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ISDCF Forum A public forum to discuss ISDCF topics 2018-10-22T00:01:14-07:00 https://www.isdcf.com/forum/feed.php?f=3 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


]]>
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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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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2016-07-20T23:46:08-07:00 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:
<>
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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2016-07-19T18:57:20-07:00 2016-07-19T18:57:20-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1983&p=2022#p2022 <![CDATA[General Discussion • Film Festival Technical Issues and Solutions]]> They range from small and tightly focused on a particular topic to International in scope with dozens or hundreds of full length movies in competition and on view for distribution. The needs therefore range from the need for DCPs with the tightest security to viewing product direct from portable computer video ports.

Why is this of import to the ISDCF group?

Many reasons. First, even though some of the festival support teams which have run into every nuance of DCP conversion issues that rippled through the general exhibition field for the last 10 years – compressed into their 3 day or two week setups – have learned through diligence, better processes and more stable equipment – the continued growth of the festival industry, the SMPTE Compliant DCP transition and other "digital" factors has kept the industry in turmoil.

Second is the inexplicable belief that free internet tools will be so easy and flawless that people with no professional skills can bypass logic and learning curves during the last phase of their artistic process and come up with a deliverable that is difficult for even professional companies to achieve – a DCP that will play on different generations and makes and models of media servers and projectors with different software and firmware – against the advice of the festival organizers who often work out special deals with DCP creation teams to reduce problems...but which predominantly refuse to invoke a "Must Use" clause.

A third reason is that the internet is strewn with 10 years of "solutions", some small part of which still have enough truth to be useful and some large part which adds to the confusion. It is hoped that an ISDCF Forum discussion can lay out problems and solutions.

Since it has been the remit of the ISDCF to help deal with Pain Points in the d-cinema transition, and since this topic comes up regularly, this post is submitted to discuss still existing problems and tested solutions that can assist tech support teams, and therefore festival organizers and artists.

Statistics: Posted by cjflynn — Tue Jul 19, 2016 6:57 pm


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2016-05-15T22:57:05-07:00 2016-05-15T22:57:05-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1982&p=2019#p2019 <![CDATA[General Discussion • CineTechGeek coverage of CinemaCon 2016 now online.]]> earlier today I finished posting my videos of CinemaCon 2016.

This year was better than I expected. Have to be honest, now the VPF is over, a lot of steam has gone out of the tech side of cinema exhibition.. However.. Laser has come on in leaps and bounds with a lot of action in Phosphor and primary laser technology.

Plus, the effect of Silicon valley and there run at the ticketing area from Atom ticketing. Also a very interesting take on the future of cinema..

I hope you enjoy this years coverage.

http://www.cinetechgeek.com/index-by-date/

James
The CineTechGeek.

Statistics: Posted by jamiegau — Sun May 15, 2016 10:57 pm


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2016-05-15T22:52:04-07:00 2016-05-15T22:52:04-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1981&p=2018#p2018 <![CDATA[General Discussion • Re: Event Cinema Automation and Workflow]]>
I have had some exposure to this. From my understanding a major problem around this is as follows.

Many organisations doing this use DVB type transponders to distribute the content.. This is because there are a lot of free transponders with this capability making it extremely cost effective compared to doing it properly ;)

DVB or typical MPEG2 transponders used with cable TV over the many years has many problems that make it incompatible with this form of use model.. Mainly, Cinema does this Ad-hoc. Ie cinema sets them up when needed. However, setting up STB with the right configuration, then making sure they are on long enough to pick up the rolling encryption keys.. Its just not compatible with this ad-hoc, turn it on 15mins before show mentality of cinemas.
This is so bad, encryption of event content is in general "NOT IN USE" as it lead to many dark screens.

How do we fix this core issue?
We simply need to move away from using this form of transponder/STB. Using IP-multicast with STB's that can be controlled from a NOC.. All very much more expensive, is the path forward. This is no secret, it is just they don;t want to pay for this far more expensive form of distribution.

At CinemaCon I did hear that in some European countries, this is catching on as the Satellites do offer cost effective IP based distribution. But then again, distribution over internet networking is also catching on..

The strange thing here is that most of this Event cinema is not live. "So why do it??" The business models change when it is streamed or broadcast. I am not over exactly how they change but it is lucrative explaining why they go to the effort over doing one of DCP-based events...
However, this is where the definition of streamed is also being stretched..
For example, some companies are saying they can reliably stream over the internet at very high bit rates.
Maybe so, but the internet is by no means a distribution system I would rely upon for this form of streaming.. Unless..
One can say, you can download a certain % of the content before you start showing the streaming picture..
If you make this percentage 50-90% of the content before you start showing the image.. you're still technically streaming but in reality it is basically store and forward. That is a trend coming out of Europe by companies saying they can do this over the internet..

This area is a bit cowboy land. I would discourage ISDCF from stepping into this arena. With no adherence to standards, an unknow/variablen business model behind it.. I expect each region will simply gravitate to the best and most cost effective solution available to it.

Last point, a vendor built a very good implementation of IP-broadcast around this many years ago. went nowhere.. It required using the right form of IP-multcast over satellite, or internet.. Not expensive relatively.. But could not touch $50 DVB set top boxes. So it failed. Great solutions do exist.. Its the business models that make this a crazy area of cinema exhibition.. ISDCF has no control of that.. So I don't see how we could help..

James

Statistics: Posted by jamiegau — Sun May 15, 2016 10:52 pm


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2016-05-12T09:53:52-07:00 2016-05-12T09:53:52-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1981&p=2017#p2017 <![CDATA[General Discussion • Event Cinema Automation and Workflow]]>
Any input would be appreciated.

Jerry

Statistics: Posted by japierce — Thu May 12, 2016 9:53 am


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2016-03-12T16:30:24-07:00 2016-03-12T16:30:24-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1976&p=2012#p2012 <![CDATA[General Discussion • Aspect Ratios - a short introduction]]>
https://youtu.be/bryGMHgSc9g

Statistics: Posted by japierce — Sat Mar 12, 2016 4:30 pm


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2016-02-11T07:30:19-07:00 2016-02-11T07:30:19-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1958&p=2011#p2011 <![CDATA[General Discussion • Re: DOJ Caption Comment Summary]]> http://mai.hallikainen.org/org/DojNprm/ . I'll update that page as the DOJ takes action (which may be a while).

Harold

Statistics: Posted by HaroldHallikainen — Thu Feb 11, 2016 7:30 am


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2016-01-30T13:30:19-07:00 2016-01-30T13:30:19-07:00 https://www.isdcf.com/forum/viewtopic.php?t=1975&p=2010#p2010 <![CDATA[General Discussion • Re: HTBS - SMPTE Testing Insert]]> http://isdcf.com/t There are youtube videos of what you will see and a description of what to look for.

Statistics: Posted by japierce — Sat Jan 30, 2016 1:30 pm


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