The Future of Cinema
Learn from the experts as they discuss the Future of Cinema at the SMPTE/NAB Technology Summit on Cinema, held in April 2014. Organized and moderated by Michael Karagosian.
Anti-Piracy in Cinemas
Excerpts from the 2010 Business of Entertainment conference held at Woodbury University, where the topic was anti-piracy. Michael Karagosian was among the presenters.
from Digital Cinema Report
The Immersive Sound Challenge
2016-June: Cinema immersive sound is upside down. Technology providers invest in intellectual property for immersive sound rendering engines, but they compete on the availability of content. No need to wait to put it right-side up.
Fixing the DCP
2015-March: The growing diversity of installations and the lack of backwards compatibility in the DCP creates friction in distribution. It's time to fix the problem.
What's Wrong With the DCP?
2015-March: There are two kinds of DCPs in the world: Good DCP and Bad DCP. The name we give Good DCP is SMPTE DCP. The name we give Bad DCP is Interop DCP. It's time to give Bad DCP the respect it deserves, and formalize it.
Cinema Without Walls
December 2012: By the end of 2012, it's expected that at least 85,000, or 70 percent, of the world's cinema screens will be converted to digital projection. But for the art of cinema, this is only the beginning. The Hobbit gives a clue.
How to Critique 3D by Matthew DeJohn of In-Three
April 2010: What causes 3D to be bad or good? This piece exposes some of the dirty secrets behind creating 3D in the hope that education will help keep quality high.
Understanding 3D by Matthew DeJohn of In-Three and Michael Karagosian
March 2010: How does the illusion work? How is 3D produced? Why is some 3D good, and some not-so-good? How can 3D enhance storytelling?
Even if you don't work in motion picture production, you'll find this information useful.
Who Do You Trust?
January 2010: The security trust model in digital cinema is not well described in available literature. This article explains the digital cinema trust model,
including the concepts behind it, such as "Trusted Device List" (TDL), Key Delivery Message (KDM), and Facility List Message (FLM).
SMPTE DCP Compliance is On the Way
December 2009: The introduction of the SMPTE DCP to the supply chain will take the industry significantly closer to meeting the DCI specification. It will also
introduce a host of features for those with disabilities.
Digital Cinema Finance 101
November 2009: Exhibitors today are faced with several options for acquiring digital cinema equipment. If seeking to subsidize equipment purchases through
virtual print fees, it is worth taking time to understand the hurdles to financing such deals.
Should DCI open its doors?
September 2009: Digital Cinema Initiative's willingness to revise its specifications and test plan is creating an impact.
Overall, DCI has performed the task it originally set out to do. Perhaps it's time to rethink how it moves forward.
Considerations For In-Home Movie Rental
2016-June: Several proposals, Screening Room among them, have been floated for in-home rental of movies during the theatrical window. These slides describe how to evaluate and construct an in-home movie rental model. If seeking a recommendation, the author suggests the service should be priced as a premium experience so as to not commoditize the first release window. To maintain control of the model's additive potential, the service should be operated by the window’s stakeholders.
Not Your Father's Silver Screen
2015-April: Presented at the NAB Technology Summit for Cinema, held in Las Vegas. Silver screen technologies, regardless of manufacturer, have advanced significantly in recent years, with much wider viewing angles than before. In addition, the challenges of delivering and installing large screens has also led to innovations that allow a silver screen to be shipped in a box.
Beyond the Rollout: Towards Digital Cinema 2.0
2014-August: Presented at Media Salles in Germany. By any measure, the transition to digital cinema has been a success. At the time of this presentation, over 120,000 screens around the world were digitized. But technology has a habit of not sitting still. This presentation lends insight to the emerging technologies that will drive Digital Cinema 2.0.
The Digital Kitchen Sink: DCPs, KDMs, and Accessibility
2014-August: Presented at Media Salles in Germany. A high level review of the DCP, the KDM, and how accessibility (closed captions, audio description) in cinema is implemented. If you don't know what these are, then this is an excellent presentation to review.
Keep up with the latest in digital cinema by reading mkpeReport.
Digital Cinema Perspectives. A highly informative collection of interviews with world experts in the creation and exhibition of digital content. Interviews conducted by Alléne Hébert.
Compiled and edited by the IP-Racine Consortium. Interviewees include Michael Karagosian.
Understanding Digital Cinema. Informative book on the technology of digital cinema. Edited by Charles Swartz, with a chapter authored by Michael Karagosian.
More Information on Digital Cinema
Distribution Formats SMPTE DCP and Interop DCP - Including Accessibility
The ISDCF SMPTE DCP Transition Review provides a reference for those seeking a specification of SMPTE DCP standards and Interop DCP requirements. This document includes the specifications for packaging accessibility content for both SMPTE DCP and Interop DCP. It also specifies the CSP/RPL protocol that enables 3rd-party closed caption systems to communicate with digital cinema servers.
The ISCDF Interop Audio Channel Recommendation describes the recommended audio channel assignment for Interop DCPs. Note that this specification requires accessibility audio channels HI and VI-N to be distributed on channels 7 and 8. This dictates how cinemas are wired, and, accordingly, imparts direction to SMPTE DCP-capable products to route HI and VI-N audio to media block outputs 7 and 8.
Key Delivery Message (KDM) Naming Convention
This information is no longer in discussion in ISDCF, but is included here as some users will find it to be useful. KDMs arrive in theatres from many sources, typically by email. Theatre operators have a difficult time sorting and identifying the emails and files that are sent. The KDM Naming Convention is the recommended naming scheme for ZIP files containing KDMs, and for the KDM filename itself. It is based on the many of the name types used in the Digital Cinema Naming Convention (see below). No further work has taken place on this scheme. The KDM Naming Convention is described at kdmNamingConvention.com.
Digital Cinema Content Naming Convention
The content name displayed by digital cinema servers can become confusing when trailers or other movie versions have the same name as the movie version to be shown. The Digital Cinema Naming Convention was created to address this problem. The Digital Cinema Naming Convention is described at http://digitalcinemanamingconvention.isdcf.com.