WHEN MOVIES ARE NO LONGER FILMS
Historically , theatres received shipments of celluloid films for exhibiting movies . These were big , cumbersome , expensive , flammable ... and it was labour-intensive to keep track of all copies . In recent years , digital projectors , which use electronic files , have replaced film-based projectors almost entirely , says ASHISH MUKHERJEE .
When theatres were slowly converting from analogue to digital projectors , they received movies in exhibition kits , which included hard disk drives ( HDD ), adapters and cables , enclosed within a sturdy shipping container . Exhibition kits are now increasingly replaced by satellite delivery for a wider distribution area while providing safe , convenient and cheaper delivery of movie content to cinema halls .
An automated workflow of a Digital Cinema Package ( DCP ) distribution process through satellite comprises the following :
Ingest : Encryption of all the content , identity and licensing files ( including a packing list ) into a package , compliant with Digital Cinema Initiatives ( DCI ) and Society of Motion Pictures and Television Engineers ( SMPTE ) standards . It also includes an automated copy of the DCP from the exhibition kit into the system , and an automated verification of the received DCP to ensure all referenced files are there with content verified using DCP-specified Secure Hash Algorithm 1 ( SHA-1 ) verification .
Schedule : DCPs are then scheduled for distribution via satellite to theatres . Scheduling provides prioritisation and full addressability , allowing distribution to particular cinema circuits , countries and language groups as required .
Transmit : DCP delivery takes place at high speeds , with Forward Error Correction ( FEC ) at the transport level . It is typically in the form of Reed Solomon code , with additional redundant data often applied to the file to better allow for correction of
Cinema Screens 2016 missed packets . Backlink requests over the return path can be used additionally for retransmission of lost packets .
Verify : Received DCPs need checking and file accuracy confirmed through the SHA-1 checksum . Verified DCPs remain on the HDD in a hidden partition until published .
Publish : Upon confirmation of the booking of the movie , the DCPs move to the theatre systems automatically .
The adoption of an automated DCP distribution process enables theatre operators to minimise operator workload and errors . Additionally , it provides SMPTE- and DCP-compliant confirmation and monitoring for every step of the DCP distribution workflow while assuring guaranteed DCP delivery over one-way and hybrid two-way networks .
On the other hand , the headend transmission software should be integrated with functionalities such as flexible theatre equipment configurations for maximum compatibility with Series 2 , Sony 4K / Ultra HD ( UHD ) and legacy D-Cinema systems ; IP distribution of DCPs , live 2D and 3D as well as alternative content to the theatre ; and application programming interfaces ( API ) for integrating with third-party systems at the headend and in the theatre .
Other features of the software include FEC and automatic retransmission of missed packets for maximum reliability , and report generation and export of successful DCP distribution jobs to third-party systems which has to be compatible with theatre
An IHS Markit research revealed that more than 6,500 cinema screens in Asia are still showing analogue films . This , according to Mukherjee , represents loss of opportunity for theatre operators to screen the latest blockbusters , hence resulting in losing out on revenue .
Many theatre operators have replaced filmbased projectors with digital projectors , enabling them to receive movies in exhibition kits . However , exhibition kits are now increasingly replaced by satellite delivery for a wider distribution area while providing a convenient delivery mode of movie content to cinema halls .
equipment from most vendors . The software solution , which caters to clients based at the cinemas , is designed for implementation on commercially available servers sourced locally . It is recommended for the solution to support flexible delivery options , via either a terrestrial or satellitebased network ; for the latter , the software should support internal or external satellite receiver options .
Alongside support for DCP file transfer and reception of live events , the software should also be equipped with the ability to deliver other data , such as digital signage that can be used elsewhere in the theatres . Furthermore , the client software should be 2D- and 3D-compatible , providing operators with low Capex and Opex .
Also , all DCP distribution components need to provide Web Services Description Language ( WSDL ) interfaces , which include distribution manager to ingest , schedule and distribute DCPs ; as well as NOC manager to report , manage receiver DCP content and deliver DCPs to theatre equipment . These interfaces should be integrable with an existing theatre management system . As for reporting and billing , the interface must also be able to provide confirmation of successful DCP distribution and delivery , and reports on transmission including per file statistics .
Most of the theatres in North America , the EMEA and Latin America have already moved to digital format . According to IHS Markit , there are more than 6,500 cinema screens in Asia that are still showing analogue films . Unless these cinemas move over to DCP shortly , they will lose the opportunity to screen the latest blockbusters , thus losing out on revenue .
Ashish Mukherjee is CEO for Benchmark Broadcast Systems .
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