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ISDCF Forum A public forum to discuss ISDCF topics 2018-12-16T12:43:12-07:00 https://www.isdcf.com/forum/feed.php 2018-12-16T12:43:12-07:00 2018-12-16T12:43:12-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1994&p=2037#p2037 <![CDATA[Projection & Playback • EDCF "Buyers' Guide To Laser Projection"]]>
Buyer's Guide to Laser Projection is available from the EDCF website, section.

The work was done by gathering questions from members, posing them to the projector manufacturers, then producing this slide stack.
Editors and Project leads:
David Hancock (IHS Markit) and Matt Jahans (Harkness Screens)
Contributors:
Tom Bert, Goran Stojmenovik – Barco
Brian Claypool – Christie
Dave Monk, John Graham - EDCF
Mark Kendall - NEC
Mark Clowes - Sony
Guillaume Branders – UNIC

Statistics: Posted by cjflynn — Sun Dec 16, 2018 12:43 pm


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2018-10-22T00:01:14-07:00 2018-10-22T00:01:14-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1993&p=2036#p2036 <![CDATA[General Discussion • April Arrives – NATO Resolves SMPTE Compliant DCP Transition]]> “...that motion picture exhibitors operating in the ‘domestic’ market of the United States and Canada will fully transition to SMPTE DCP by 9 April 2019.”
The rest of the world is in various states of checking their various equipment and special circumstances for the ability to release and accept SMPTE compliant DCPs. Some territories and countries have achieved 100% capability. But there has been no declared absolute date for the transition in any other country.
There is a good list of SMPTE Compliant DCP advantages over InterOp in one of the Whereas’s. See the pdf.

Statistics: Posted by cjflynn — Mon Oct 22, 2018 12:01 am


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2017-10-16T15:50:51-07:00 2017-10-16T15:50:51-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1992&p=2035#p2035 <![CDATA[General Discussion • WiFI WPA2 KRACK'd Info – Plus Public Key 'ROCA' Problem]]> Key Reinstallation Attacks

The entire world has been informed today about a flaw that was first written about in the security community in May of 2017. That means that hackers are now informed and tools are available for script kiddies to play around with. If you provide a WiFi Signal that the public can get to which also attaches to part of your network, be afraid. Turn it off until updates to the equipment you are using are made available and performed, or you become skilled in using other protocols (like VPN).

<iframe width="560" height="315" src="https://www.youtube.com/embed/Oh4WURZoR98" frameborder="0" allowfullscreen></iframe>
[If iframe gets striped, the video is at: <https://youtu.be/Oh4WURZoR98>]
The above video shows how a Man in the Middle attack is easily mounted against a user connected to the system, intercepting the data flow as if it weren't encrypted. Although a properly set up website with https (SSL) encryption will still hide a users data, an improperly set up SSL site (estimated to be up to 20% of sites) will not protect the user.

It is possible that a user will go to a site, see that it is protected by the classic lock symbol appearing on the URL line of the browser, then get hacked while thinking they are securely passing credit cards, email addresses, password and other information. The video shows Match.co.uk being broken in this way.

The discoverer of the attack says in his paper that the problem is a weakness in the WiFi standard itself, not any particular product. See: Breaking WPA2 by forcing nonce reuse –

This means that if WPA was implemented correctly as specified by chip manufacturers and the Wi-Fi consortium, then it is now broken. [And yes, it was a really silly flaw. The code checked that a process was done but allowed that the handshake code could be sent again...hey...communication, it doesn't always work, right? OK; what if I send all zeros a 2nd time? Hey! I'm in!]

Updates will be required on all devices; routers, phones, portable computers, whether Android or Apple or Samsung or Cisco or Belkin or Linksys or Debian or Ubuntu or any of the suppliers of chips like Broadcom or ...well, everyone. There is a site tracking information on these companies: https://www.bleepingcomputer.com/news/s ... erability/

Other articles:
[url]<https://www.schneier.com/blog/archives/2017/10/new_krack_attac.html>[/url]

[url]<https://www.wordfence.com/blog/2017/10/krack-and-roca/?utm_source=list&utm_medium=email&utm_campaign=101617>[/url]

What is the good news? First, trusting a wifi network has always been hit or miss. A poorly set up system would allow me to break into your computer on the other side of the room...or at least have a chance of it. So, now more people will be wary.

Another good point is that equipment which does not get patches out quickly – I'm thinking 3rd party Android phones from smaller suppliers for example, they are going to be known for the bad actors that they are.

Finally, I suppose it will get more of us onto VPN, where a good tunnel still works. Yahoo! more things to know...

=-=-=
There is another crack that just hit the public as well, this one called ROCA.

ROCA has to do with a horror for the many corporations which have used a particular bed of generator numbers to fulfill the promise of randomness when generating public keys. Keywords: RSA keys, Infineon-developed RSA Library version v1.02.013, factorization

We all know public key encryption, yes? The attack is on public key encryption.

Too detailed to make a simple summary article. But it is a condemnation of keeping things hidden as a method for security – what's called "Security Through Obsurity".  When open and public, we can all see if there are hooks for the bad guys or the government (redundant?), or just plain errors a lot sooner. Here's is the detailed Technica article about it:
Millions of high-security crypto keys crippled by newly discovered flaw [url]<https://arstechnica.com/information-technology/2017/10/crypto-failure-cripples-millions-of-high-security-keys-750k-estonian-ids/>[/url]

Statistics: Posted by cjflynn — Mon Oct 16, 2017 3:50 pm


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2017-01-29T15:20:47-07:00 2017-01-29T15:20:47-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1991&p=2034#p2034 <![CDATA[Mastering DCPs & KDMs • Calculating Leq(m), or is their an alternative?]]> I have a library of Trailers and Ads, and I want to check them for compliance to audio levels..
Leq(m) 85 for trailers.
Leq(m) 82 for Trailers.
(According to standards organizations)

However, Leq(m) is a Dolby tool, and I expect proprietary as it is not easy to find apart from in Dolby tools..

I was wondering if anyone has come across any open source tools that can be used to calculate this value? (Ie I intent to write come code to go through them all and tell me the results etc)

Or if there is an equivalent level for Trailers/Ads using a STANDARDS based loudness measurement?

Thanks,
James

Statistics: Posted by jamiegau — Sun Jan 29, 2017 3:20 pm


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2017-01-22T05:15:21-07:00 2017-01-22T05:15:21-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1990&p=2033#p2033 <![CDATA[General Discussion • SMPTE-DCP vB2.i for festivals tech specs.]]> The basic info included in the specs are the following:
DCP: It is requested to provide two identical DCP of the same movie, each one supplied on a CRU data port Hard Disk Drive (HDD), by August 19th.
Each HDD shall contain only the DCP related to the movie.
The Assetmap of the DCP shall include only the CPL required for the theatrical exhibition at Film Festival.
Each DCP submitted to the Film Festival should meet the current standard “SMPTE-DCP” or the “Interop-DCP” specifications.
No Mixed Format, SMPTE-DCP and Interop-DCP, in the same DCP are accepted.
The File name of the DCP should comply with the current Digital Cinema Naming Convention.
Only in case of logos or trailers is it possible to accept Flash memory USB or to agree on a FTP transfer service.
Would you please provide additional info, and/or modifications, to be included in the above description that can comply with current status?
E.G. should be used “SMPTE-DCP vB2.1” instead of “SMPTE-DCP”? What should include related to Immersive sound?
All info you can provide are kindly appreciate.
I will participate online at the next ISDCF meeting January 19.
Kind regards,
Angelo

Statistics: Posted by angelo — Sun Jan 22, 2017 5:15 am


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2017-01-19T10:05:26-07:00 2017-01-19T10:05:26-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1989&p=2032#p2032 <![CDATA[Event Cinema • General]]> Statistics: Posted by cjflynn — Thu Jan 19, 2017 10:05 am


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2017-01-19T10:03:44-07:00 2017-01-19T10:03:44-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1988&p=2031#p2031 <![CDATA[Event Cinema • Personnel Training]]> Statistics: Posted by cjflynn — Thu Jan 19, 2017 10:03 am


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2017-01-19T10:02:29-07:00 2017-01-19T10:02:29-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1987&p=2030#p2030 <![CDATA[Event Cinema • Hardware Issues]]> Statistics: Posted by cjflynn — Thu Jan 19, 2017 10:02 am


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2017-01-13T16:12:22-07:00 2017-01-13T16:12:22-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1986&p=2029#p2029 <![CDATA[Event Cinema • Welcome to the Event Cinema Forum]]>
The problems of Anything But Cinema, whether a live satellite or cable feed or a prepared distribution, become even more complex in the modern age of emergency tech support. Common professional cinema standards – for example screen and masking dimensions, sound mixing, security solutions and demuxing – all have different non-cinema standards that can trip up the automated and working equipment, procedures, and staff of the multiplex.

For example: The term 5.1 as a mix scheme shares enough in one world to allow the un-savvy to relax. Inexpensive satellite or cable boxes won’t pass professional security and other specs. The wary cinema owner might be proven right that the expense of the higher standard equipment won’t be paid back once the production fails for inexplicable reasons…especially if using off-the-shelf consumer equipment is attempted. A glance that sees the production at the 1920 x 1080 spec of 1080p might consider the 2048 width of the cinema as close enough, but customers see odd bars, edges of the screen and bad contrast.

The failures due to any one or combination of these will remind the patron that they can possibly see or hear a more compelling presentation at home.

This area of the ISDCF Forum is set aside to detail specific problems and solutions for the Event Cinema (live performance whether music, dance or other arts, and sporting events), and Alternative Content (non-DCP distributed movies or documentaries) and Multi-Facility Events (corporate meetings, game competitions).

Statistics: Posted by sperling — Fri Jan 13, 2017 4:12 pm


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2016-10-17T17:34:42-07:00 2016-10-17T17:34:42-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1985&p=2028#p2028 <![CDATA[General Discussion • Re: Billy Lynn's Long Halftime Walk - Tech Specs]]>
edit - a discussion on film-tech suggests that Sony has pulled the plug for Billy Lynn's HFR releases completely - except for only two premium locations that will show it in 4k/120/3D.

How these two opposite announcements in such a short timeframe?

- Carsten

Statistics: Posted by Carsten — Mon Oct 17, 2016 5:34 pm


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2016-10-06T13:06:25-07:00 2016-10-06T13:06:25-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1985&p=2027#p2027 <![CDATA[General Discussion • Billy Lynn's Long Halftime Walk - Tech Specs]]>
Sony is planning to release Billy Lynn on November 11, 2016 in three preferred formats - all in SMPTE-DCP (Type A):
3D60-2K (250Mb/s)
2D60-2K (250Mb/s)
2D120-2K (250Mb/s)

We will refer to these as HFR versions in these notes.

Sony’s goal is to widely play the movie in the HFR version. (Our discussion did not discuss a 3D24 or 2D24 release.)

SMPTE-DCP (Type A) simplified: Burned in Subtitles, no CPL metadata, no MCA labeling

ONLY the movie will be in these HFR formats - no unusual trailers expected either from Billy Lynn or other titles.

Chairman’s Goal: To provide guidelines and procedures for exhibition to play this movie in one of these preferred formats and to provide a list of equipment that should (and should not) be capable.

Question: will there be any problem is shifting between the trailer pod (2D24/3D24) and the HFR movie?

Q: Can 2D60 play on a series 1 dual-link system? A: It might work, but there is concern about widely expecting it to work. The projectors would need to be in a very complex mode (not for average theaters). Not recommended by vendors.

Q: Is a new PCF (Projector Configuration File) needed for the HFR content? A: No. The only known change is to shift to single flash (3D only). Single flash will also play 3D24, but should return to triple flash after the HFR movie leaves the screen.

What is needed to play the preferred formats?

Must have an IMB for 3D60 or 2D120 - no linked servers for 3D60 or 2D120
MAY work with dual link SDI for 2D60 for series 2 projectors
No series 1 for 3D60 or 2D120 -
Series 1 might play 2D60 - probably not - depends on the manufacturer (and it was not in the spec). User beware!! TEST IT!
Sony systems can do 3D60, 2D60, but not 2D120.

Recommendation for 3D - Need to douse projector for ~3 seconds at transition between 3D24 and 3D60 (to let equipment get to sync) plus 3 second black at start of feature. (Mastering should include 3 seconds of black at beginning of presentation.)

NOT easy to set projector in single flash mode. A macro can be used to set the projector in the single flash mode (3D)

Initial testing shows that 2D60/2D120 seemed to work just fine with capable equipment.

Statistics: Posted by japierce — Thu Oct 06, 2016 1:06 pm


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2016-08-03T11:16:29-07:00 2016-08-03T11:16:29-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1984&p=2026#p2026 <![CDATA[ISDCF Meeting Notes • ISDCF Meeting Notes - May 19, 2016]]>
Upcoming Meetings

Thursday July 21, 2016 Main meeting at Universal
Thursday September 22 Universal

* Traveling Plugfest - November 14-17 2016

Part 1: General Reporting

Housekeeping:
Antitrust Disclaimer – The official antitrust guidelines are posted on our website and are linked from the main ISDCF page. A short verbal overview of guidelines was given.
Thanks to Fox for lunch. Upcoming (note that the dates are messed up): Barco June ’16, August ’16 WB/Mike Z, Jim W/Wendy A (Consultants) Sept ‘16
Thank you to Universal for the facilities and parking. Universal will be the primary location for future ISDCF meetings - although Uni may loose the conference room
Thank you to Universal for support of the Chairman.
Thank you to Inter-Society for providing the funding for notes, travel, general expenses and admin support.
Thank you to Universal/Sony for the coffee and treats
Meeting notes from March ‘16 was reviewed and approved.
Legal reminder / press reminder
Chatham House Rule:
When a meeting, or part thereof, is held under the Chatham House Rule, participants are free to use the information received, but neither the identity nor the affiliation of the speaker(s), nor that of any other participant, may be revealed.

Attendance is at end of these notes.





Action Items from May 19, 2016

Start a thread on Forum on Event Cinema Automation needs / workflow solutions. (CJ and Jerry)
Eikon needs to get Jerry the variable Z test package for posting on ISDCF (the one that was used at the plugfest.
Distributors will ask their movie makers on the absolute need for continuous variable Z - is it good enough to just have a set of fixed Z subtitle placement - would that be acceptable for using this feature?
Get results from EDCF for ‘Stair step’ static Z positioning to emulate variable Z.
Subgroup to edit / recommend changes for Document 12 - RP for Ingest Behavior - Steve L to lead, Dean B, John H, Mike R, Jim W, Chris W, Bill E “volunteered” to participate.
Create an updated suite of well described test content on the ISDCF website (Jerry) Including SMPTE DPROVE content.
Try Dolby conference system - Dean will try to get a system for us to try.

From earlier meetings:
Wendy will check with John H and SMPTE to see if there is a list of SMPTE specs that could be posted on the ISDCF website.
Review the use of ContentTitleText in the PKL for situations where the PKL holds multiple CPLs. Language to improve the Digital Cinema Naming Convention site OR may become a new recommended practice document for ISDCF (Chris W)
Test content to show the difference between font rendering color and expectations. i.e. create a font color that should match the background and blend in - this would show the issue. Should be ready by plugfest in May.
Add to the SMPTE CPL metadata document the use of lower case subtitles indicating burned in subtitles and upper case is rendered. Dean [Post on Forum.]
Still looking for DCP that includes Atmos in test content B configuration (Dean) Should be ready by plugfest in May.
Still a need for a simplified description of FLMx for what it does and doesn’t do (to make sure it won’t be rejected due to lack of knowledge of what it does and doesn’t do.
ISDCF should have a recommended practice for zip/tar content to create drives (NOT for distribution to theaters.) Dean? Nick? Steve?
ISDCF should write description of submission aspect ratios to the Academy. (Ernie / Bill H. will take the lead.)

We had discussion on when the next ISDCF meetings will take place. We deleted the June meeting, we set a July 21 meeting date, we deleted the August 18 date and set the September 22 dates. We also set a traveling plugfest for November. We discussed the need to NOT have meetings closer than 4 weeks apart.

It was pointed out the meeting notes from 10 years ago (at end of last meeting notes).

Discussion of iPath Reflector - still needed? Should we kill this reflector or make it more known? Results: keep the iPath list. Send the current membership out once a year for updates. Use this for highly technical communications (the nerds list).


Part 2: Real Work

Plugfest Results! Thanks again for Deluxe for use of room for two full days!

Deluxe Hollywood - GREAT VENUE!

TMS to Server testing on Monday
Participating: Sony, Hollywood Software, Dolby, GDC
(Missing: Arts Alliance, Unique, others)

Plugfest “Light”
Most worked - but mainly latest version of software, not all the equipment in field is up to this level.
Next plugfest should be a “traveling roadshow” to test field systems.
(Field is about 50% success - mainly due to non-updated software)

Discussion of what should be the guidelines for ingest behavior - probably not ingest EVERYTHING. To talk about later.

Results:
Most everything worked!
(One issue with ingest of Barco Escape content).
Everything followed the guideline of “ingest everything” even if you don’t recognize it.
HOWEVER ingesting of “bad” (corrupted) content and/or malformed (not meeting spec) content.
WHAT SHOULD TMS BEHAVIOR BE? (Basic more to discuss about validation and ingest behavior. )

More details:
Some systems could talk to many servers.
Others have a restricted set of servers that are supported.
Some API’s have changed so communication broke down.

Test Content playback on Tuesday (Wednesday cancelled)

Goal was to test deployed SMPTE-DCP compatibility - didn’t happen. Still testing latest-and-greatest software versions.

Tested Servers: Dolby, Barco, GDC, Qube

Test content:
3D Rendered Subtitles
Static Z - fixed per subtitle - is this useful?
Variable Z - changing Z per subtitle (Eikon)


Definition:
Variable Z = each frame is different in Z for a single subtitle
Static Z = each SUBTITLE is at different Z (all frames of that subtitle is the same)
30% of released titles use variable Z, the rest are static Z (all are burned in today)
This might be emulated by shifting Z every 1 second? This is being tested at EDCF (stair step approach). We will wait to hear how it goes…
Distributors would like variable Z - some in the room believe variable Z is REQUIRED (not sure if the stair step Z without flash would be sufficient).

PNG placement (JW)
A test of color and placement - this may become part of the compliance test plan.

HFR in 2D and 3D
Fox Format Test (encrypted, all frame rates from 24 to 120, including captions and subtitles, 250/500Mbps)
Pretty picture demo material (JC)

Bottom Line:
ALL servers played ALL frame rates that are within spec!
Up to 2D60-2K 3D60-2K - including 24, 25, 30, 48, 50, 60fps
Some could play up to 3D60-4K (with extraction of 2K layer) and 2D120-4K (with extraction of 2K layer)

We did learn that the macro to set up projectors needs to be set prior to shifting frame rates. We found visible problems with some at HFR, but we could trace it to a flash set up that would have been solved with a proper macro. This might be very important for instructions to projectionists that are setting up for Ang Lee’s upcoming movie. (It took us 2 hours to figure out what was going on.)

Pretty picture playback was fun to watch.
It was impressive the similarity between 3D120 and 3D60. We don’t think anyone could tell the difference.

• Variable3D was in B2.1 format with the MCA metadata (no true labeling) in WTF format, no issues with that at all anywhere. 

• Still having some issues with PNG color. 
• We have 3 formats that are the highest common FPS, which is playable on ALL of the systems tested. Anything past this is either downscaled or completely unsupported on some systems, even if one or two are ok with it.
• 2D 2K 60fps (tested @ 250 mbs)
• 2D 4K 30fps (tested @ 250 mbs)
• 3D 2K 60fps (tested @ 500 mbs)
Future Plugfests, we NEED to get ALL content a full week prior to make sure all content conforms to specs. [Except for those pieces purposely put in to trip up and test how systems handle bad content.]

Notes: PNG Placement was indeed packaged with bad PNG UUID calls (should be “urn:uuid:#####” and it was just “#####”). It didn’t fail it on ingest, one system failed on playback.

A review of Document 12 - Recommended Practice for Ingest Behavior. There are changes that need to be modified to identify which types of content should be ingested (or not). One suggestion it to not ingest malformed XML documents or hash failures.

Discussion of 4K checkerboard - There was a clever image pattern to determine if a 4K decode was actually 4K. Included in the package was a 4K checkerboard. We didn’t reach a conclusion on what it should look like in 4K it was clearly decoded as grey for a 2K and was a good check for decoder performance.
Some of the packages at the plugfest included invalid content. If you are interested in which ones are invalid, talk directly to Steve L.

Is there a need for content providers to include the projector macro to set the projector into a known (correct) initial state. This could help accelerate the testing procedures.

The next “Roadshow” plugfest should be scheduled in November - maybe 14-17 2016. Same content as this plugfest, but testing real world installations. There was a lively discussion on the value of a traveling plugfests. The goal is to sample a representable set of systems and just find out what is going on in the field.

Feedback from ISDCF’s submission to DCI
(We asked DCI to include SMPTE flavor B1/B2 as part of their CTP test package.)

DCI responded that their CTP has a different purpose and is forward looking and includes requirements beyond current (restricted) needs.

Some in ISDCF questioned some of the forward looking requirements and the need, for instance MCA routing.

One opinion was that the prior test material did not exercise a wide enough set of edge-cases and equipment was designed for the test and doesn’t meet all the (untested) requirements.

Another opinion was that there is a disconnect between studios, vendors and theater owners. There may be a need for a organization to give “rational” response to DCI and have the DCI directives to be more cooperative.

The open standard (SMPTE) is so wide that it is restricted in practice and DCI sets the restrictions. Many vendors asked to contribute to the DCI process.

One asked if the DCI test content could be made available with the same distribution freedom as ISDCF test materials. (There is an issue with StEM material restrictions.)

ISDCF did a negotiations between industries - vendors, studios, exhibitors - to develop a compromise (SMPTE Test Package B). It is a balance between needs.

In the long term future there would be an opportunity to upgrade to use new features.

Looking forward: you could make the shift to SMPTE-DCP by step-wise upgrades. One studio tried to do move to SMPTE-A first and found problems. They changed their approach to just take the leap to Test Package B.

Test Content
SMPTE is selling DPROV content, ISDCF has content, DCI has CTP content. What should be the coordination between test contents? We don’t have agreement on all parts and descriptions of what the test content achieves.

What feature set should be the minimum requirement for the short term future?


SMPTE-DCP update
Pete’s Dragon Disney DCDC August 12 - a letter is going to exhibitors.
2D & 3D (burned in Subs to international locations)

Paramount did issue “Everyone Want’s Some” in SMPTE-DCP

Other studios are working on preparing SMPTE-DCP for the future. No other announcements made.

What About ISDCF? It’s Been 10 Years - what should we be doing?

Should we keep meeting? Is it valuable?
Have transitioned from launch to maintenance phase? No, not until SMPTE-DCP is launched.

Comment: Isn’t it self evident? People still come to the meeting and call in. There must be value.
Comment: This forum is the only one to discuss SMPTE-DCP detail issues.
Comment: ISDCF helps the industry and a place to meet up is VERY valuable. We stay ahead of serious issues. We might transition to TMS’s and software updates. There is pain that needs to be addressed.
Comment: More problems will come up, this is the only forum to address these issues.
Comment: VERY valuable for those that live out of area to meet with industry folks.
Comment: It’s very hard to hear on the phone. (Especially if you can’t link a face to a voice.)

Are we meeting too often? Not enough?

Comments:
Schedule 6-8 weeks between meetings.
May be worth getting an “immersive audio system” to help make it easier for remote folks to follow. (Dean will try and test a system.)
Not having the buzz REALLY helps.

Event Cinema Automation - No follow up from last time. Need to get more requirements.

Alt Audio Tracks - Still need to get more information from studio.

Statistics: Posted by japierce — Wed Aug 03, 2016 11:16 am


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2016-07-20T23:46:08-07:00 2016-07-20T23:46:08-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1983&p=2025#p2025 <![CDATA[General Discussion • Re: Film Festival Technical Issues and Solutions]]>
List of problems:

1) Many do not even test their content prior to shipping it, whether DCP or not. They do listen to the audio, nor check the color in a balanced theater. While I'd love to say the reason is they ran out of money or the like, but the real reason is they don't know they need to, they just think it's supposed to be perfect process… after all shouldn't it be?

2) The only issues I've seen in the field regarding DCP errors themselves are:
– Failure on dual projection arrangements to handle KDM properly (SMPTE)
– Oddities on servers when they play an interop DCP followed by a SMPTE DCP
(again often not handling KDM's, i.e., loosing track of them requiring a reboot
on the system to get it happy)

3) Often I see confused audio assignments for multichannel content. This is a problem with the lack of a standard for channel naming in the industry so that tools know what is what. Only current recourse is an engineer to look at the levels and glean that the channels are probably in the right order (without asking the filmmaker). Our only rule is to follow the ordering L,R,C, LFE, Ls, Rs. Yes I know fancier ways exists, but these are not well known nor available to the outside world.

4) I often see aspect confusion, namely I see 2.35's inside of 16x9 quite a bit. This is a common error due to the way things are edited, an editor often has 16x9 monitors and therefore does this to play things back on their monitor, but forgets to set to full resolution on final renders.

5) I often see bars+tone at the beginning of the content, because again, the filmmaker/editor forgets this for a show, and not another editor, or someone else in the chain who's going to edit it.

6) I've seen audio as 5.1 channel + 2 channel, again this is a common editorial issue, they were taught to do as convenience but forgot that the content was for final delivery (and forgot to trim off that upper stereo pair). This gets encoded as 7.1 again without anyone knowing.

7) Noone knows what a interop or smpte DCP really is, nor when it might be needed and when it might not. Folks are not confirming with the theater what it can do, and often just say to use either.

8) I've seen terrible confusion in the specs themselves from the festival management. I've seen ... please supply DCP spec'd as either "DCP 1" or "DCP NTSC" – this was from a spec I saw for the AFI, for example. Not a clue what they were trying to say.

Statistics: Posted by cjflynn — Wed Jul 20, 2016 11:46 pm


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2016-07-20T23:01:13-07:00 2016-07-20T23:01:13-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1983&p=2024#p2024 <![CDATA[General Discussion • Re: Film Festival Technical Issues and Solutions]]>
The first is this years (2016) Technical Specifications and Requirements for the submission of DCPs (Digital Cinema Packages) for theatrical exhibition at the 73rd Venice Film Festival.

The second is the DCP -TECHNICAL FORM that the Creative is supposed to have filled out and submitted with their DCP.

The third PDF is a work in progress slide set that details several layers of problems and must-do solutions for festival technical groups.

Forum Note: Since it seems that pdf files are not allowed to be attachments, I have zip'd the three files together.

Forum Note 2: It seems that there is a 256k limit on uploads to the Forum, so the 2meg file will download from this link:
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cjf

Statistics: Posted by cjflynn — Wed Jul 20, 2016 11:01 pm


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2016-07-19T18:59:11-07:00 2016-07-19T18:59:11-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1983&p=2023#p2023 <![CDATA[General Discussion • Re: Film Festival Technical Issues and Solutions]]>
There are many kinds of film festivals held around the world, but they all have similar traits.

1) Rarely are they held in a facility that is exclusive for the festival.
2) Rarely are they held in one facility.
3) Rarely is there one set of equipment of same manufacture and similar vintage.
4) Rarely does all equipment have the latest software (or does all software work everywhere.)
5) Rarely are there more technical people on-site than needed for the situations-at-hand.
6) Rarely will all the DCPs load and/or play through without some technical intervention.
7) Rarely does the technical team get to play all the productions with the creatives.
8) Rarely do the QC previews get done in the room they’ll finally be played in.
9) Rarely will all other rooms load/play even when the preview room loaded/played.
10) Rarely does the Festival’s Material Requirements Form include a line that shows which DCP-Validation tool was used.

Here is a look at some of the ‘whys’ for these situations.

1. Even the most spectacular of Film Festival spectacles, for example the Festival de Cannes held at the Palais des Congress in Cannes France – where there are no other movies played the rest of the year – is not a perfect situation. There are no other movies played because there is no equipment for the rest of the year. All the equipment is brought in for the Festival from one featured manufacturer and one installation crew adjuncts the staff organized and brought in from all over the country by the CST. QC runs are held 10 days in advance and woe to the group who miss their QC spot.

2. In many festivals around the world, the movies and documentaries have to be played at several cinema facilities in the host city. The contracts with these facilities will typically specify that the equipment is brought up to the latest specification, that the software and firmware are the latest versions and that the technical staff of the festival have the right to put new software and firmware as required. [Is this HTML comedy tag working?]

3. In reality, the equipment vintage will vary from cinema to cinema, even projection room to projection room, as will the software and firmware. But the equipment works, as witnessed by the fact that the facility is playing commercial movies several times a day to a paying audience. Typically the facility will play their normal schedule for part of the day and turn over the auditoriums to the festival. The facility owner doesn’t really care if they have the latest, they just want a working system when regular movie patrons appear.

4. It is an anachronism to think that every software changes will cause at least one problem with one set of equipment that will need to be debugged. But it isn’t untrue to believe that changing the firmware/software in a projector/server system might allow a new DCP to work but cause a previously working movie to not play. It is not anecdotal that many systems of similar type and vintage will work with a particular set of firmware and software, but one or two systems will need to be beat into submission…or emails sent to manufacturers begging them to get together and figure out the problem(s).

5. Given that these things are true, and that bigger events will have dozens of cinema facilities with dozens of equipment combinations in play, the best solution would be the laughable notion that the festival will hire extra technical support staff beyond the needs of whatever emergencies might present themselves. Fate, of course, subscribes an inverse proportion rule that puts less resources (money to hire techs) at festivals with the most likelihood of odd variations of client submissions (submit your ‘tape’ in any of these several formats or make a DCP yourself perhaps!) Actually, every festival, large or small, gets last minute submissions in odd formats. There is never enough tech support and there is never enough time. Most emphatic tech complaint: even after heroic efforts to make a movie or documentary avoid a black screen, coordinating the creative for final QC sign-off is a time consuming battle.

6. Of course, the great majority of DCPs will show up working, and the creative will be on-time for the QC run. There are also DCPs that show up working on most equipment, but through no fault of the creative there is some inexplicable reason that the DCP works on one set of equipment but not another. This happens – very rarely – even with regular cinema movies. On the other hand, through no fault of the tech team, perhaps through some fault of festival communication or more often, the artist thinks they can magically defy laws of physics and equipment standards. It is not odd for creatives to show up with odd variations of tape format and/or disk formats that are clearly in violation of the rules, yet they are willing to risk their investment at the final link in the chain of their production.

7. If the tech team sets up some triage mechanism for problems – which lack of time and resources inevitably leads to – the most likely way to make certain that a production is placed on the bottom of the list (Black Screen Trending) is to not show up for QC, to ignore messages about problems, to not send security keys in advance (or power lunch with them in your pocket), and to not fill out the forms that may indicate the technical origin of the material. With enough time and clues – and the security keys if used – a black screen might be avoided, even if the creative is disrespecting their fellow festival teammates.

8. One constant in the 15 year transition from film to digital exhibition has been constant transition. Professionals at the DCP-Creation houses have had to keep dozens of variations of equipment on hand to test the possible combinations of hardware/software/firmware in the field and now, the variations of InterOp and SMPTE-compliant DCPs. One constant in festivals is that the hardware/software/firmware in the auditorium chosen to run QC checks will be in some way different than the hardware/software/firmware in the auditorium chosen for your production. The QC auditorium will sometimes be found lacking, so festival specific hardware will be directly attached (networked management systems and libraries on RAID systems) and updates will be applied that don’t get directly attached or completed in other auditoriums. And after all that, the properly QC'd material will be sent to another auditorium and it won't work.

9. Getting your home-made DCP validated in one facility (Hey, the guy who made my DCP tested it at his local theater…) and expecting it to work in all projection rooms of all the film festival multiplexes is not as logical as getting the DCP made and validated at a more vastly qualified and experienced DCP-Creation facility recommended by the festival since all the apply. In a perfect world: Daring is less respected than professionalism.

10. A checklist that the Creative fills out to validate that their material complies with the Festival’s Material Requirements should have a line that shows which DCP-Verification Program the Creative used.

Statistics: Posted by cjflynn — Tue Jul 19, 2016 6:59 pm


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