Category Archives: Advices

A source for information from the Societies and consultants…

Soundly Said | Mel Lambert Gets Immersive

SMPTE/NAB 2015 DCinema History Panel
Bill Mead (DCinemaToday) speaks to Tim Cook (Alamo Drafthouse), David Pflegl (Carmike), Steven Tsai (Sony), Sean Romano (Deluxe), Wendy Aylsworth (Warners) – Photo from Mel Lambert

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For a less focused but full-of-dat article on the Summit:

NAB Cinema Summit: On the Trail of Hollywood’s Biggest Villains from David Keene at AVNetwork

A lot of great data, but it derives a whole paragraph of analysis from the correct but asterisk’d data about the terrible reduction in ticket sales. From 10 billion something to 10 billion something…which is truly a rounding error when put under the scope of the limited number of movies released in 2014. 2015 is already on track to soundly beat 2014 and there are many big pictures in queue that should make this year more on trend.

This is only pointed out since a year of minor growth or minor sales diminishment is not the way that good management thrives. Or maybe not. But the point is that the management of several industries are working together and at odds to maintain some semblance of an exhibition industry. Clearly, the major movie studios are all parts of larger interests, and exhibition has long known that it isn’t exhibition friendly. The solution was long thought to be Alternative Content, (or ODS as the punsters like to say – Other Digital Stuff, and perhaps odious for the purests) or as the new group in the EU calls it: Event Cinema. Tim Cooks speaks to how they are doing it well. Picture house in London do too. See Event Cinema Association

Technology Summit on Cinema | SMPTE/NAB2015

Technology Summit on Cinema | SMPTE/NAB2015Kicking off the yearly SMPTE program at NAB is a symposium with Bill Mead and featuring Tim Reed of Alamo Drafthouse, David Pflegl of Carmike, Steven Tsai or Sony Pictures Entertainment, Sean Romano of Deluxe Digital and Wendy Aylsworth.

Covering the entire breadth of the history and ending with, “Has the Industry done a good job?”, Digidia has presented all the YouTube videos on their site at:

Society of Motion Picture and Television Engineers (SMPTE) and

NAB sponsored Technology Summit on Cinema

Technology Summit on Cinema | SMPTE/NAB2015

Technology Summit on Cinema | SMPTE/NAB2015Kicking off the yearly SMPTE program at NAB is a symposium with Bill Mead and featuring Tim Reed of Alamo Drafthouse, David Pflegl of Carmike, Steven Tsai or Sony Pictures Entertainment, Sean Romano of Deluxe Digital and Wendy Aylsworth.

Covering the entire breadth of the history and ending with, “Has the Industry done a good job?”, Digidia has presented all the YouTube videos on their site at:

Society of Motion Picture and Television Engineers (SMPTE) and

NAB sponsored Technology Summit on Cinema

Kommer Kleijn On the Importance of the DCP

This functionality removes the classical “brightness/saturation/contrast” adjustments from the projection chain and puts these settings back in the hands of the laboratory and film makers as was the case with 35mm film previously.

Although, as you rightly state, some of the films shown in festivals may indeed agree to do without encryption and trust no copies will remain, the second functionality cited is very important to cinematographers and directors, certainly also during festivals where their movies are often shown to professional viewers, press and potential buyers.  Therefore the ‘Calibrated Chain’ functionality of the DCP format is very important, also in festivals, even in cases where encryption against piracy is not required.

A film that is sent to a festival in any format other than DCP is not reliably calibrated. This means that ideally the movie needs to be pre-screened at least partly in the theatre it will be shown in, with the director and/or cinematographer in the room (and no audience) to check if the contrast, black level and saturation settings are acceptable or need to be adapted. The same may be true for the sound level.

A DCP is the first and till now ONLY electronic format we know that reliably allows these settings to be determined in the mastering suite, and allow to subsequently sent out a movie in an electronic form while having confidence in the result without the need to sent out a crew member to check before the show.

And we are not only worried about esthetic details: Incorrect settings for black level and/or contrast can result in important story elements (a gun in a drawer, a plane in the sky) to disappear entirely, causing a risk for loss of story comprehension.  Note that this can also happen with an incorrect sound level.

Cinematographers world wide have stressed that digital cinema would not be acceptable without such a “Calibrated Chain” feature. The implementation of this Calibrated chain feature has on the contrary resulted in the world wide support of cinematographers for Digital Cinema. (as 35mm film projection already provided this functionality)

Festivals (or theatres) showing movies in any other format is considered video (and not Cinema) and a correct reproduction can not be guaranteed without verification by the authors or their representatives in each room.

As such verification is not always practical, cinematographers would like to stress that all possible efforts would be made to use the DCP format also in festivals whenever possible at all.

Another important detail that DCP projection solves in comparison to using consumer computers for playback is that a consumer computer generally does not provide straight frame playback. Indeed, output cards of consumer computers are almost always driven at 60 Hz free-run and will force the projector to run at 60 fps as well, and often without any sync to the source material. Movies played back on consumer computers will therefore often show erratic camera movement (2:3 pulldown, often worse), erratic contents (read: actor) movements and sometimes even show split frames (upper part the screen shows a new frame while the lower part shows a previous frame)

This is another reason why DCP playback is greatly preferred by cinematographers, and because it is the only standardized cinema playback system.

So please let us indeed concentrate on how to make DCP playback easier and more convenient for festival operators, in order to avoid at all cost that they might need to revert to a less reliable alternative, as such could eventually cause important damage to the content and subsequently to the industry.

We should try to make DCP playback as easy as possible for them, preferably as easy as 35mm playback was if at all possible. And if direct play from a transport disc helps to that goal, then I wish to encourage that idea too.

Best regards!,

Kommer Kleijn SBC,
Chair of the IMAGO technical committee.

Kommer Kleijn On the Importance of the DCP

This functionality removes the classical “brightness/saturation/contrast” adjustments from the projection chain and puts these settings back in the hands of the laboratory and film makers as was the case with 35mm film previously.

Although, as you rightly state, some of the films shown in festivals may indeed agree to do without encryption and trust no copies will remain, the second functionality cited is very important to cinematographers and directors, certainly also during festivals where their movies are often shown to professional viewers, press and potential buyers.  Therefore the ‘Calibrated Chain’ functionality of the DCP format is very important, also in festivals, even in cases where encryption against piracy is not required.

A film that is sent to a festival in any format other than DCP is not reliably calibrated. This means that ideally the movie needs to be pre-screened at least partly in the theatre it will be shown in, with the director and/or cinematographer in the room (and no audience) to check if the contrast, black level and saturation settings are acceptable or need to be adapted. The same may be true for the sound level.

A DCP is the first and till now ONLY electronic format we know that reliably allows these settings to be determined in the mastering suite, and allow to subsequently sent out a movie in an electronic form while having confidence in the result without the need to sent out a crew member to check before the show.

And we are not only worried about esthetic details: Incorrect settings for black level and/or contrast can result in important story elements (a gun in a drawer, a plane in the sky) to disappear entirely, causing a risk for loss of story comprehension.  Note that this can also happen with an incorrect sound level.

Cinematographers world wide have stressed that digital cinema would not be acceptable without such a “Calibrated Chain” feature. The implementation of this Calibrated chain feature has on the contrary resulted in the world wide support of cinematographers for Digital Cinema. (as 35mm film projection already provided this functionality)

Festivals (or theatres) showing movies in any other format is considered video (and not Cinema) and a correct reproduction can not be guaranteed without verification by the authors or their representatives in each room.

As such verification is not always practical, cinematographers would like to stress that all possible efforts would be made to use the DCP format also in festivals whenever possible at all.

Another important detail that DCP projection solves in comparison to using consumer computers for playback is that a consumer computer generally does not provide straight frame playback. Indeed, output cards of consumer computers are almost always driven at 60 Hz free-run and will force the projector to run at 60 fps as well, and often without any sync to the source material. Movies played back on consumer computers will therefore often show erratic camera movement (2:3 pulldown, often worse), erratic contents (read: actor) movements and sometimes even show split frames (upper part the screen shows a new frame while the lower part shows a previous frame)

This is another reason why DCP playback is greatly preferred by cinematographers, and because it is the only standardized cinema playback system.

So please let us indeed concentrate on how to make DCP playback easier and more convenient for festival operators, in order to avoid at all cost that they might need to revert to a less reliable alternative, as such could eventually cause important damage to the content and subsequently to the industry.

We should try to make DCP playback as easy as possible for them, preferably as easy as 35mm playback was if at all possible. And if direct play from a transport disc helps to that goal, then I wish to encourage that idea too.

Best regards!,

Kommer Kleijn SBC,
Chair of the IMAGO technical committee.

Kommer Kleijn On the Importance of the DCP

This functionality removes the classical “brightness/saturation/contrast” adjustments from the projection chain and puts these settings back in the hands of the laboratory and film makers as was the case with 35mm film previously.

Although, as you rightly state, some of the films shown in festivals may indeed agree to do without encryption and trust no copies will remain, the second functionality cited is very important to cinematographers and directors, certainly also during festivals where their movies are often shown to professional viewers, press and potential buyers.  Therefore the ‘Calibrated Chain’ functionality of the DCP format is very important, also in festivals, even in cases where encryption against piracy is not required.

A film that is sent to a festival in any format other than DCP is not reliably calibrated. This means that ideally the movie needs to be pre-screened at least partly in the theatre it will be shown in, with the director and/or cinematographer in the room (and no audience) to check if the contrast, black level and saturation settings are acceptable or need to be adapted. The same may be true for the sound level.

A DCP is the first and till now ONLY electronic format we know that reliably allows these settings to be determined in the mastering suite, and allow to subsequently sent out a movie in an electronic form while having confidence in the result without the need to sent out a crew member to check before the show.

And we are not only worried about esthetic details: Incorrect settings for black level and/or contrast can result in important story elements (a gun in a drawer, a plane in the sky) to disappear entirely, causing a risk for loss of story comprehension.  Note that this can also happen with an incorrect sound level.

Cinematographers world wide have stressed that digital cinema would not be acceptable without such a “Calibrated Chain” feature. The implementation of this Calibrated chain feature has on the contrary resulted in the world wide support of cinematographers for Digital Cinema. (as 35mm film projection already provided this functionality)

Festivals (or theatres) showing movies in any other format is considered video (and not Cinema) and a correct reproduction can not be guaranteed without verification by the authors or their representatives in each room.

As such verification is not always practical, cinematographers would like to stress that all possible efforts would be made to use the DCP format also in festivals whenever possible at all.

Another important detail that DCP projection solves in comparison to using consumer computers for playback is that a consumer computer generally does not provide straight frame playback. Indeed, output cards of consumer computers are almost always driven at 60 Hz free-run and will force the projector to run at 60 fps as well, and often without any sync to the source material. Movies played back on consumer computers will therefore often show erratic camera movement (2:3 pulldown, often worse), erratic contents (read: actor) movements and sometimes even show split frames (upper part the screen shows a new frame while the lower part shows a previous frame)

This is another reason why DCP playback is greatly preferred by cinematographers, and because it is the only standardized cinema playback system.

So please let us indeed concentrate on how to make DCP playback easier and more convenient for festival operators, in order to avoid at all cost that they might need to revert to a less reliable alternative, as such could eventually cause important damage to the content and subsequently to the industry.

We should try to make DCP playback as easy as possible for them, preferably as easy as 35mm playback was if at all possible. And if direct play from a transport disc helps to that goal, then I wish to encourage that idea too.

Best regards!,

Kommer Kleijn SBC,
Chair of the IMAGO technical committee.

A QA Checklist and Information Repository for the Rest of Us – Part 1

  • One-click download, one click install.
  • It automatically builds an Access Control List pyramid so that a multi-multiplex director can pass it down to multiplexes and then their technical people with ease and security.
  • The database can designate certain data as RESTful, which makes it a critical step for implementing FLM and TKR.
  • Integrates with open source graphics tools such as NVD3.
  • Includes a Journal for disseminating information to employees.
  • Future APIs to enable manufacturers to implement their data front-end for manufacturers testing or monitoring protocols and reports.
  • Any study of Quality Control quickly finds itself centering on the ISO standards of the ISO 9000 family. It has been developed by a world-wide group of interested parties for a number of reasons. They are explained on their website, but one of the purposes and results have been that companies can deal with other companies who have each gone through the ISO 9000 processes and have a great deal of certainty that they are getting what they expect.

    It should be clear that there is no supposition in the ISO protocols that promises the best product in the world. It actually is much easier than that – the company who has done the work to get accredited is merely stating that their systems of operation are designed and controlled and constantly internally certified to generate what they promise. It could be a very standardly produced medium quality product or super deluxe.

    What has happened in the world of very large businesses and many government contracts, the organizations will only purchase their equipment – from carpets and drapes to high-tension steel – from ISO-certified vendors.

    Cool, but what does this have to do with me in the digital cinema-centric projection room?

    Indeed, it may be a goal of the ISO that everyone world-wide will run their operations according to their protocols, but this isn’t going to happen soon. But that isn’t to say that we can’t learn from their techniques. So we’ll express the software toolset being introduced here as being “…in the style of the ISO 9000 principles”.

    In this series we’ll look at some of the nuance.

    First, a quick peek at a first draft video at: DCinema Inventory and Self-Certification Video | Part 4

    Now, to explain the meaning, “…for the rest of us”.

    It is presumed that the larger cinema organizations have proprietary software and procedures in place that catalog each piece of equipment just by the nature of their accounting systems and the interface they have by ordering large numbers of product. But surprisingly, it doesn’t take too long while going down the cinema-organization-size pyramid to find chains who are still running their equipment lists on glorified spreadsheets. Which is OK as far as it goes…there are unfortunately those who don’t even have that, trusting that their suppliers or NOC have organized everything for them.

    What’s the big deal of a big inventory list?

    The software takes the concept of you handing your facility to an intelligent friend while you are on a 3 month sabbatical. Obviously, if you don’t expect to be answering the phone every 5 minutes – or even keep a friendship at the end of 3 months – you better leave as much detail as possible in the hands of your friend. This software’s inventory includes details like the public keys of the trusted devices, and the .bin files of the equipment that uses them. That way, when you friend needs to get a new firewall to replace a dead one, the turnaround time (and headaches of finding all the information already stored) can be minimized.

    But we all know what happens in real life. We put the .bin files on a USB stick that ends up somewhere, or if not lost, isn’t regularly updated. And that introduces the regularized checklists of the system. [Note to self: Discuss the system’s security in the next article.]

    The ISO 9000 style doesn’t designate an enforced daily backup of .bin files. What is suggested is a process and systems approach that provokes analysis – is this best done weekly or monthly, what is being done similarly and in the same category. One can decide to make .bin files monthly or quarterly or perhaps when corporate policy mandated passwords are changed?

    In fact, any every any and every detail that you want to check should be put in one of the daily or weekly or monthly or quarterly or yearly check lists. Many examples and many manufacturers and their equipment models are already in the system.

    Now, you might think that the next most important action is to find the person who will run around filling out all these forms? But that isn’t the way to be, “in the style of ISO 9000”. The most critical person is assigned by the person in charge, the CEO or Executive Director, to be in charge of Quality Assurance. That person gets the mandate from top management as to the quality of service and support they want in their organization. That person may or may not get their budget from or report through Operations, but they mainly report to the CEO. That way they don’t get into an argument about a budget issue – do we deliver this level of quality? or not?

    Part One will end here. In Part Two, more nuance like the importance of keeping some data in a RESTful state, and what it means to be Open Source.

    Two final notes then. One is that the system can be played with at: <www.dcinemacompliance.net> – put the name and password of ‘joew’ into the front page to explore.

    Second is that the software is still pretty ‘alpha’, meaning that what it does it does pretty well, but there is still work to do. And along that line, your author is asking for sponsors to make to help finish this work. Any sponsorship money will go directly and without subtraction to the programmer who has taken the project this far. Click here to contact Charles ‘C J’ Flynn

    Sample Page – Audio Compliance

    A QA Checklist and Information Repository for the Rest of Us – Part 1

  • One-click download, one click install.
  • It automatically builds an Access Control List pyramid so that a multi-multiplex director can pass it down to multiplexes and then their technical people with ease and security.
  • The database can designate certain data as RESTful, which makes it a critical step for implementing FLM and TKR.
  • Integrates with open source graphics tools such as NVD3.
  • Includes a Journal for disseminating information to employees.
  • Future APIs to enable manufacturers to implement their data front-end for manufacturers testing or monitoring protocols and reports.
  • Any study of Quality Control quickly finds itself centering on the ISO standards of the ISO 9000 family. It has been developed by a world-wide group of interested parties for a number of reasons. They are explained on their website, but one of the purposes and results have been that companies can deal with other companies who have each gone through the ISO 9000 processes and have a great deal of certainty that they are getting what they expect.

    It should be clear that there is no supposition in the ISO protocols that promises the best product in the world. It actually is much easier than that – the company who has done the work to get accredited is merely stating that their systems of operation are designed and controlled and constantly internally certified to generate what they promise. It could be a very standardly produced medium quality product or super deluxe.

    What has happened in the world of very large businesses and many government contracts, the organizations will only purchase their equipment – from carpets and drapes to high-tension steel – from ISO-certified vendors.

    Cool, but what does this have to do with me in the digital cinema-centric projection room?

    Indeed, it may be a goal of the ISO that everyone world-wide will run their operations according to their protocols, but this isn’t going to happen soon. But that isn’t to say that we can’t learn from their techniques. So we’ll express the software toolset being introduced here as being “…in the style of the ISO 9000 principles”.

    In this series we’ll look at some of the nuance.

    First, a quick peek at a first draft video at: DCinema Inventory and Self-Certification Video | Part 4

    Now, to explain the meaning, “…for the rest of us”.

    It is presumed that the larger cinema organizations have proprietary software and procedures in place that catalog each piece of equipment just by the nature of their accounting systems and the interface they have by ordering large numbers of product. But surprisingly, it doesn’t take too long while going down the cinema-organization-size pyramid to find chains who are still running their equipment lists on glorified spreadsheets. Which is OK as far as it goes…there are unfortunately those who don’t even have that, trusting that their suppliers or NOC have organized everything for them.

    What’s the big deal of a big inventory list?

    The software takes the concept of you handing your facility to an intelligent friend while you are on a 3 month sabbatical. Obviously, if you don’t expect to be answering the phone every 5 minutes – or even keep a friendship at the end of 3 months – you better leave as much detail as possible in the hands of your friend. This software’s inventory includes details like the public keys of the trusted devices, and the .bin files of the equipment that uses them. That way, when you friend needs to get a new firewall to replace a dead one, the turnaround time (and headaches of finding all the information already stored) can be minimized.

    But we all know what happens in real life. We put the .bin files on a USB stick that ends up somewhere, or if not lost, isn’t regularly updated. And that introduces the regularized checklists of the system. [Note to self: Discuss the system’s security in the next article.]

    The ISO 9000 style doesn’t designate an enforced daily backup of .bin files. What is suggested is a process and systems approach that provokes analysis – is this best done weekly or monthly, what is being done similarly and in the same category. One can decide to make .bin files monthly or quarterly or perhaps when corporate policy mandated passwords are changed?

    In fact, any every any and every detail that you want to check should be put in one of the daily or weekly or monthly or quarterly or yearly check lists. Many examples and many manufacturers and their equipment models are already in the system.

    Now, you might think that the next most important action is to find the person who will run around filling out all these forms? But that isn’t the way to be, “in the style of ISO 9000”. The most critical person is assigned by the person in charge, the CEO or Executive Director, to be in charge of Quality Assurance. That person gets the mandate from top management as to the quality of service and support they want in their organization. That person may or may not get their budget from or report through Operations, but they mainly report to the CEO. That way they don’t get into an argument about a budget issue – do we deliver this level of quality? or not?

    Part One will end here. In Part Two, more nuance like the importance of keeping some data in a RESTful state, and what it means to be Open Source.

    Two final notes then. One is that the system can be played with at: <www.dcinemacompliance.net> – put the name and password of ‘joew’ into the front page to explore.

    Second is that the software is still pretty ‘alpha’, meaning that what it does it does pretty well, but there is still work to do. And along that line, your author is asking for sponsors to make to help finish this work. Any sponsorship money will go directly and without subtraction to the programmer who has taken the project this far. Click here to contact Charles ‘C J’ Flynn

    Sample Page – Audio Compliance

    A QA Checklist and Information Repository for the Rest of Us – Part 1

  • One-click download, one click install.
  • It automatically builds an Access Control List pyramid so that a multi-multiplex director can pass it down to multiplexes and then their technical people with ease and security.
  • The database can designate certain data as RESTful, which makes it a critical step for implementing FLM and TKR.
  • Integrates with open source graphics tools such as NVD3.
  • Includes a Journal for disseminating information to employees.
  • Future APIs to enable manufacturers to implement their data front-end for manufacturers testing or monitoring protocols and reports.
  • Any study of Quality Control quickly finds itself centering on the ISO standards of the ISO 9000 family. It has been developed by a world-wide group of interested parties for a number of reasons. They are explained on their website, but one of the purposes and results have been that companies can deal with other companies who have each gone through the ISO 9000 processes and have a great deal of certainty that they are getting what they expect.

    It should be clear that there is no supposition in the ISO protocols that promises the best product in the world. It actually is much easier than that – the company who has done the work to get accredited is merely stating that their systems of operation are designed and controlled and constantly internally certified to generate what they promise. It could be a very standardly produced medium quality product or super deluxe.

    What has happened in the world of very large businesses and many government contracts, the organizations will only purchase their equipment – from carpets and drapes to high-tension steel – from ISO-certified vendors.

    Cool, but what does this have to do with me in the digital cinema-centric projection room?

    Indeed, it may be a goal of the ISO that everyone world-wide will run their operations according to their protocols, but this isn’t going to happen soon. But that isn’t to say that we can’t learn from their techniques. So we’ll express the software toolset being introduced here as being “…in the style of the ISO 9000 principles”.

    In this series we’ll look at some of the nuance.

    First, a quick peek at a first draft video at: DCinema Inventory and Self-Certification Video | Part 4

    Now, to explain the meaning, “…for the rest of us”.

    It is presumed that the larger cinema organizations have proprietary software and procedures in place that catalog each piece of equipment just by the nature of their accounting systems and the interface they have by ordering large numbers of product. But surprisingly, it doesn’t take too long while going down the cinema-organization-size pyramid to find chains who are still running their equipment lists on glorified spreadsheets. Which is OK as far as it goes…there are unfortunately those who don’t even have that, trusting that their suppliers or NOC have organized everything for them.

    What’s the big deal of a big inventory list?

    The software takes the concept of you handing your facility to an intelligent friend while you are on a 3 month sabbatical. Obviously, if you don’t expect to be answering the phone every 5 minutes – or even keep a friendship at the end of 3 months – you better leave as much detail as possible in the hands of your friend. This software’s inventory includes details like the public keys of the trusted devices, and the .bin files of the equipment that uses them. That way, when you friend needs to get a new firewall to replace a dead one, the turnaround time (and headaches of finding all the information already stored) can be minimized.

    But we all know what happens in real life. We put the .bin files on a USB stick that ends up somewhere, or if not lost, isn’t regularly updated. And that introduces the regularized checklists of the system. [Note to self: Discuss the system’s security in the next article.]

    The ISO 9000 style doesn’t designate an enforced daily backup of .bin files. What is suggested is a process and systems approach that provokes analysis – is this best done weekly or monthly, what is being done similarly and in the same category. One can decide to make .bin files monthly or quarterly or perhaps when corporate policy mandated passwords are changed?

    In fact, any every any and every detail that you want to check should be put in one of the daily or weekly or monthly or quarterly or yearly check lists. Many examples and many manufacturers and their equipment models are already in the system.

    Now, you might think that the next most important action is to find the person who will run around filling out all these forms? But that isn’t the way to be, “in the style of ISO 9000”. The most critical person is assigned by the person in charge, the CEO or Executive Director, to be in charge of Quality Assurance. That person gets the mandate from top management as to the quality of service and support they want in their organization. That person may or may not get their budget from or report through Operations, but they mainly report to the CEO. That way they don’t get into an argument about a budget issue – do we deliver this level of quality? or not?

    Part One will end here. In Part Two, more nuance like the importance of keeping some data in a RESTful state, and what it means to be Open Source.

    Two final notes then. One is that the system can be played with at: <www.dcinemacompliance.net> – put the name and password of ‘joew’ into the front page to explore.

    Second is that the software is still pretty ‘alpha’, meaning that what it does it does pretty well, but there is still work to do. And along that line, your author is asking for sponsors to make to help finish this work. Any sponsorship money will go directly and without subtraction to the programmer who has taken the project this far. Click here to contact Charles ‘C J’ Flynn

    Sample Page – Audio Compliance

    Visions of NAB Past…About the Future

    Coming out of the great film to digital transition, it was a great convocation for looking at nuance not heretofore discussed. There are a great number of ‘casts on important topics dealing in the future of DCinema. Of course, as a SMPTE member of several committees, I can’t tell you whether we all know about these things already. But they are important nonetheless:

    NAB2014’s single most important message to exhibitors

    Out of all the activity at NAB2014, there is one presentation that stands out to Cinema Exhibitors.  John Hurst, the father of the software that goes into the making of every bit of DCI equipment presented a panel discussing the problems exhibitors are facing and how it is effecting the whole industry.  How not moving forward with upgrades is costing you money as new features are failing to reach critical mass.  An example of this is TKR (Theatre Key Retrieval) an automated system that would remove the need for dealing with KDMs/Emails. (Email me if you would like more videos covering these new technologies.)

    If you own a cinema, this set of videos are a must watch.

    NAB 2014 – 22 – Looking Forward – Intro and Overview – John Hurst
    NAB 2014 – 23 – Looking Forward – Panel – Mastering houses are front line to problems
    NAB 2014 – 24 – Looking Forward – Panel – Why won’t cinemas upgrade
    NAB 2014 – 25 – Looking Forward – Panel – What we miss out on by not upgrading
    NAB 2014 – 26 – Looking Forward – Panel – Is this harder than it should be and 3D subtitles
    NAB 2014 – 27 – Looking Forward – Panel – Q1, Software based Players Not Secure
    NAB 2014 – 28 – Looking Forward – Panel – Q2, We NEED a deadline for upgrades
    NAB 2014 – 29 – Looking Forward – Panel – Q3, What happened to TKR(Theatre Key Retrieval) and FLMx
    NAB 2014 – 30 – Looking Forward – Panel – Q4, How to fix motivation for upgrading
    NAB 2014 – 31 – Looking Forward – Panel – Q5, Content Marking Issues
    NAB 2014 – 32 – Looking Forward – Panel – Is 2 years long enough to expect upgrades? Not 10+ years

    Visions of NAB Past…About the Future

    Coming out of the great film to digital transition, it was a great convocation for looking at nuance not heretofore discussed. There are a great number of ‘casts on important topics dealing in the future of DCinema. Of course, as a SMPTE member of several committees, I can’t tell you whether we all know about these things already. But they are important nonetheless:

    NAB2014’s single most important message to exhibitors

    Out of all the activity at NAB2014, there is one presentation that stands out to Cinema Exhibitors.  John Hurst, the father of the software that goes into the making of every bit of DCI equipment presented a panel discussing the problems exhibitors are facing and how it is effecting the whole industry.  How not moving forward with upgrades is costing you money as new features are failing to reach critical mass.  An example of this is TKR (Theatre Key Retrieval) an automated system that would remove the need for dealing with KDMs/Emails. (Email me if you would like more videos covering these new technologies.)

    If you own a cinema, this set of videos are a must watch.

    NAB 2014 – 22 – Looking Forward – Intro and Overview – John Hurst
    NAB 2014 – 23 – Looking Forward – Panel – Mastering houses are front line to problems
    NAB 2014 – 24 – Looking Forward – Panel – Why won’t cinemas upgrade
    NAB 2014 – 25 – Looking Forward – Panel – What we miss out on by not upgrading
    NAB 2014 – 26 – Looking Forward – Panel – Is this harder than it should be and 3D subtitles
    NAB 2014 – 27 – Looking Forward – Panel – Q1, Software based Players Not Secure
    NAB 2014 – 28 – Looking Forward – Panel – Q2, We NEED a deadline for upgrades
    NAB 2014 – 29 – Looking Forward – Panel – Q3, What happened to TKR(Theatre Key Retrieval) and FLMx
    NAB 2014 – 30 – Looking Forward – Panel – Q4, How to fix motivation for upgrading
    NAB 2014 – 31 – Looking Forward – Panel – Q5, Content Marking Issues
    NAB 2014 – 32 – Looking Forward – Panel – Is 2 years long enough to expect upgrades? Not 10+ years

    Sound’s Like A Big Thing – CineTechGeek

    And now he shows up in a video of the Cine Tech Geek [CinemaCon 2014 – X-Curve Update with Barry Ferrel of QSC] making a point that may be surprising to people:

    Good Speakers – so the engineer doesn’t get trapped trying to EQ badly designed speakers (or a badly designed room, one presumes)

    Placed Behind Screen – the sound is transmitted (hopefully) through little holes in a membrane stretched tight as a drum from speakers (hopefully) built into a wall that is not to distant from said screen

    Subtract the function of sound in air – if you’re thinking inverse-square, you are right… play with the numbers at Inverse Square Law for Sound

    Something like the X-Curve appears on the RTA as a ‘result’, not a target – give or take a few dB, and with variations in the size of the room, which was requirement to allow for in Ioan Allen’s (of Dolby) original X-Curve paper and in the SMPTE 202M

    James Gardiner makes the point that SMPTE is working on this topic, which is an understatement. A lot of hype has been spilt on the need for the emerging immersive sound techniques to find a common distribution package, but now that the difficult Film To File transition has largely taken place, many more engineers are spending a great deal of time reviewing the basics, going through specifications and recommended practices that evolved but now appear contradictory or merely confusing, and not to be forgotten, how are settled techniques in the analog world different in the digital world.

    Examples of this fundamental research is showing up in hundreds of pages of documents generated while recently testing various rooms around the world, or testing dozens of algorithms of pink noise samples or developing techniques to find what a screen really is doing in the room, or figuring the best methods of consistently measuring luminance or audio in an auditorium. None of this is public since committee work is private until published, but it is easily obtained when one joins SMPTE and participates in the various working groups.

    There are nuances in what Barry says here that could be the subject of 10 slides each, examples being how the ear can discern and ‘deal with’ reflections that microphones can’t account for, or how different frequencies in the transitions between speakers of an array will act different enough that they need to be measured properly, or how EQing to correct speakers (or the room) will make the ear ‘wince’…OK, he didn’t say wince… but using graphic EQs in the recording business came and went surprisingly quickly, before their digital transition in fact, and that lesson should have gotten to the exhibition world back then. We’re talking the late-70’s.

    The desired point of this article is that there is a lot to know and do to make rooms consistently good, and keeping them that way. Putting time into SMPTE committee-work is an excellent way to pay-forward on the benefits received.

    The side point is to make common certain information, such as the requirement to use FFT when setting up or monitoring components of your system. Testing for the level of a single tone is better than not testing at all, but doing real FFT work to find the THD in a component or your system is truly giving relevant and usable information.

    Sound’s Like A Big Thing – CineTechGeek

    And now he shows up in a video of the Cine Tech Geek [CinemaCon 2014 – X-Curve Update with Barry Ferrel of QSC] making a point that may be surprising to people:

    Good Speakers – so the engineer doesn’t get trapped trying to EQ badly designed speakers (or a badly designed room, one presumes)

    Placed Behind Screen – the sound is transmitted (hopefully) through little holes in a membrane stretched tight as a drum from speakers (hopefully) built into a wall that is not to distant from said screen

    Subtract the function of sound in air – if you’re thinking inverse-square, you are right… play with the numbers at Inverse Square Law for Sound

    Something like the X-Curve appears on the RTA as a ‘result’, not a target – give or take a few dB, and with variations in the size of the room, which was requirement to allow for in Ioan Allen’s (of Dolby) original X-Curve paper and in the SMPTE 202M

    James Gardiner makes the point that SMPTE is working on this topic, which is an understatement. A lot of hype has been spilt on the need for the emerging immersive sound techniques to find a common distribution package, but now that the difficult Film To File transition has largely taken place, many more engineers are spending a great deal of time reviewing the basics, going through specifications and recommended practices that evolved but now appear contradictory or merely confusing, and not to be forgotten, how are settled techniques in the analog world different in the digital world.

    Examples of this fundamental research is showing up in hundreds of pages of documents generated while recently testing various rooms around the world, or testing dozens of algorithms of pink noise samples or developing techniques to find what a screen really is doing in the room, or figuring the best methods of consistently measuring luminance or audio in an auditorium. None of this is public since committee work is private until published, but it is easily obtained when one joins SMPTE and participates in the various working groups.

    There are nuances in what Barry says here that could be the subject of 10 slides each, examples being how the ear can discern and ‘deal with’ reflections that microphones can’t account for, or how different frequencies in the transitions between speakers of an array will act different enough that they need to be measured properly, or how EQing to correct speakers (or the room) will make the ear ‘wince’…OK, he didn’t say wince… but using graphic EQs in the recording business came and went surprisingly quickly, before their digital transition in fact, and that lesson should have gotten to the exhibition world back then. We’re talking the late-70’s.

    The desired point of this article is that there is a lot to know and do to make rooms consistently good, and keeping them that way. Putting time into SMPTE committee-work is an excellent way to pay-forward on the benefits received.

    The side point is to make common certain information, such as the requirement to use FFT when setting up or monitoring components of your system. Testing for the level of a single tone is better than not testing at all, but doing real FFT work to find the THD in a component or your system is truly giving relevant and usable information.

    SMPTE’s Metamers

    but takes different meanings depending on the many different possible viewpoints. One group will use the word to mean that two articles of clothing can look identical under the lighting of the store, but will look wildly different in the light of the bedroom. It is also metamerism that allows what looks one way on the screen in RGB to look similar when printed with CMYK inks. It is also used in the controlled tests of the lab when a person is asked to mix 3 colors in order to match a target color – in fact, it was similar tests that the then young International Commission on Illumination (the CIE) used to proof the tri-stimulus system and to come up with the various color models that we are familiar with (think horseshoe).

    SMPTE Screen for Committee Work

    Metamers are in the news because of laser light replacing xenon, and, like the always present but exacerbated ‘speckle’ is something that heretofore sloppy but lucky implementations were able to hide – not that the engineers were sloppy, but the technology was so ‘force over subtlety’ that the age didn’t allow any better. Unlike speckle, no one knows for certain whether metamers will be an actual audience problem. It may be something that we run into everyday and ignore. There are things like this that we just don’t notice on the movie screen as well – for example, what is seen as a circle if you are in a center seat takes the shape of an ellipse if you are over to the side. But the human visual system compensates for this with ease – you see it but you ignore it…except for stereoscopic movies, where the brain ‘sees’ an ellipse, and just adds that to the pile of straw waiting to get too heavy…bringing headaches and dissatisfied customers…force over subtlety yet again.

    New Audio Systems – The attempt for same sound with different structures

    Now, with increased computational power and the desire to immerse the audience with ‘natural’ sound, the audio world has entered the realm of (attempting) the creation of an equivalent set of combined sounds taking different presentation positions (the Object of object-based audio essence–OBAE) while attempting to create the same sound regardless of different variables – an audio metamer for want of a better term. The new Object-based audio systems presume that they can dial in a particular set of numbers to get a different arrangement of speakers to act just like another…across different systems with different crossovers and spectral response.

    Good luck with that. The term of art is: to be subjectively consistent, making best use of the available resources.

    Lest this progress be decried as just another manufacturer’s method of raking over the audience to get more money…or the exhibitor’s money since better audio doesn’t really have a ‘return from end-user’ built into the business model…directors are also pushing for this change, since it is the logical extension of what we all imagined audio could be back in our teen-age, garage-band, more-speakers-in-the-car days.

    But that isn’t what we are here to write about. Our topic has to do with the many and several ways to achieve KAVI-based bliss when using the SMPTE Committee site. That is the true -mer, sharing knowledge (or in the case of your author here, only sharing time since he all too often finds himself as the dullest crayon in the room during these engineering meetings.) But getting into the process of using the SMPTE website needs some explaining for the novice. This may be the first of many tutorials.

    Soon (hopefully, and relatively) there will be pictures and arrows here, with tips from good/better/best people making comments on this article. Because everyone has met this problem, not only learning how to guide themselves through the login and the disappearing Record My Attendance and the Please Vote emails with cryptic messages.

    {mp4 width=”660″ height=”400″}smpte_1{/mp4}

    SMPTE’s Metamers

    but takes different meanings depending on the many different possible viewpoints. One group will use the word to mean that two articles of clothing can look identical under the lighting of the store, but will look wildly different in the light of the bedroom. It is also metamerism that allows what looks one way on the screen in RGB to look similar when printed with CMYK inks. It is also used in the controlled tests of the lab when a person is asked to mix 3 colors in order to match a target color – in fact, it was similar tests that the then young International Commission on Illumination (the CIE) used to proof the tri-stimulus system and to come up with the various color models that we are familiar with (think horseshoe).

    SMPTE Screen for Committee Work

    Metamers are in the news because of laser light replacing xenon, and, like the always present but exacerbated ‘speckle’ is something that heretofore sloppy but lucky implementations were able to hide – not that the engineers were sloppy, but the technology was so ‘force over subtlety’ that the age didn’t allow any better. Unlike speckle, no one knows for certain whether metamers will be an actual audience problem. It may be something that we run into everyday and ignore. There are things like this that we just don’t notice on the movie screen as well – for example, what is seen as a circle if you are in a center seat takes the shape of an ellipse if you are over to the side. But the human visual system compensates for this with ease – you see it but you ignore it…except for stereoscopic movies, where the brain ‘sees’ an ellipse, and just adds that to the pile of straw waiting to get too heavy…bringing headaches and dissatisfied customers…force over subtlety yet again.

    New Audio Systems – The attempt for same sound with different structures

    Now, with increased computational power and the desire to immerse the audience with ‘natural’ sound, the audio world has entered the realm of (attempting) the creation of an equivalent set of combined sounds taking different presentation positions (the Object of object-based audio essence–OBAE) while attempting to create the same sound regardless of different variables – an audio metamer for want of a better term. The new Object-based audio systems presume that they can dial in a particular set of numbers to get a different arrangement of speakers to act just like another…across different systems with different crossovers and spectral response.

    Good luck with that. The term of art is: to be subjectively consistent, making best use of the available resources.

    Lest this progress be decried as just another manufacturer’s method of raking over the audience to get more money…or the exhibitor’s money since better audio doesn’t really have a ‘return from end-user’ built into the business model…directors are also pushing for this change, since it is the logical extension of what we all imagined audio could be back in our teen-age, garage-band, more-speakers-in-the-car days.

    But that isn’t what we are here to write about. Our topic has to do with the many and several ways to achieve KAVI-based bliss when using the SMPTE Committee site. That is the true -mer, sharing knowledge (or in the case of your author here, only sharing time since he all too often finds himself as the dullest crayon in the room during these engineering meetings.) But getting into the process of using the SMPTE website needs some explaining for the novice. This may be the first of many tutorials.

    Soon (hopefully, and relatively) there will be pictures and arrows here, with tips from good/better/best people making comments on this article. Because everyone has met this problem, not only learning how to guide themselves through the login and the disappearing Record My Attendance and the Please Vote emails with cryptic messages.

    {mp4 width=”660″ height=”400″}smpte_1{/mp4}