This guideline will provide you with an overview of some of the most frequently asked questions about digital cinema technology. Whether you own home theatre equipment or are looking to purchase equipment, it is important that you are familiar with the technical issues that surround digital cinema. If you would like to rent audio and visual equipment for your home at a great price instead of purchasing it, check out AA Computer Rental http://aa-rental.com
What does DCI stand for?
DCI stands for Digital Cinema Initiatives. DCI is an organization that is owned by the major 6 motion picture studios. DCI released the first version of their Digital Cinema System Specifications in 2005. Although these specifications are not the standard, they do help owners of digital cinema technology understand the technical details of the equipment that they own.
What is the meaning of DCI compliant? Where can I obtain a list of products that are DCI compliant?
If a product is DCI compliant, it is in line with the previously mentioned specifications that were released in 2005. In order for a product to be considered DCI compliant, it must pass the DCI Compliance Test Plan. You can obtain a list of products that are officially DCI compliant by visiting the official DCI compliant website (http://www.dcimovies.com/compliance/).
How is content distributed if SMPTE standards are no long being used for distribution?
For content to be distributed today, it must meet an informal set of specifications that are known as Interop. Interop Digital Cinema Package are specifications that are designed to ensure that digital cinema that is released today is interoperable. However, it is important that you know that Interop DCP is not the same as SMPTE DCP compliant. Several of the features of built-in SMPTE DCP are not supported by Interop DCP.
Are the current digital cinema standards complete?
It can be said that a complete suite of both security standards and distribution standards are now in existence. However, it remains to be seen whether or not these digital cinema standards are finished and complete. It is difficult to determine if the distribution standards need to be revised at all because the most popular distribution format, SMPTE DCP, is not being used by any major motion picture studio at this time. To ensure that business operations run smoothly, it is believed that more work needs to be done on the suite of security standards, as well.
What is the meaning of NATO’s Digital Cinema System Requirements (NSR)?
NATO’s NSR are in place to describe the exhibition’s industry exact needs. NATO’s NSR are generally combined with the DCI specifications to form a finished collection of digital cinema requirements. Those requirements are then used to guide manufacturers, system provides, service providers, and standards committees. You can view NATO’s NSR by going to their website (http://natoonline.org/Digital.htm).
Can I figure out if a product is in compliance with NATO’s NSR and/or SMPTE standards?
Unfortunately, no organization currently exists to inform you if a product is in compliance with NATO’s NSR and/or SMPTE standards. When you are renting or purchasing digital cinema technology, look for a full set of specifications in the agreement that you sign. It is important that you know that products that claim to be DCI compliant may not be compliant with NATO’s NSR and/or SMPTE standards. You can then compare the specifications to determine if they are compliant. You can also obtain an approved list of products that are acceptable for digital studio distribution on the Disney website (http://digitalcinema.disney.com/).
Can I determine if a product is in compliance with accessibility requirements?
The SMPTE distribution standards include both accessible audio and closed captions. However, the DCI specifications do not include those features. When a product is DCI compliance tested, those accessibility features are not included. You can determine on your own if the product that you are purchasing meets accessibility requirements by viewing the Timeline for Accessibility (http://isdcf.com/papers/20091111-TimelineForAccessibility.pdf).
Where can I go to obtain additional information on the Inter-Society Digital Cinema Forum?
The ISDCF exists to socialize issues regarding digital cinema technology. Using the ISDCF to gather information on problems and results that arise in the digital cinema technology industry is a good idea. However, the ISDCF does not provide standards or compliance specifications that products must follow. You can obtain additional information on the ISDCF by visiting their website (http://www.isdcf.com/).
What are the main differences between 2K and 4K projection?
2K projection refers to a device that can project images that have around 2K vertical lines. In the digital cinema industry, a 2K image has a scope aspect ratio when it is 2.39:1 when delivered at 2048 x 858 pixels. A 2K image that has a flat aspect ratio is 1.85:1 when delivered at 1998 x 1080 pixels.
When an image is described as being 4K, the image has approximately 4K vertical lines. To have a scope aspect ratio, a 4K image must be 2.39:1 when delivered at 4096 x 1716 pixels. A 4K image has a flat aspect ratio when it is 1.85:1 at 3996 x 2160 pixels.
Is a 4K projection system needed to play 4K movies?
No, you can play a 4K movie on any 2K projection system without the need for modifications. A 2K projection system will use JPEG 2000 image compression technology to turn a 4K movie into a 2K movie. If you were playing a 2K movie on a 4K projection system, the projection system would scale the 2K movie for projection on a 4K system automatically.
Is it possible to use a single lens to project flat and scope images?
It depends on the requirements and specifications that you are going by. The NATO NSR states that you can use a single lens to project flat and scope images. However, many motion picture studios believe that the DCI specifications state that you should not use a single lens to project both types of images. Others interpret the DCI specifications as stating that while you can use a single lens, it is preferred that you use separate lenses to project the flat and scope images.
Can an anamorphic lens be used on a projector?
Some studios may accept the use of an anamorphic lens on a projector and some studios may not. However, using an anamorphic lens is the most effective method of taking advantage of the light that is available to the projector. Film relies on the spreading of images that are squeezed anamorphcially. A digital cinema projector, on the other hand, is capable of anamorphically re-mapping images on its own. You then only need the anamorphic lens to display the image correctly. By using an anamorphic lens on a digital cinema projector, the end result is an image that can light up a much larger screen when compared to a non-anamorphic projection technique. Using an anamorphic lens on a projector has been proven to be successful for large screen 3D presentations in the past.
What is the delivery method for security keys?
Security keys (KDMs) are delivered via a digital cinema server. Each server is only capable of having a single unique KDM. Within the KDM, which is the key delivery message, there is an encrypted security key. By using an encrypted security key, you are not able to project the video to the wrong location or server, which prevents any errors from impacting the security of the movie itself. You will need to have a digital certification in the media block of the projection system in order to create a KDM, which generally get sent to the exhibitor via email. You can obtain more information on creating a KDM by visiting the following Facility List Message website (http://www.mkpe.com/digital_cinema/faqs/tech_faqs.php#flm).
How is the Key Delivery Message controlled?
There are a couple of conditions that are associated with KDMs. They will only function for a single movie title on a single server, they will only function within the defined engagement time period, and they will only work if the projector that the server is connected to is on the KDMs authorized device list.
If you need to play the same movie on multiple servers, you will need to create multiple KDMs for the same movie title. When a KDM is created, it is set to only allow the movie to play based on the business needs of the studio that distributed the movie. Once the KDM expires after that engagement period, you will not be able to play the movie without a new KDM.
You will need two public keys to create a KDM, which are the public keys that are found in the certificate of the projector and the public key that is found in the media block. The digital certificates are then signed by digital cinema equipment’s manufacturer. People who are authorized to make KDMs know that they are working with trusted security keys because there are only a few manufacturers that produce digital cinema equipment and products.
Are there any other conditions that would prevent a movie from playing?
If tampering occurs with the security sub-system, the equipment that is associated with that sub-system will not function. If you are someone that owns digital cinema equipment, you will need to have someone on staff that the manufacturer has certified to complete repairs on the security components.
Checking with the manufacturer of the equipment is the best way to determine exactly who is qualified to handle the repairs.
According to the DCI certifications, if the server’s forensic marking system is failing to function, the movie will not be allowed to play. If someone were to make a camcorder copy of a movie, the forensic marking system of the server would enable authorities to track the exact location that the copy was made from. Studios also have the option of disabling the marking system, which would allow all copies of the movie made to be played.
What is a Facility List Message?
In digital cinema, a Facility List Message (FLM) is a file that contains all security information, such as digital certificates, that exist in protected playback equipment. The person that is creating a KDM will need the FLM in order to successfully create the KDM. It is best if the FLM is created by the person who owns the digital cinema equipment. The FLM would then be signed by the digital cinema equipment and sent to any people who are allowed to create KDMs for movies that were created on the aforementioned equipment. The information that is contained within the FLM will also be needed to create KDMs authorized device list.
Is a Theatre Management System needed?
There is no correct answer to this question. A Theatre Management System (TMS) allows owners of multiplex theatres to manage all of their screens from a centralized location. While not everyone needs a TMS, it is recommended that you have a certain component of the TMS, which is the Data and Key Management System (DKMS). You can purchase the DKMS independently of the TMS and it will allow you to manage all of your system data, such as your KDMs and FLMs.
What is the most important information to know about digital 3D?
In the digital cinema industry, 3D is a term that is used to characterize stereoscopic images, which is a system where both right and left images are projected on a 2D screen. 3D is also used to describe a viewing method for those images that allows for the human eye to only see the predetermined images. To achieve the stereoscopic image effect, the left eye must see an image that is different from the image that the right eye is seeing.
For regular 3D display methods, a single distribution method works. However, for digital 3D display method, a single inventory is the needed distribution method. If you have a Real D installation, you will need a rigged version of the updated 3D distribution method.
There are several techniques that are available today for creating 3D images. For viewing 3D images that a single digital projector projects, there are only 3 “add-on” technologies that are available. The main types of add-on technologies are active glasses and polarized glasses.
Many exhibitors are beginning to show interest in a dual projection technique for projecting 3D images. The cost of the dual projector is similar to the cost of additional 3D technology. The dual projector also allows for larger screens to be lit up.
Is a single projector capable of producing 3D images with full color representations?
The answer to that question is no. A single projector can only produce 3D images in 4:2:2 color representation. Full color representation is 4:4:4. To achieve full color representation, you will need to display 2D images using a single projector. However, if you have a dual projector, it is possible that your server will support full color representation. Many studios will not allow the use of dual projectors, though, because of the alignment difficulties that are associated with them.
Are there any specific questions that I should ask a provider of digital cinema systems?
There are some basic questions that you should pose to your digital cinema systems provider. However, it is important that you know that you may get difference answers from different providers because they may implement the Theatre Management System in a different way. Those differences may have an impact on both the policies of the exhibitor and system security.
One of the most important questions that you should ask is how long will it take to take a movie from auditorium to auditorium. You should also ask if the TMS will notify your main office when new KDMs and content arrives, as well as when KDMs are due to expire in X amount of days. Knowing who will maintain the TMS and if different Service Level Agreements are available are both good questions to pose to the provider, as well.
It is very important that you ask the provider if the TMS that they use is capable of creating a security log that you can alter and approve. According to the DCI specifications, the movie distributor has a right to request a security log. However, both the SMPTE standards and DCI specifications allow the exhibitor to remove some delicate data from the security log. You should also find out if the TMS allows the exhibitor to control how the security log is transmitted to the movie distributor.
In the digital cinema industry, what work remains?
The latest information technology is needed for the digital cinema industry. While much work remains, there is some work that is more important than others. In the United States, FIPS security standards, which are critical to the DCI specifications, are governed by NIST. NIST frequently makes changes to the standards, which is not acceptable to the worldwide digital cinema industry. As of January 2010, NIST made changes that made KDMs in digital cinema useless. DCI now has to decide whether they want to allow digital cinema equipment to become useless as NIST makes those changes.
An automated process is also needed that can handle the delivery of KDMs. As of now, KDMs are delivered through personal email. Due to frequent personnel changes, it is difficult to determine if the KDMs were successfully received. An automated system would guarantee the arrival of the KDMs.
A single, automatic method is also needed that will allow for the delivery and management of files. Once a content distributor sends files to an exhibitor, they need to be able to confirm that the files were received. Exhibitors then need to be able to log and manage the files as they arrive.
To insure that projectors can be sold at the best price, media blocks need to become a commodity. Being that media blocks are now being used in most projectors, it would be cost effective if they became a DCI compliant commodity. The hardware that is external to the server should also become a DCI compliant commodity so that projectors can be made available for the least amount of money.
Much work is also needed in the area of security log management. There is no method currently in place that allows exhibitors to have oversight over how security logs are managed, as well as having access to the tools that are needed to filter security logs to remove sensitive information before the logs are sent to the movie distributor.