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Author Topic: Hey you studios...stop it Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 09-28-2012 10:57 AM                     Why can't you ingest only the content you need? Your system should "know" what it can play and what it can not. The ASSETMAP file in the DCP package should be able to tell the system what's in the DCP. There's no reason why the system couldn't pick and choose based on that information. Except for trailers, why should there be more than one different version of a movie? I assume trailers and other content still need to be formatted the same as the feature. Correct? So, then, if your computer knows what it can play or not play, it could ingest the content it needs, skipping the unneeded files then, because it already knows what format the feature is in, only ingest trailers in the format(s) that are needed to match your features. Yes, I understand that you're saying things don't work that way but I still think they could work that way. Wasn't part of the pitch "they" made to theaters in order to sell video projectors in place of film that things would be "easier" to operate? We have computerized machines that can fly to Mars and send back pictures but we don't have machines that can automatically play a movie? Doesn't make sense.  |  IP: Logged Mark Hajducki Jedi Master Film Handler Posts: 500 From: Edinburgh, UK Registered: May 2003 posted 09-28-2012 11:11 AM                     quote: Randy Stankey Except for trailers, why should there be more than one different version of a movie? I assume trailers and other content still need to be formatted the same as the feature. Correct? There will be some need for the exhibitor to choose which version they want to play (out of the versions they are equipped to play). Some films will come in both dubbed and subtitled versions (with hard of hearing subtitled versions as well), others may come as versions with two different ratings (which may be a completely different image sequence). A 3D equipped cinema will be able to play the 2D version, a frame rate lower than the maximum could be chosen, a 7.1 auditorium will be able to play 5.1.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 09-28-2012 11:43 AM                        I may have asked this before, but what happens if a 3D DCP is played on a 2D system? Is the result watchable, or does it look like a 3D film would to a viewer not wearing 3D glasses? Is the CCAP version a closed-captioned version (like the DTS system that uses an LED panel on the back wall of the theatre and rear-view mirrors that clip to theatre seats to allow deaf patrons to read the captions)? If so, why would it be different from the non-captioned version? Couldn't a theatre without the close-captioning system just play the closed-captioned file? And what could possibly be the point of a 7.1 mix with an open-captioned file?  |  IP: Logged Jussi Siponen Film Handler Posts: 75 From: Mikkeli, Itä-Suomi, FINLAND Registered: Jan 2010 posted 09-28-2012 02:38 PM                     Atmos enabled DCPs contain also the standard linear PCM audio, so no need for dual inventory on account of Atmos. At least Dolby servers are smart enough to cherry pick only the assets required based on what CPL the operator chooses to ingest, ignoring assets that are not relevant for that CPL. So yes, we may very well see distribution disks with a large number of CPLs combining a handful of assets in different ways. The distribution disks themselves will naturally have more data on them, but your storage requirements won't suddenly skyrocket - your server will just ignore the extra bits and not ingest them.  |  IP: Logged Frank Cox Film God Posts: 2234 From: Melville Saskatchewan Canada Registered: Apr 2011 posted 09-28-2012 02:52 PM                        quote: Scott Norwood what happens if a 3D DCP is played on a 2D system? Is the result watchable, or does it look like a 3D film would to a viewer not wearing 3D glasses? I believe that 3D and 2D use a different colour-space. (Someone correct me if I'm using the wrong terminology.) I know that if I add 3D content to a 2D playlist everything turns into lovely shades of pink, purple and green. quote: Scott Norwood Couldn't a theatre without the close-captioning system just play the closed-captioned file? That's what I (and I assume everyone else) do. Most movies come with two files: blah-blah-CCAP and blah-blah-OCAP. Generally all I need to ingest and play is blah-blah-CCAP.  |  IP: Logged Mark Hajducki Jedi Master Film Handler Posts: 500 From: Edinburgh, UK Registered: May 2003 posted 09-28-2012 04:23 PM                     quote: Scott Norwood And what could possibly be the point of a 7.1 mix with an open-captioned file? The open-captioned screenings will not be exclusively for hard of hearing customers, so somebody may appreciate the extra sound channels. If a cinema is advertising a feature as being 7.1 all showings should be in that format.  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 09-28-2012 09:22 PM                     (teaser title)  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 09-29-2012 10:03 PM                    This is hilarious.  |  IP: Logged System Notices Forum Watchdog / Soup Nazi Posts: 215 Registered: Apr 2004 posted 11-07-2013 12:22 AM                 It has been 403 days since the last post.  |  IP: Logged Michael Gonzalez Jedi Master Film Handler Posts: 790 From: Grand Island , NE USA Registered: Sep 2000 posted 11-07-2013 12:22 AM                     Now you can add 3D white screen and 3D silver screen options (in both 5.1 and 7.1) to the lists.  |  IP: Logged Justin Hamaker Film God Posts: 2253 From: Lakeport, CA USA Registered: Jan 2004 posted 11-07-2013 02:17 AM                        There would be a fairly easy solution to this. As distribution is moving more to satellite, the content servers at the theatre simply need to be programmed with the versions used at the given theatre. Then they would only need to publish the necessary versions to the theatre's LMS. As for the metadata, the studios need to start using it. The LMS systems are capable of so much, but they need metadata to make it work. For example, if the studios used metadata to identify the trailer rating, the industry could make it virtually impossible to accidentally program a red-band trailer on anything but an R or NC17 film. Fortunately, my boss is involved with NATO's technology committee and they are trying to get the studios to implement these various suggestions, as well as adopt a universal CPL naming convention.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 11-07-2013 11:32 AM                     Did I miss anything? Yes... the latest were the 3-D versions for white screens.  |  IP: Logged

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