To reply that, yes, it would be nice to get this all over in one fell swoop. And have the Trailer volume lowered once and for all, rather than cycling the volume down slowly. This, however, is the way the TASA Committee wanted it done, and unfortunately, it has been the only complaint we've received about TASA. In defending this method of lowering the trailer volume, I must say that in the world of trying to please all of the people all of the time, this is a perfect example. The Studio's Marketing Departments make Trailers, and for obvious reasons, they do not want to sacrifice one of their titles, being played at a lower volume than a competitor, at any time, for any reason. The complaints TASA would get from the Studio's affected by the "one fell swoop" lowering would potentially destroy the program. Hence, the MPAA, TASA, and THX/TAP would much rather get complaints that we're not improving the environment "fast enough", than getting complaints from those trying to improve the environment. In the long run, we're all better off.

And so you all know, I am compiling the various statistics on fader levels for the next TASA vote on lowering the upper limit,
once again. So thank you for responding to this topic. The information you are giving me is INVALUABLE, thank you!

Seems Film-Tech folks are more interested in film piracy than loud trailers! Even if we don't act on it, there's a bit of larceny in each of us, as we picture ourselves as the protagonist in "Gone in 60 Seconds" or "The Thomas Crown Affair", looking for lapses in security systems at banks, in art galleries, on expensive cars, and on prints. Daydreaming about defeating CAP code is fine, but please don't act on it. You'll probably get caught.

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John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com

It is my personal opinion that trailers should never outshine the feature as far as sound, unless the feature is a Woody Allen flick or something like that. In other words, I don't like to play trailers that have all of these whiz-bang effects, and then the feature comes on and it sounds like crap in comparison. There are some "event" trailers that would be the exception to this rule, like the Dolby Digital version of "Twister". That really blew audiences away (unlike the flick).

It is for this reason I have the awesome Pennywise CA-21 automation play the trailers all at a standard volume of around 4.0. If I have an event trailer that needs special attention, I place it last, dim the lights and have the awesome Pennywise CA-21 crank up da sound.

Don't get me started on Cap Coding, I'm not a fan... Nothing against you or any of the creators, but I tend to feel cap coding is obtrusive (obtrusive enough that at TAP we have to tell our Reel Reviewers exactly where it is so we don't downgrade the reels because of it), and that its success in halting piracy is limited at best (sure it has caught people, but check out your local street corner, the contraband is conveniently available, domestically and internationally).

Yes, Cap coding is all we have presently to work with. It's been 18 years. Wouldn't it be great if we come up with something better in the next two years, so we can stop cap coding's reign at an even 20 years...?

Yet, until there is something better, and we at THX are doing some testing on future anti-piracy possibilities (audio and visual watermarking, etc.), cap coding is all we've got. And I am reluctantly behind it.

So like I said, don't get me started.

Perhaps you could just direct the TAP guys to Carl Welles' thread "CAP code secrets revealed" for a nice explanation.

Talking to Joe, Tom, Brad and my other contacts at the Motion Picture Association over the 18 years since CAP Code was introduced, I know it has helped find and convict numerous film pirates. CAP Code WORKS, and that is why it is still widely used.

As you know, anti-piracy is one of the many difficult issues that the SMPTE Digital Projection committees are facing. I see numerous postings and lively debate from the DC28.07 (Theatre Systems) and DC28.04 (Conditional Access / Encryption) study groups. Right now, there are many ideas, but no consensus.

"As you know, anti-piracy is one of the many difficult issues that the SMPTE Digital Projection committees are facing"

Which is impossible anyways. Anything that they can come up with for a digital format can be cracked. Which is why we should throw out digital projection and stick with 35mm for all time. After all a movie is just a movie unless it's on film.

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Dave Cutler

"Do or do not, there is no try."

Let's not turn this topic into a anti-piracy/digital cinema debate. We're trying to raise the fader settings for features by lowering the volume of trailers, remember?

But I will say this, Digital Cinema is coming. There's no stopping it. But don't worry, 35mm film will be around long after we're all food for worms. 35mm is universal. I can play a reel of 35mm film anywhere on the globe... digital cinema will take a little while before it can make that claim. But as far as predictions go, here's a bold one: "by the release of Episode 2, there will be 400 Domestic Digital Cinema Screens." That should get me in some hot water. And regarding piracy, I know the secrets of Cap coding, how it works, etc. That's why I'd like something better.
Picture this... Over a hundred, robust, visual and auditory watermarks, implanted in a film (completely undetectable to the human eye or ear) that require a series of keys to decode and signal both camcorders not to record illegally, and VCRs/DVD players not to play pirated material. Believe it or not, it's not that far off. Sure, some guys will be able to break a code here or there, but once consumers start having trouble playing pirated material, it won't be long before they stop buying it entirely.

"Maybe I'm a dreamer, but I'm not the only one" -John Lennon

Anyway, we're all in this for the same reason... to put on a better show... for the best presentation possible. Lowering the volume of trailers will subtly help that, Digital Cinema is definately a good thing, and Cap coding, to me, if it isn't stoping piracy completely, it isn't completely working.

So get out there and tell a friend: Post your fader settings. The more, the merrier.

If there is a signal that tells a camera not to record or a DVD/VCR not to play, people will just use the older stuff, all of which is available today and the quality is great! The pirate will just know that he can't use the Canon XL4 to pirate Episode 3.5, but that he CAN use an XL1 and still get decent results.

There is no way CAP Code can singlehandedly stop ALL piracy. A pirate has to be sloppy first in who he allows to purchase the tapes.

ANYWAY, back to the real subject. Lately I have had to lower the trailer volumes from 4.0 to about 3.8. It seems the dumbass trailer sound mixers know what we are up to and keep mixing them louder. Either that or people just really really need something to bitch about and no matter what we do they will complain and get free passes. Haven't we trained the public well? Just complain about anything--- any little thing at all and we'll give you a refund and 10 free passes! It's so easy!

I don't think these mixers are paying too much attention to what the friendly folks like Mr. Costas is trying to achieve.

Ted, sure there is no way to get everyone to just drop the ball all at once on these trailer volume issues, say in September when things aren't as busy?

And to answer the "subtext" topic, yes, the older camcorders and older players will not be controlled by watermarking anti-priacy technology, so if enacted, it would be again a slow process before pirated material would be stopped completely. But, the discouraging aspect of new technology would eventually saturate the marketplace, five to ten years from its inception... which is better than what Cap coding has done over the last 18 years.

But don't get me started.

Anyway, SPREAD THE WORD TO YOUR FRIENDS, pretend this is some chain letter that will make us all millionaires, and get me more fader settings. Your assitance is greatly appreciated.

Match the trailer levels to the prints! I'm sure that there must be a published reference level somewhere!

Try http://www.dolby.com

Like the man said, If it's too loud, it's easier for us to just snip it off.

There's the incentive to comply! Ya want your trailer seen? Play nice and use the same levels!

I would very much like to see some sort of THX program with fancy lobby brochures or posters on display for movie patrons that explains why explosions are louder than dialog and things like that, and what THX is doing to improve the levels on trailers. I bet (or at least hope) that it would really cut down on volume complaints! The movie going public is extremely uneducated about sound, and that should be changed.

By saying that it's a slow process...what exactly does that mean? Surely it would be simpler to just say 'from x-date, all new trailers mixed must comply to this standard'.

It's becoming annoying and logistically impossible to keep the levels neat with this one up / one down scenario.

Slow and steady is the only way to keep the most people happy... I do agree, however, that it would be nice to just, boom, lower it to where it should be (at the same level of Features), but that just isn't the way the powers that be want it. And they have numerous valid reasons for the slow and steady route...

John P.,

This is the last non-positive thing I'm gonna say about Cap coding: Who has it REALLY caught? How many folks? How much time did they actually serve? I think you are doing a terrific job in putting the "fear of God" into people, but I tend to think that that is all it is... fear without the threat of serious punishment. Please prove me wrong... most of the people I talk to question the effectiveness of cap coding as well.