Unfortunately, the struggle hasn’t been helped by the typhoons that have ravished the islands the last few years. Suddenly he was thrown into the even broader needs of the community.
If there is a pocket marked “Where Shall I Donate This” or “What Cause Can WE Support During This Coming Event”, might I suggest you check out: Japan’s ‘Compassionate Pugilist’ Gives Training and Hope to Poor Filipino Boxers
Unfortunately, the struggle hasn’t been helped by the typhoons that have ravished the islands the last few years. Suddenly he was thrown into the even broader needs of the community.
If there is a pocket marked “Where Shall I Donate This” or “What Cause Can WE Support During This Coming Event”, might I suggest you check out: Japan’s ‘Compassionate Pugilist’ Gives Training and Hope to Poor Filipino Boxers
The inevitability of lasers in the projector and more encompassing audio on the walls have dominated much of the conversation for the last few years, taking over for the plateau’d 3D. It would have been nice if the whole world didn’t have to get stuck in the mire of ‘not enough light’ that the 3D technology got stuck in, generating so many claims of gimmick and fraud. Hope kind of prevailed before logic, but most likely the new generation of movie-goers will forgive and forget.
And already there is new parties at the laser table – Power Technology, Inc will be attracting attention at Booth 2824. This a mature company in other markets which is introducing products that put laser illumination
Over at Cinema Equipment and Supplies is a feature that anyone interesting in Quality Assurance will want to see: Cielo. The separation between management and the tech details of a facility is finally breached – look for it at Booth 819F.
And, don’t forget our sponsors:
The inevitability of lasers in the projector and more encompassing audio on the walls have dominated much of the conversation for the last few years, taking over for the plateau’d 3D. It would have been nice if the whole world didn’t have to get stuck in the mire of ‘not enough light’ that the 3D technology got stuck in, generating so many claims of gimmick and fraud. Hope kind of prevailed before logic, but most likely the new generation of movie-goers will forgive and forget.
And already there is new parties at the laser table – Power Technology, Inc will be attracting attention at Booth 2824. This a mature company in other markets which is introducing products that put laser illumination
Over at Cinema Equipment and Supplies is a feature that anyone interesting in Quality Assurance will want to see: Cielo. The separation between management and the tech details of a facility is finally breached – look for it at Booth 819F.
And, don’t forget our sponsors:
The new Vimeo presentation, The Transformation of Seattle’s Cinerama Theatre, is 5 minutes of Chapter Headings for an unwritten series. It serves to highlight several points of technology, each that could/should be described in 30 minutes or more.
The coming CinemaCon will be one that exposes loudly some of the technology areas that were allowed to stay “under-served” in the past. Alluded to in the video is how much better a picture is when it is properly exposed and how much better audio is when not so subtle points are accommodated for.
How to extol the many virtues of doing things right without pointing out how horrid some decisions have been in the past– and not smearing anyone who didn’t have access to unavailable choices – will be interesting. It may make this one of the great CinemaCons for the technology crowd.
Hat tip to Mel Lambert for pointing out the piece.
The new Vimeo presentation, The Transformation of Seattle’s Cinerama Theatre, is 5 minutes of Chapter Headings for an unwritten series. It serves to highlight several points of technology, each that could/should be described in 30 minutes or more.
The coming CinemaCon will be one that exposes loudly some of the technology areas that were allowed to stay “under-served” in the past. Alluded to in the video is how much better a picture is when it is properly exposed and how much better audio is when not so subtle points are accommodated for.
How to extol the many virtues of doing things right without pointing out how horrid some decisions have been in the past– and not smearing anyone who didn’t have access to unavailable choices – will be interesting. It may make this one of the great CinemaCons for the technology crowd.
Hat tip to Mel Lambert for pointing out the piece.
We are pleased to say that after years of design, programming and testing that it is indeed possible…and where it isn’t, it is possible to greatly assist the responsible tech to make a more refined judgement, more quickly. With a combination of facts – THD high and the indication that an array speaker is not on, or bulb flicker high and contrast low – the first tech visit can be a prepared visit instead of an expensive exporatory visit. Or even better, the emergency never happens because predictive information led to a scheduled maintenance visit.
Were the cables plugged in backwards? As we developed and showed the monitoring system to professional movie mixers, nearly every one spoke of the horror of sitting through a movie that they had been part of with the dialog coming from a side channel ! Not that the average customer’s complaint about loudness isn’t an issue, but really? dialog in a side channel?
Swapped Inputs in Red, with Baseline and Results in degrees on the polar coordinate system, and the change from the baseline shown in degrees from the baseline’s reading.
Thank you for your interest in this new approach to an engineer’s and artist’s goal. We hesitate to brag, but the ability to judge a speaker on a polar coordinate like the above also allows us to help pinpoint which LFE speaker cabinet isn’t responding because the amp is off or the speaker is missing. Only because we place our microphones in the sound field and not at the nodal dead zone of rear wall can we arm the tech with more information and better judgement more quickly.
Drawing showing placement of system pieces – BTW, the RS-232 connectors are replaced with RJ-45 in current models.
Sure. It is more difficult to place our 5 microphone system in the sound field of the room – it takes 15 or 20 minutes to put up and take down all that scaffolding – but the advantages are similar to having a person in the room. A person who can test each speaker at several frequencies in 5 minutes as well as point a 16-bit digital colorimeter at the screen, then calculate u’/v’ and luminance from 33 shades of grey (do you need 50?) and 4 intensities of each 6 primary and secondary color. …or design your own tests – do you need to test for 12.5 Hz? Do you need to sweep an array of speakers to determine if one or two aren’t really making sounds?
Enough about saving the tech support budget. How about proving something substantial to your customers. It might take some training-as-marketing, but you really think that your customers are worth it and you have the skills to speak to the math inclined. Years after the Digital Cinema adventure began, years after the complications of multiple light levels and bulbs for 3D movies, you can tell the responsible customer what they should expect and to know how well you are performing for them.
Easily convert the Guardian’s xml reports into HTML for In-Lobby displays.
We thank you for your interest and hope to have the opportunity to discuss how we can assist your Quality Assurance goals and purposes. There is power and room in the microphone saucer section for many more electronics. We look forward to your helping us define their parameters.
Digital Test Tools, LLC
Helping the Quality Active Deliver Their Customer’s Needs.
We are pleased to say that after years of design, programming and testing that it is indeed possible…and where it isn’t, it is possible to greatly assist the responsible tech to make a more refined judgement, more quickly. With a combination of facts – THD high and the indication that an array speaker is not on, or bulb flicker high and contrast low – the first tech visit can be a prepared visit instead of an expensive exporatory visit. Or even better, the emergency never happens because predictive information led to a scheduled maintenance visit.
Were the cables plugged in backwards? As we developed and showed the monitoring system to professional movie mixers, nearly every one spoke of the horror of sitting through a movie that they had been part of with the dialog coming from a side channel ! Not that the average customer’s complaint about loudness isn’t an issue, but really? dialog in a side channel?
Swapped Inputs in Red, with Baseline and Results in degrees on the polar coordinate system, and the change from the baseline shown in degrees from the baseline’s reading.
Thank you for your interest in this new approach to an engineer’s and artist’s goal. We hesitate to brag, but the ability to judge a speaker on a polar coordinate like the above also allows us to help pinpoint which LFE speaker cabinet isn’t responding because the amp is off or the speaker is missing. Only because we place our microphones in the sound field and not at the nodal dead zone of rear wall can we arm the tech with more information and better judgement more quickly.
Drawing showing placement of system pieces – BTW, the RS-232 connectors are replaced with RJ-45 in current models.
Sure. It is more difficult to place our 5 microphone system in the sound field of the room – it takes 15 or 20 minutes to put up and take down all that scaffolding – but the advantages are similar to having a person in the room. A person who can test each speaker at several frequencies in 5 minutes as well as point a 16-bit digital colorimeter at the screen, then calculate u’/v’ and luminance from 33 shades of grey (do you need 50?) and 4 intensities of each 6 primary and secondary color. …or design your own tests – do you need to test for 12.5 Hz? Do you need to sweep an array of speakers to determine if one or two aren’t really making sounds?
Enough about saving the tech support budget. How about proving something substantial to your customers. It might take some training-as-marketing, but you really think that your customers are worth it and you have the skills to speak to the math inclined. Years after the Digital Cinema adventure began, years after the complications of multiple light levels and bulbs for 3D movies, you can tell the responsible customer what they should expect and to know how well you are performing for them.
Easily convert the Guardian’s xml reports into HTML for In-Lobby displays.
We thank you for your interest and hope to have the opportunity to discuss how we can assist your Quality Assurance goals and purposes. There is power and room in the microphone saucer section for many more electronics. We look forward to your helping us define their parameters.
Digital Test Tools, LLC
Helping the Quality Active Deliver Their Customer’s Needs.
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.
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.
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.
Urgent Urgent~! Don’t look the other way from this one.
What is BASH? That’s an easy one: Bourne-Again SHell. A pun in that Bourne was the name of an originator of the predecessor Shell.
What is a Shell? Easy as well. An interface, basically, that allows one to directly speak to an operating system and give it instructions that it will follow. If you have done a ping or ipconfig, you have probably done it through a shell. Most every computer running a variant of Unix will likely have Bash since it is the open source version that nearly everyone picks.
But, let’s be clear here…if you did an ipconfig it was likely on a Windows computer and it isn’t running Bash.
But at this time your mac is running Bash, and it is vulnerable. Are you connected on a network? Are you certain that your sharing isn’t set up incorrectly?
Do you have a website running on a Linux server?
Either way, run this command in your terminal program:
env VAR='() { :;}; echo Bash is vulnerable!' bash -c "echo Bash Test"If the response is Bash is vulnerable, then you’ll be wanting to fix that. There are already bots running around exploiting this flaw.
Here is the link that Digital Ocean sent to their clients:
How to Protect your Server Against the Shellshock Bash Vulnerability | DigitalOcean
Drop everything. At least make your servers safe, because there are already botnets running around with exploits.
For the truly bold – your author just did this successfully with his OSX 10.9.5 MacBook Pro – there is a solution to rebuild bash at:
Every Mac Is Vulnerable to the Shellshock Bash Exploit: Here’s How to Patch OS X « Mac Tips
Another:
The other side of the panic for those with personal computers is that you have to logged in and that is with a password, right?
Urgent Urgent~! Don’t look the other way from this one.
What is BASH? That’s an easy one: Bourne-Again SHell. A pun in that Bourne was the name of an originator of the predecessor Shell.
What is a Shell? Easy as well. An interface, basically, that allows one to directly speak to an operating system and give it instructions that it will follow. If you have done a ping or ipconfig, you have probably done it through a shell. Most every computer running a variant of Unix will likely have Bash since it is the open source version that nearly everyone picks.
But, let’s be clear here…if you did an ipconfig it was likely on a Windows computer and it isn’t running Bash.
But at this time your mac is running Bash, and it is vulnerable. Are you connected on a network? Are you certain that your sharing isn’t set up incorrectly?
Do you have a website running on a Linux server?
Either way, run this command in your terminal program:
env VAR='() { :;}; echo Bash is vulnerable!' bash -c "echo Bash Test"If the response is Bash is vulnerable, then you’ll be wanting to fix that. There are already bots running around exploiting this flaw.
Here is the link that Digital Ocean sent to their clients:
How to Protect your Server Against the Shellshock Bash Vulnerability | DigitalOcean
Drop everything. At least make your servers safe, because there are already botnets running around with exploits.
For the truly bold – your author just did this successfully with his OSX 10.9.5 MacBook Pro – there is a solution to rebuild bash at:
Every Mac Is Vulnerable to the Shellshock Bash Exploit: Here’s How to Patch OS X « Mac Tips
Another:
The other side of the panic for those with personal computers is that you have to logged in and that is with a password, right?
Urgent Urgent~! Don’t look the other way from this one.
What is BASH? That’s an easy one: Bourne-Again SHell. A pun in that Bourne was the name of an originator of the predecessor Shell.
What is a Shell? Easy as well. An interface, basically, that allows one to directly speak to an operating system and give it instructions that it will follow. If you have done a ping or ipconfig, you have probably done it through a shell. Most every computer running a variant of Unix will likely have Bash since it is the open source version that nearly everyone picks.
But, let’s be clear here…if you did an ipconfig it was likely on a Windows computer and it isn’t running Bash.
But at this time your mac is running Bash, and it is vulnerable. Are you connected on a network? Are you certain that your sharing isn’t set up incorrectly?
Do you have a website running on a Linux server?
Either way, run this command in your terminal program:
env VAR='() { :;}; echo Bash is vulnerable!' bash -c "echo Bash Test"If the response is Bash is vulnerable, then you’ll be wanting to fix that. There are already bots running around exploiting this flaw.
Here is the link that Digital Ocean sent to their clients:
How to Protect your Server Against the Shellshock Bash Vulnerability | DigitalOcean
Drop everything. At least make your servers safe, because there are already botnets running around with exploits.
For the truly bold – your author just did this successfully with his OSX 10.9.5 MacBook Pro – there is a solution to rebuild bash at:
Every Mac Is Vulnerable to the Shellshock Bash Exploit: Here’s How to Patch OS X « Mac Tips
Another:
The other side of the panic for those with personal computers is that you have to logged in and that is with a password, right?
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
