.6(a)(i) and (ii); TMEP §810.
`
`(cid:160)I
`
`f applicant has questions about its application or needs assistance in responding to this Office action, please telephone the assigned trademark-
`examining attorney.
`
`/ekajubi/
`Elizabeth N. Kajubi
`Trademark Examining Attorney
`United States Patent & Trademark Office
`
`(cid:160)
`(cid:160)(cid:160)
`(cid:160)
`(cid:160)
`(cid:160)
`(cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160)
`

`
`Law Office 107
`(571) 272-2727
`
`(cid:160)(cid:160)
`RESPOND TO THIS ACTION:(cid:160)Applicant should file a response to this Office action(cid:160)online using the form at
`http://www.uspto.gov/teas/eTEASpageD.htm, waiting 48-72 hours if applicant received notification of the Office action via e-mail.(cid:160)(cid:160)For
`technical assistance with the form, please e-mail TEAS@uspto.gov.(cid:160) For(cid:160)questions about the Office action itself, please contact the assigned
`examining attorney.(cid:160)(cid:160) Do not respond to this Office action by e-mail;(cid:160)the USPTO does not accept e-mailed responses .
`
`(cid:160)I
`
`f responding by paper mail, please include the following information: the application serial number, the mark, the filing date and the name,
`title/position, telephone number and e-mail address of the person signing the response.(cid:160) Please use the following address: Commissioner for
`Trademarks, P.O. Box 1451, Alexandria, VA 22313-1451.
`
`(cid:160)S
`
`TATUS CHECK: Check the status of the application at least once every six months from the initial filing date using the USPTO Trademark
`Applications and Registrations Retrieval (TARR) online system at http://tarr.uspto.gov.(cid:160) When conducting an online status check, print and
`maintain a copy of the complete TARR screen.(cid:160) If the status of your application has not changed for more than six months, please contact the
`assigned examining attorney.
`
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`

`
`h tp:ii2D9.85.215.1D4i'search?q=cache:RqAD.i‘«DeAFOsJ:v\w-rw.jped.orciiappsicinema.html+didita|+cinema&hl=en&ct=clnk&c
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`"his cached page may reference images which are no longer available. Click here for the cached text only.
`"o link to or bookmark this page, use the following url: hm-.p:Hmn..gmg1.=.ami==ucue
`q=i::ch.e:R.q3.D.aDe1ED:J:uuv.jpeg. org! app: .|rci_nLma_hI:m1'i'I:|.igi.l::1‘h1i_1:|em:£hI.=En£|:t.«=4:].nk£r:d=lIJEg1='I1:
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`These search terms have been highlighted:
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`Home I JPEG Committee I JBIG I JPEG I
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`JPEGEUUEJ
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`I News.iEvents I Press I Sponsorship I Contact
`
`[E]
`
`July 2. 2008
`
`Digital Cinema
`
`
`
` _
`
`uality Traditionall
`describes the use of movies with a Q data representation in best
`cameras and
`movies are shot oi1 film and projected with film In the future this will be done with
`projectors. Because ofthe hu e amount of data within this application area data compression will be necessa
`n contrast to Electronic
`which uses the digitization ofthe film for new commercialization athes &
`
`‘*5 replaces only the film chain from the acquisition to the film theatres. Therefore
`must
`ElCl'1|B-.iB and surpass todays best film quality The parameters forthe_representation ofthe movie have to
`be much more extensive than in standard videos.
`
`
`
`Previous compression standards have different limits forthe use in — . This can be the maximum
`resolution the compression possibilities [only lossy} the samplin t
`e. the colorspace orthe bit depth. Motion
`JPEG2000 is an excellent com ression standard forthe use in
`. because it delivers enough
`headroom in the description of
`movie data and has outstanding features, which can be used. Some
`features of Motion JPEGEUUU are intrafiaine coding for a simple editing access. lossless compression
`capabilities inetadata insertion. scalability in resolution and quality and so on. All features ofthe still linage
`JPEG2000 Standard 15444 — Part1 can also be used.
`
`Reniiiremente in data nnmnreeeinn fnr
`
`innliide hinh dunamin ranne different nnlnr enanee
`
`JPEG
`
`JBIG
`
`v
`
`Applications
`
`> E
`
`p Solutions
`
`> E
`
`p Contact
`
`

`
`http:i‘i'2D9.85.215.1D4i"search?q=cache:RqAD.i‘«DeAFOsJ:uw-rw.jpeq.orofagpsfcinema.html+dloita|+cinema&hl=en&ct=clnk&c
`d=1D8egl=LIs
`D?'i'D2i'"2DD8 D1:31:D5 PM
`
`Requirements in data compression for2E include high dynmnic range, dilferent color spaces.
`highest image resolutions. best compression quality including lossless compression. and so on.
`
`With Motion Jpeozimo the foliornring pararnete-rs in 2 are possible. but not limited to;
`
`
`Resolutions of3192)c8192 Pixel (e.g. 4996x3112 for 35mm Film Scans}
`Colo-rspace: sFlGB, SRGB—YC{3
`Numb-er ot color components: 34 (e9. 1-'.(e‘tlA}
`Bitdepth: H3-16 Bll.|lCOlO|' comp-orient
`Pixel Sampling‘. 4:222 — 424:4
`Compression types: mathematically! lossiess, visual lossless, iossv
`
`Other requirements for2E are the use of sequences with single frame files, synchronisation with
`audio or metadata descriptions for extended metadata sets. These requirements can all be met. With Motion
`JPCGZOGO a powerful compressio-n standard is ready fur use to solve the requirements in _E during
`acquisition. postprod-Liction. arthiuing and perhaps distribution.
`
`During acquisition the enourmous headroom in the parameters like hitd-epth, resolution. colorspace can be used.
`Ihe insertion ot metadata in a Ml—'l:t:‘ contomiant description allows rnanonial i3E)(ib'IlIt'y' in the type orrnetadata. so
`rnetadata on film ciappers can digitally be carded along with the video data. During postprod-uctiori easy access to
`single frames is possible. Also previews withciut decoding of all of the lite can be done. The cornpression can be
`set to lossless to avoid generation losses. This features can also be used in archiving of movie data.
`
`For more details. see;
`Powerpoirit Presentation "JPEG2£}l}O for-E Applications"
`and
`
`Powerpoirit Presentation "Motion JPEGQU-Oi} and -
`
`Contact address.
`Dr. Siegfried Foessel
`Chair of the Dcinerna Adhoc Group
`Fraunhofer llS. Erlangen. Germany
`Email‘. dcipema@;_o_eg'.c-rg
`
`Return to the Egg A
`
`e 2007. Website designed and maintained by Elgsiuam Ltd and ‘11C“‘**
`Site usage subject to our terms and conotitions
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`
`http:Hwww_uemeclia.netfCF'C.«'I:|igitalcinemamaqfariiclesfariicle ’lF"1D5_shtm|
`
`D?'fD2f2DDE D1:35:'l2 PM
`
`C ustorner Servi c e
`
`The ABC's of Digital Cinema
`
`BY 313”
`
`Jun 25, zoos, 07:3 2
`
`2K 0 A Digital
`Cinema picture of
`2048 pixels wide
`by 1080 pixels
`hinh
`
`:: .C‘.7'D.(_ nnnrn 3:9
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`2 .
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`3;
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`http:i'i'www_uemeclia.neti'CF'C.«'I:|igitalcinemamaqfaniclesfanicle ’lF"1D5_shtm|
`
`D?'i'D2i'2DDE D1:35:'l2 PM
`
`nigh — 6_6'r“!t. more
`pixels than
`consumer high
`deti nitinn TV 1900
`pixels wide by
`1080 pixels high.
`
`Digital Cinema Suziciety
`
`HcI||ir'.'.Ii:-cl-d Post Alliance
`
`CPCC t__‘_f
`'
`“D” 3*‘ "10
`:_re_ati,“.epLANET
`
`
`
`2K-MK
`oampatiuiiity -
`The DCI
`specification
`provides for
`5331711353
`Htteropersbiiily.
`2K content is automaticaily resized for presentation on {K projectors
`while extraction enaotes 4K content to be presented on AK projectors.
`The
`Sony SRX series protection systems anaiyze the movie content and
`autorriaticaiiy select the best resolution for exhibition.
`
`0
`L . " A n [El 9
`Coi'itieiitioii Ben
`
`Click prosony com for the '.-mote giossary
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`Emaiithis articie
`Printer friendly page
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`color =?
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`Nearly ternls: ColorGmphics Adap-ten: color model 0: Colossus er. colour 39 colon: depth )9 colonrlook-up table )9 colourmodel
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`Drcrxbnaggcom Unabrrdged [V I. 13- Cite Thrs Source - Share This
`color.
`
`(in prescriptions) let it be colored.
`
`[Origin: < L cokirérur]
`Dfctfona rycom Urrabn"o'g'eo‘ (V I . U
`Rasea‘ an the Random House b".msbrr'o‘geo‘ Dr'ca'.='o»ar}¢ @ Random House, Fm: 2006.
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`American Herfraae Ea;-a'mar:"5 Meal-'ca! Dknbnaw — Cite This Source - Share This
`
`col - or lklgllglgrl
`H.
`
`I. That aspect of the appearance of objects and light sources that may be specified in
`terms of hue, lightness, and saturation.
`2. That portion of the visible electromagnetic spectrum specified in terms of
`wavelength, luminosity, and purity.
`The general appearance of the skin.
`The skin pigmentation of a person not classified as white.
`
`:“'E-“
`
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` — — fleflfi
`Main Entry: col - or
`Vari ant: or chiefly British col - our 1‘ ' lt&1—&r/
`Function: noun
`I a :a phenomenon oflight (as red, brown, pink, or gray) or visual perception
`that enables cine to differentiate otherwise identical objects b : the aspect of
`objects and light sources that may be described in terms of hue. lightness. and
`Free download! Gel: instant dictionary,
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`hue as contrasted with black. white, or gray
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`E '—| lrpublioations V
`home » publications
`
`Quality in i
`
`by Michael Karagosian
`©2004 I/_ar-agosian MacCalla Partners, all rights reserved worldwide
`Pubtrshs-o‘ in the .-fiugt.-‘st 2004 issue ::."I.'-I5 Asia Magazine
`
`In the first of this series of articles, I defined § as the art of presenting motion pictures. The term E REE sin1ply
`means we are applying fiteohnology to the art. Cinematographers and studios demand a high quality level of their art when
`released to the filflfizi. However, the
`is gradually becoming a place where more than motion pictures are shown. New
`forms of content termed alternatiye content, or specialized content, or electronic advertising are finding their way into the
`These new forms o content are not always as demanding of quality as motion pictures. The difference in quality found in
`E and electronic systems is the topic of this article.
`
`The quality cfthe § presentation system is generally dictated by the content provider. This is distinguished from consumer
`entertainment, where the quality of the presentation system is decided by the consumer. While it's true that the
`owner
`generally has a range of equipment from which to choose, the quality level ofthis range is of a grade that meets the needs of the
`content provider. This is one of the ways in which cinemas differentiate themselves from the average home system. The high
`presentation quality is one ofthe cinema's strong marketing advantages.
`
`we see this principle exemplified by the strong effort made, byE -E-i Initiatives of Holl'.-'WOD'il.«
`II'I
`towards establishing parameters for oualityfi presentations of first release motion pictures. DCI, as it is known, was formed
`by seven major Hollywood studios in part to produce such recommendations. But high quality a presentation systems are
`costly, ai1d not all content providers agree that their needs require this grade of presentation. Some providers of electronically
`presented music concerts, sport eyents, plays, documentaries, and other specialized content are looking towards the use of more
`affordable, lower quality, systems for the presentation of their content. As an example, the Docuzone project in Europe, which will
`install
`1.Tr‘S eledronio systems in 8 countries for the presentation of specialized content, is considering systems of lower
`quality than those found in triala installations. In the US, low cost electronic flfiiifi advertising systems, which by
`design provide a lower grade of presentation from will soon number ].IJ_.IJIZID. In some installations, these
`advertising systems are also used to present music concerts and sport events.
`
`

`
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`There are several factors that influence our perception of image quality. We often hear about image resoiution, but quality is also
`affected by 2, contrast, steadiness, and so'ftn%. Issues such as 2 and contrast are affected by good design, with good
`performance generally reflected in the higher cost of the technology. Electronic projection technologies do n-ot suffer the image
`steadiness problem of film projectors, but the choice of eiectronic projection technology can have a strong effect on image softness,
`due to factors such as persifience, image resizing, and compression. Ofien overlooked, image quality is also affected by screen
`perforations. g screens are perforated to allow sound to pass through the screen. But perforated screens are not ideal for
`either audio or image. They impose a rolloff in audio frequency response above 1KHz, and cause spatial interference with the pixel
`array of the electronicaliy projected image, not to mention light loss. One method for dealing with this is to perforate the screen with
`a pseudo—raridom pattern, reducing the interface between perforation and pixel.
`
`As one might expect, system quality generally centers on the choice of projector. In2 Q, the projector choice has been
`limited, with only the DLP5 grade of projector meeting the needs of Hollywood content providers. In terms of resolution, DLP
`H projectors are limited to 2K images, where there can be up to 2048 vertical lines. Cinematographers and studios are
`loolicirg ahead to projection technologies capable of 4K resolution, or 40-95 vertical lines. Projector companies such as JVC and Sony
`are working on such products using a technology called Liquid Crystal on Silicon {LOGS}, as reported in a prior article in this series.
`
`However, there's more to quality than image resolution. DCI has attempted to quantify some of the factors that affect perception
`through direct on-screen tests. In measurements made at the‘ fl Laboratory in Hollywood, DCI determined that
`people can distinguish 11 bits of 2 depth within a specific 2 space, resulting in their specification of 12-bits of _ depth.
`(This means 12-bike per 2, 35 bits of 2 for 3 primaries.) 2 depth determines the number of gradations possible of a
`particular ‘ primary. The I depth of corisurner high-definition video, for example, is 3-bits. To add to the - capability
`of—fl, the XYZ - space has been specified for the delivery format. The XYZ 2 space includes all colors visible
`to the hurrian eye, and is larger than the K space of film, which, in turn, is larger than the — space for high—definition video.
`This means that with2M it'll be possible to difiribute images having more colors than what's possible with either film
`or video.
`
`Sound is also an important element affecting our perception of quality in motion pictures. Draft SMPTE audio standards for2
`5 call for audio sampling rates of 48l-cHz and 96kHz. (SMPTE stands for the Society of Motion Picture and Televison
`Engineers.) Whiie 43kHz is the common sample rate in use today, the standard will require systems to provide compatibility with the
`higher sample rate, allowing content owners to release in this higher quality format. Audio will be delivered in an uncompressed
`mode, as opposed to the compressed2 audio now in use with fi|m—ba.sed
`The number of audio channels available will
`also be increased to 16. althouah don't expect to see 16—tracl-: movies released any time soon. Screen perforations were mentioned
`earlier. Screens are perforated so that speakers can be placed directly behind the projected image, allowing the sound to appear to
`come from the picture itself. However, perforated screens are a problem for both image and audio. For audio, the screen appears
`as an acoustical filter above 1KHz. Eliminating the pixels will improve the "image, but first a new means is needed to create
`the experience of sound coming from the picture without placing speakers behind the screen. Addressing the screen perforation
`issue is one of the challenges that lie ahead in the implementation
`high image resolution‘
`
`The needs of specialized content are perhaps best represented by work in the ITU-R TG-EH9 task group for Large Screen‘
`Imagery, or LSDI as it's known. l{ITU-R stands for the International Telecommunications Union, Radiocommunicatio-1'1 sector, an
`international standards body.) The LSDI format provides for the use of both compressed 5.1 audio and uncompressed 2-track audio.
`The 2—track audio can support stereo matrixed audio, such as Dolby Pro—Logic"‘, which most cinemas are equipped to decode. While
`many productions wiil choose to use the compressed 5.1 audio format, the 2—channel format has proven itself popular for eiectronic
`advertising in the US. The image format of LSDI will follow existing fiandard fon'nats for high—definition video, including : space
`and image resolution. The LSDI format is intended to support broadcast standards to open theE market to broadcast content
`providers.
`
`As can be seen, the presentation of electronic images will bring a new experience to fl entertainment. New sources of content
`will be available ncver before been seen in the E, while motion pictures will have the potential to display quality levels ncver
`before seen in the
`
`§ 2003 MKPE Consulting LLC
`
`

`
`To:
`
`Subject:
`
`Sent:
`
`Sent As:
`
`Attachments:
`
`MATSUSHITA ELECTRIC INDUSTRIAL CO., LTD. (TMEFS@LSLLP.COM)
`
`TRADEMARK APPLICATION NO. 77436468 - DIGITAL CINEMA COLOR - 13307
`
`7/2/2008 3:05:51 PM
`
`ECOM107@USPTO.GOV
`
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) (cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`(cid:160)P
`
`IMPORTANT NOTICE
`USPTO OFFICE ACTION HAS ISSUED ON 7/2/2008 FOR
`APPLICATION SERIAL NO. 77436468
`
`lease follow the instructions below to continue the prosecution of your application:
`
`ACTION:
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`paste this URL into the address field of your browser), or visit http://tmportal.uspto.gov/external/portal/tow and enter the application
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