D-Cinema FAQ

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• Briefly, what is Digital Cinema?

  Digital Cinema is a new projection technology for the cinema industry. Instead of a film projector, a digital projector is used to present the image onscreen using a computerized file version of the movie. D-Cinema is likely the modern day replacement of the century old film projection technology in cinemas now. Texas Instruments “DLP Cinema®” technology has been at the forefront of digital cinema implementation in the cinema industry. Invented in 1987 by TI, DLP Cinema® technology is licensed to three OEM manufacturers: Christie, Barco and NEC. DLP Cinema® 2K systems are the most dominate D-Cinema systems in the world, and 4K DLP Systems are now coming to market. See www.dlp.com for more information on the technology. Another DCI-compliant technology is Sony’s LCOS SXRD systems. These systems are unique in that they feature “4K” resolution for D-Cinema, approximately four-times the resolution of current DLP technology. As of this writing, no other technologies or equipment are DCI-compliant or supported by the Hollywood studios.

• What are the advantages of Digital Cinema?

  Aside from cost savings and environmental benefits of no longer dealing with film prints, there are other advantages to D-Cinema technology. Unlike film, image quality NEVER deteriorates – the quality of the first presentation is exactly the same for the 100th or the 1000th show – no film scratching, no deterioration of color or sound quality. And there is NO image movement or focus drift on screen that’s characteristic of even the finest film projectors and print processing. D-Cinema opens new avenues for content presentation in the theatres beyond just movies. Superior quality 3D presentations are possible from standard D-Cinema systems. Live broadcast concerts & shows, sports events, interactive video games and other alternative content are available, limited only to the imagination of the cinemas. As the industry matures, cinema operations will be greatly simplified. Imagine automatic content delivery via satellite download; show scheduling as easy as “drag and drop” using a mouse; remote troubleshooting and system upgrades via the internet; and more.

• So what has slowed down the implementation of D-Cinema?

  Basically there are a lot of challenges to a major technology evolution like this one. Remember the industry has dealt, very ably, with film for nearly a century – that’s pretty amazing in itself. Film’s basic strength, its ability to provide a great image on a large screen, has finally been equaled (exceeded?) by D-Cinema technologies. The industry is taking wise steps to establish unified standards (such as “interoperability”) so we don’t deal with issues similar to those of multiple digital sound systems not all that long ago.

  The bottom line is still money. On one side, how much might be saved by distribution; on the other, the high costs to exhibition for digital conversion. It’s obvious that the two entities have to cooperate in order for the industry to evolve technology-wise. This major change concerns 35,000+ screens in the US alone and 120,000+ screens worldwide. And let’s face it, the current economic times doesn’t help the evolution at all. As an industry, we have had some good “beta tests” on both large and small scales, and from those the industry has learned a lot and has had time to address any issues. The “early adopters” have added even more of a knowledge base. There is added value from unique presentations such as 3D and other alternative content possibilities. The appeal of centralized programming and operations, troubleshooting remotely and so on, has potentials to improve the efficiency of our business operations. Until the cost issues make sense for exhibition in general – and some of that is now dependent on the general economy – rapid conversion is not likely.

• Briefly, how does a DLP Cinema® System work?

  The projectors use a xenon lamphouse not unlike a film projection system, but from there the comparison ends. A compound (two-piece) reflector design improves light collection and efficiency. The balance of the optical system uses folding mirrors, an integrating rod and lenses to very efficiently direct the light into the imaging system, often referred to as a “light engine”. That light is then split into the three primary colors (Red, Green & Blue) by a prism assembly. Each color has its own DMD imaging chip for reproduction of that color. The outputs of those DMD’s and their 2M+ pixels are converged to a single image and into a projection lens which focuses the resulting image on screen.

  You’ll see two references to DLP Cinema® technology and the actual physical size of the 2K DMD chip. The original 2K DMD for cinema is 1.2” in its diagonal measurement. Due to its larger size, it’s better able to handle higher-powered xenon lamps and is still used in many D-Cinema projectors intended for larger screens. A newer 2K design is the 0.98” diagonal chip, still with the same pixel count and image ratio but in a smaller physical package. The smaller size has allowed smaller optical components to be used. That, coupled with new generation support electronics and technology, has allowed the 0.98” projectors to be lower cost while still being extremely light efficient with smaller xenon lamps.

  A more detailed explanation of DLP Cinema® technology is available at www.dlp.com.

• So the D-Cinema System uses regular xenon lamps?

  Well, it’s a bit more complicated than that. Xenon lamps are used in D-Cinema projectors, yes. Some digital projectors can utilize the same or very similar lamps to what’s used in film projection systems today. But that’s where the similarity stops.
  The true “Digital” Xenon Lamp is a unique design that’s an integral part of the projector’s optical system. In order to maximize the system’s light throughput and performance, the xenon lamps are unique and quite different from the standard cinema lamps we all know. They are often tailored to the design of the light collection system (the compound glass reflectors) to maximize performance. Using a different lamp from the manufacturer’s specified lamp design may work, but performance – especially in terms of light output and uniformity – is generally reduced significantly.
  Typically, Digital Xenon Lamps maximize light output by using shorter arc gaps and higher fill pressures. The design and shape of the electrodes (anode & cathode) are often specific to the reflector designs, and newer systems often use smaller physical designs than their film counterparts. It’s hard to imagine that a 4kw Digital lamp might be roughly the same physical size as a standard 2kw lamp used in a film projection system. There is a trade-off, though – that higher performance in a compact package generally means a shorter warranted and operating life cycle compared to lamps of equal wattage used in film projection.
  The use of Digital Lamps, those designed for and specified by the manufacturer, is critical to the performance of the system. D-Cinema projectors are generally rated by light output in “lumens”, and that’s strictly a function of the matched components of the projector. The specified xenon lamps are a critical part of that system and its performance. In other words, don’t expect anywhere near the same light output from a standard cinema lamp as you would get from the Digital lamp of the same wattage specified by the D-Cinema projector manufacturer.

  The other considerations are the warranties, both of the projector and the lamp itself; and whether the lamp is authorized by the projector manufacturer for use in their digital projector. The reflector and other optical components are glass and quite expensive. Using lamps not authorized by the manufacturer or operation beyond that warranted life can be expensive in the long run.

• What about “DCI” and “DCI-Compliance”?

  One challenge of new technology and trying to implement it relatively quickly is to come to agreements as to how it should be done. The importance is obvious, with 35,000+ screens in the US and over 120,000 screens worldwide, the technology needs to be as universal as 35mm film is now. The ideals included such things as: exceeding the image quality of film; secure transport and storage of the content; interoperability of system components; and so on.

  Digital Cinema Initiatives, LLC (DCI) was formed in 2002 in a collaborative effort by the major Hollywood Studios to “…establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control.” Some of the work done by DCI includes image resolution and presentation requirements, content packaging, interoperability, security requirements and so on, providing the backbone of industry and performance standards to be validated by SMPTE.
  DCI Compliance is meeting the performance and design requirements put forth by DCI to the D-Cinema equipment manufacturers and content providers. Compliance is needed to assure technology compatibility and content security. Non DCI-compliant equipment will not meet the quality and performance standards of the industry and likely will not be supported by Hollywood for content presentation.
  There is also a testing procedure called the “Compliance Test Plan”, or “CTP”, a procedure authorized by DCI and now in effect. The CTP assures compliance and interoperability of D-Cinema components.

  --IMPORTANT-- Non DCI-compliant equipment will most likely not be supported by Hollywood and Distribution for content delivery in the future – and by future, we are talking within the next 1-3 years.
  Be sure that the equipment you install in your theatre is DCI-Compliant and that it can be maintained compliant by the supplier. You can buy D-Cinema equipment that is not fully compliant, or that will have significant costs to make it compliant. “Buyer Beware” applies here!

• Could I have a D-Cinema Projector and NOT be able to run content in the future?

  That is correct. Your system must meet current DCI-Compliance Requirements to run Hollywood content. A testing program is now being developed to certify systems meeting those requirements. Your system must be in compliance or be upgradeable (through software and/or hardware) to meet those requirements. If your system is not compliant, Hollywood is not obligated to provide you content due to security or performance concerns.

• What about SMPTE Standards?

  Basically, SMPTE (Society of Motion Picture and Television Engineers) documents the standards of performance and technology within the industry. Those standards are still being documented today, though tremendous steps have been made following the work of DCI. Standards are important to assure manufacturers and users of the technology of interoperability and performance standards are being met.

  Those standards are moving along quite well and generally validate the work done by DCI and the equipment manufacturers. With these standards in place we are assured of component interoperability and equal performance standards both for manufacturers and exhibition.

• What’s NATO’s stand on Digital Cinema?

  The National Association of Theatre Owners has been a key advocate for its member theatres in the adoption of D-Cinema. NATO has undertaken efforts to establish equipment standards and promote workable business models primarily intended to protect independent theatre owners. NATO desires a workable, stable technology that benefits the industry as a whole over the long term.

  There’s a wealth of information available at www.natoonline.org .

• What is ISDCF?

  ISDCF (Inter-Society Digital Cinema Forum) is a discussion group and subcommittee of the “The Inter-Society for the Enhancement of Cinema Presentation, Inc.” The Inter-Society “…was founded for the purpose of fostering inter-active dialogue and joint projects among distribution, exhibition and trade organizations (www.inter-society.org).” The organization has been active in addressing and resolving many industry issues through cooperative efforts from its members which includes equipment manufacturers, exhibitors, studios and distribution.

  The goal of the ISDCF is “…to provide a forum to discuss issues for the World Wide launch of Digital Cinema…” by bringing interested parties together to address issues of Digital Cinema deployment. This group has played a critical role in some very basic D-Cinema issues such as Key Delivery Management, content naming conventions, interoperability issues and more. One of its current tasks is to better define some performance characteristics to enhance 3D presentations. You can find more at www.isdcf.com.

• What is a “VPF”, and why do I care?

  The VPF (Virtual Print Fee) is a mechanism by which Hollywood may help to offset the cost of the D-Cinema equipment investment by exhibition. There are huge potential savings for Hollywood by eliminating the costs of film prints and their distribution. The challenge is that exhibition must make huge investments in D-Cinema equipment for these savings to be realized over the long term. The VPF is some type of credit or payback to the exhibitor or integrator for using a “digital print” instead of a film print, which can be applied towards the Exhibitor’s or Integrator’s cost of the new technology.

  There is also a “WPF” or “Weekly Print Fee”, though we encounter this less often. This is a reduced amount that goes back to exhibition or the integrator for shorter runs of digital content, or for second or sub-run cinemas.

  VPF’s were originally reserved for the larger integrators and financiers of larger equipment rollouts, but there is a recent move by distributors (i.e. Paramount, as of this date) to offer a VPF Agreement to independent cinema operators, with the general feeling that other distributors will introduce similar plans.

  Keep in mind that the intention of the VPF is to provide an offset of D-Cinema equipment cost to the Exhibitor and not to fully pay for it

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• Can I get all the movies in Digital format?

  You should have this discussion with your film booker but the answer is most likely “yes”. Let’s face it; it is distribution that wants to make the technology change, so they should be willing to provide digital content as opposed to film for your cinema. There may be circumstances that could affect your ability to get that content, so be sure to have these discussions with your booker or the distributors themselves.

• What training do my projectionists need for D-Cinema operation?

  Obviously, operation of the D-Cinema system is different from that of the mechanical film projector. A little network and computer training and background are helpful to the new projectionist. A well-designed and installed system should be easy with the basic training your installer can provide. Very basic maintenance involves keeping the projector and booth clean and dust-free. Your main operators should participate in as much of the D-Cinema installation as possible so they are familiar with the components and their operation.

   

  That said, normal operation of the equipment should be relatively easy. Building a Play List is basically a “drag and drop” process. Once a few basic terms and processes are understood, especially the Play List, projector macros, cues and so on, movie presentations should go pretty smoothly.

• What is a “2K” projector?

  “2K” refers to the number of pixels utilized by an imaging device, such as a DLP Cinema system. The 2K DMD Chip is an array measuring 1,080 x 2,048 pixels – a little more than 2.21 million pixels. The “2K” (or 2,000) refers to the number of pixels in the widest dimension. The Sony 4K device is 2,160 x 4,096 (8.85 million pixels), hence the “4K” designation.
  Note that the image ratio, the number of pixels in width compared to height, of the DLP Cinema® chip (and the 4K SXRD as well) is about 1.9:1. This is conveniently close to the 35mm film Flat ratio of 1.85:1.

• What are pixels, and why do I like more of them?

  Pixels are the smallest element of a digital image. You’ve all seen the magnified image of a black-and-white picture in newspaper print – closely spaced dots and spaces make up the image. Viewed from far enough away, those individual segments become indistinguishable to the eye and blend into a single image. The smaller and more closely spaced the pixels are, the more closely the image can be observed.

  Digital imaging is the same idea but more versatile – pixels are very closely spaced and each one can vary intensity and color to construct the overall image projected on screen. Basically, the more pixels (higher resolution) the better the image might look, depending on the relative size of the image and the distance from which it is viewed.

  Keep in mind that while more is probably better, more pixels present more challenges. The computer files that reproduce images are related to the number of pixels – the more pixels, the larger the files and the faster the computers reproducing the image need to operate. A 4K system is capable of 4-times the resolution of a 2K system, but the file sizes and (possibly) computer processing power required is multiplied by that same factor.

• How is digital content delivered to theatres?

  Hollywood distribution companies such as Technicolor, Deluxe and Access IT (now Cinedigm) generally deliver content via a computer hard drive to the cinema. The hard disk is reusable, sent in a rugged container by familiar carriers such as Federal Express. Once the content is downloaded, stored and validated, the drive is re-packaged and returned to the distributor for reuse. Some content, such as trailers or shorts, can be delivered via CDROM, DVD or even by a USB memory stick.

  That drive contains the movie content as well as trailers and other image files (such as rating placards) that are “ingested” by the cinema or library server for storage. That content is compressed and heavily encrypted for security of that content. Even though the files can be loaded onto the cinema server, they cannot be played out by the server without the proper “key” – a very secure password provided by the content distributor to the cinema. The KDM (Key Delivery Message) is particular to the movie, theatre location, play dates and equipment for the content to be played on.

  The industry has settled on a CRU-DataPort hard drive configuration when content is physically delivered to the theatre. The drive is like a cartridge that will slide into a slot of the properly equipped cinema server. The CRU provides much faster ingest, typically less than half the content’s run time. The CRU can still download content via USB cable connection for those servers not equipped with the CRU slot. Newer servers can even play content directly from the CRU in an emergency situation.

  The future looks to satellite delivery as the ultimate delivery method. Cinemas would be equipped with a receiver and a “store and forward” server/storage platform to receive and hold downloads of content from the distributors. Once the received content package is complete, it would be forwarded to the cinema’s library or central storage server and available for use by the cinema once it obtained the required KDM’s.

• What about sound and D-Cinema?

  First of all, it is better, no question about it. Pure uncompressed digital audio is output from the server, so the source is better than what your theatres have experienced before. In fact, an issue you have to consider is the condition of your current audio system. Even if you have a “digital” sound system (5.1 or better) for 35mm, if it’s just adequate or only a little better you’ll need to be careful with the volume control with D-Cinema. There is so much more dynamic range available that you could easily over-stress your current system with today’s digital content.

  D-Cinema has the capability of sixteen (that’s right – 16) full range audio channels. Some of these are reserved for alternate language, Hearing or Visually Impaired (HI and VI) channels; others are open for optional capabilities. Today, the audio soundtracks will generally be 5.1 or 5.1 EX that match your existing digital sound system.

  Just announced (March 2010) – Dolby Surround 7.1. This format can use Dolby EX capable theatres to provide four discrete Surround Channels: Back Wall Left and Right and Side Wall Left and Right…

• What’s the big deal about security?

  Movie Piracy is a multi-million dollar business that literally steals that money from all segments of the movie industry. Check www.natoonline.org/piracy for more information of these financial losses to the business.

  A major concern for D-Cinema is that if digital content could be copied illegally, that copy would be absolutely pristine given the qualities of the digital source. Extreme encryption and security processes are in place to ensure content remains well protected from illegal or unauthorized use.

  Content is heavily encrypted and keys to allow a presentation are keyed to content, the business agreement between the distributor and exhibitor, and the D-Cinema system on which the content is authorized to run on.
  Future upgrades to systems and components likely will include security as well as operational improvements.

• What are the major components of a Digital Cinema System?

  Main components are somewhat analogous to the film projection system.
  The big one is the projector itself. Normally it’s a self-contained projector, lamphouse and power supply, though the larger systems may have the power supply external to the projector/lamphouse. The projector is basically a high-performance computer coupled to a very high performance image projection device.

  There’s normally a pedestal, which locates the projector at the same optical centerline as a film system (nominally 48-inches when projecting level). That pedestal may house other components if they are not mounted in a separate equipment rack.

  Instead of a platter system, digital content is stored and played back by a server, sometimes referred to as an “SMS” (Screen Management System). The SMS stores digital content from movies to trailers and advertising (called “Compositions”). A “Playlist” of that content is assembled by the projectionist as the show or presentation. That Playlist can include cue outputs (for raising or lowering house lights, selecting masking settings, etc.). The SMS is linked to the projector for security of content, and will only play back content to that linked projector. Since the audio output of most servers is digital, a “Digital-to-Analog” (“DAC”, D:A or D-to-A) 6-channel (or better) Audio Converter may be required to interface to existing cinema audio systems. Your processor may require an additional module or card to handle the audio from the D-Cinema system.

  Other components might include an automation or automation interface. The server is capable of GPIO (General Purpose Input & Output) to other compatible systems, but versatility may be limited depending on the cinema’s needs. Instead, a separate automation or interface may be required or recommended. It’s desirable that the automation interfaces to the SMS via Ethernet used by the other system components, and modern automation designs incorporate this feature.

• All these names and acronyms – what do all these mean?

  New technologies bring lots of new names and terms to the table and identifying all of them is more than a little challenging. Here are some of my favorites that you should be aware of:

  CPL: Composition Playlist; a file containing a list of all the files required for a single presentation of a feature, trailer, advertisement or logo and how they should be played back. There is a single CPL for each version of that content (for instance, a feature with English soundtrack and French subtitles). A Composition contains everything needed for a successful screening of that content.

  DCDM: Digital Cinema Digital Master; the master set of files containing the entire essence of the movie that have not yet been compressed, encrypted and packaged into the DCP.

  DCI: Digital Cinema Initiatives, LLC; the cooperative venture organization put together by five major Hollywood production companies to establish industry requirements for the adoption and implementation of Digital Cinema.

  DCP: Digital Cinema Package; the container or collection of compressed and encrypted files containing the movie’s “essence” (DCDM), including image and sound files.

  DLP: Digital Light Processing; the technology developed by Texas Instruments for D-Cinema and other projected image markets, including home consumer products.

  DMD: Digital Micromirror Device; the semiconductor chip that’s the actual DLP imager. The DMD used in DLP Cinema® projectors has over 2 million individually controlled micromirrors.

  FLM: Facility List Message; contains the list of digital certificates that exist in the secure playback equipment of a digital cinema. The FLM is created and digitally signed by the equipment and is used to create the KDMs and a Trusted Devices List.

  GPIO: General Purpose Input Output; for D-Cinema, these are the generally programmable inputs and outputs for control of ancillary systems by the server/SMS. These are low-voltage, low-load switching controls only, generally with limited capabilities compared to an automation system.

  IMB: Integrated Media Block; see “MB or Media Block” below. The IMB is located within the projector’s secure enclosure rather than within the server itself.

  JPEG: Joint Photographic Experts Group; the international body that developed the JPEG 2000 compression standard that is DCI-Compliant and the current industry compression standard.

  KDM: Key Delivery Message; a small file containing the keys allowing the Exhibitor to run the protected movie on a certain D-Cinema system within a certain time frame.

  LAN: Local Area Network; generally refers to a computer network within an area of a building or a small group of buildings.

  LMS: Library Management System; in Digital Cinema, it’s the hardware and software system that ingests and stores content in the cinema for later transfer to individual cinema servers. See TMS.

  MB: or Media Block: The hardware device that converts packaged content into streaming data and, ultimately, picture and sound in the theatre. The MB is a secure entity that is not field serviceable. The MB may be a secure part of the Server or reside within the projector itself (IMB or Integrated Media Block).

  NOC: Network Operating (or Operations) Center; exercises monitoring and/or control over a specific network, such as D-Cinema Equipment in a WAN, including cinema complexes. Access is generally via the Internet and in theory the monitored network can be worldwide.

  OSA: On Screen Advertising; generally unique content presented during intermissions in theatres. Most OSA systems use a separate projector and content server.

  PCF: Projector Configuration Files; A file type in a DLP Cinema projector that stores configuration settings used in setting the projector up for operation.

  RAID: Redundant Array of Inexpensive Disks; the hard disk storage technology utilized by D-Cinema Servers for reliability and data integrity.

  SM: Security Manager; The controlling device in an encoding, distribution or playback system.

  SMS: Screen Management System; generally refers to the software and hardware (primarily the digital cinema server) of an individual D-Cinema system.

  SPL: Show Play List; a Playlist that determines which Compositions are to be played, and in what order, for a show. The SPL is normally created by the Exhibitor. (Also “Sound Pressure Level”, a measurement of loudness within an environment.)

  TDL: Trusted Devices List; equipment within the theatre that is “trusted” by the content distributor, meaning they will allow content for use on that equipment. That equipment must be referenced within the KDM to allow decryption by the system.

  TMS: Theatre Management System; the software program that allows (generally) centralized show scheduling and programming of networked D-Cinema Systems within a multiplex cinema. See LMS.

  UPS: Uninterruptable Power Supply; provides power backup in the event of AC Power Loss. Most such units also provide surge protection. A UPS is a valuable addition to protect critical electronics, especially of the D-Cinema Projector and Server.

  VPN: Virtual Private Network; a method of allowing secure access to a particular local network (LAN) via another network, such as the Internet.

  WAN: Wide Area Network; a network covering a wide geographic area. The largest and best known example is the Internet itself.

  A more complete acronym list and glossary is available at DCI (www.dcimovies.com), NATO (www.natoonline.org), and other sources on the Internet.

• What lenses are used with a D-Cinema projector?

  The digital projection lens is a different animal than used in film projection. Most D-Cinema lenses are a variable focal length design (a “zoom” lens) and manufactured in several different zoom ranges. The “zoom factor” is the relationship of the throw to the screen image width. Lens types & designs vary depending on projector technology and size of the DMD chip. Some projectors feature automatic zoom and focus controls of the lens settings, as well as x- and y-axis lens positioning as part of the projector’s setup for different image format requirements. Lenses and their features are normally unique to the projector manufacturer.

• What’s a “key”?

  The key is the password that allows the agreed-to business arrangement between the cinema and the film distributor to happen. Even though the cinema may have downloaded the content, they cannot play it without the proper key delivered to the cinema in a KDM, or “Key Delivery Message”. The KDM allows the cinema to show the movie within agreed to time frames on a particular system. If the key requirements are not meant or the time frame of the key has expired, the movie will not show. The KDM will be sent to the theatre separately, ideally by secure email or other electronic link, though many are delivered today physically via a USB memory stick. We really, REALLY suggest you have a basic email address for your theatre to receive KDM’s.

• What about the operating environment needed for the equipment?

  Ideally, D-Cinema equipment should operate in the same environment as a film projection system. That said, it must be noted that these are far more sophisticated and complicated systems than their film projection ancestors. Basically, the cooler the environment, the better it is for the equipment.

  These are computerized systems and subject to problems from AC power strikes, sudden power losses and so on. The optical systems are much more precise, complicated and – dare I say it – more fragile. The Server is a high performance computer with a special RAID Hard Disk Array. Special care must be taken to control the environment in which the machines operate, especially in terms of cleanliness, humidity control, etc. Component cooling is critical.

  One of the most obvious challenges is the exhaust from popcorn popping equipment and such from the concession area. These fumes and vapors MUST be kept out of the D-Cinema operating environment. Ambient temperatures and humidity must be considered in the booth environment as well.

• So how long is this equipment going to last me?

  Well, let’s be honest here – we’re not sure. The equipment manufacturers and Hollywood distribution agree that a minimum of a ten-year lifespan is desirable and that the technology will be supported for that time plus the implementation period. The rate of technology improvement and change is amazing and who’s to say what projection technology we might be using five, ten or fifteen years from now. The equipment itself likely has a usable life exceeding ten years.

• What about a “network” for my cinema – do I need one?

  Setting up network communications of multiple D-Cinema systems certainly enhances operation and serviceability. For a single screen, of course, it’s not needed unless you want to monitor the system’s operation from a manager’s office or remotely. For multiple screens within a complex, networking the systems is required for a TMS as well as a NOC.

  You will have two networks within the cinema. One is for content distribution between screen servers (SMS’s) or from the central server (TMS or LMS) to the D-Cinema Systems in the complex. That network is never connected to the outside world to assure security of the content. The network hub or switch is located in the TMS/LMS rack. A minimum of CAT6 Ethernet cable should be used for this “Media” network.

  A second network is used for control & monitoring of the individual screen systems and components through a TMS. This network also allows remote monitoring or troubleshooting from outside the cinema complex (see “What’s a “NOC” and how does it help me?” elsewhere). The individual D-Cinema systems will have a local network switch to connect its components through another switch at the TMS system. The connection of this network to the “outside world” must be extremely secure, through a VPN appliance or other secure access. CAT5 cable is suitable for this MANAGEMENT network.

  Network cabling is usually pretty easy to run within a cinema, especially if you have a common booth. Ethernet cabling does not have to be in conduit and routing is not critical as long as you do not couple with high voltage AC or other electrical interference sources. You will need to determine a central control point such as a manager’s office or projection booth, especially if you are going to use a TMS, keeping system security in mind. See separate literature for requirements.

• What are the critical maintenance issues for D-Cinema equipment?

  For ANY projection system it’s cleanliness, but especially for the D-Cinema system. Cooling of internal components of both the projector and server are critical for reliability and performance, so air filters and fans must be checked and cleaned or replaced as required. Depending on the environment, periodic service will be critical to maintain that performance. Another consideration is upgrades to software and/or firmware of system components to ensure reliability and compliance with evolving standards.

  Experience so far has shown D-Cinema systems to be extremely stable in terms of colorimetry and convergence, which had been major concerns.
  Of all the pieces, the xenon illumination part of the system probably requires the most attention. Normal maintenance would include checking electrical connections and cooling system operation. Running the D-Cinema lamp much past its warranted life would not be recommended, both in terms of performance and liability of reflector damage in the event of a lamp explosion.

• What are the critical operational issues and concerns for D-Cinema Systems?

  Aside from service and maintenance needs, there will be some operational practices to keep in mind. It will all be a bit of a learning experience.
  For instance: consider that you have two D-Cinema projectors, one in your large house and the second in a “move over” house. Content is delivered by hard drive and you do not have a network or a Library server for content ingest. You need to plan ahead and load content into both SMS systems while the delivery hard drive is available that opening week. You may not run the movie in the second house for two or three weeks, but you need to load the content while the source is available. You’ll also need to be wise about what content is deleted from the server and when that’s done. Most of today’s servers can store three or more feature films – still, content needs to be removed from the system to keep it running efficiently.

  Management and renewal of the keys is another issue new to cinema owners. There’s not much worse than opening for your second week of a movie and finding the key is no longer valid.

• What’s a “NOC” and how does it help me?

  A NOC (Network Operating or Operations Center) is a central monitoring facility that enables remote service and troubleshooting. In the digital cinema world, the NOC would monitor operations of D-Cinema equipment, looking for any operational or problem signals from the equipment. The NOC would have the ability to do some amount of troubleshooting equipment and even correcting some issues remotely, as well as overseeing product upgrades. The NOC could automatically dispatch service as required for systems on the service network and provide full operational reports on system up-time and performance.

  It’s important to note that the Service NOC monitors ONLY the projection systems and their operation, and not any other business aspects of the cinema.

• How does digital 3D work?

  High quality 3D movies are enabled by D-Cinema technology and it works really well, especially compared to the old film technologies. The DLP Cinema® projector can show both left and right eye images at very high frame rates (144 images per second) to provide virtually flawless picture quality. Coupled with an extremely steady projected image, the 3D picture is truly superb. The new 3D technologies, such as RealD (www.reald.com), Dolby 3D (www.dolby.com), MasterImage (www.MasterImage3D.com) and XpanD (www.xpandcinema.com) take full advantage of D-Cinema technology and provide high quality 3D presentations.

  Another key is projector light output. A LOT of light is required due to light loss in color filters or polarizers used in the 3D process. You probably find that a larger xenon lamp is required for 3D presentations than can be used for regular 2D shows.
  Silver screens are required for RealD and MasterImage. These high gain surfaces (>2:1) are required for the circular polarization process. The polarizing adapters are external to the projector and inexpensive, virtually disposable 3D glasses are used. Dolby 3D can use a standard white screens, though gain surfaces are recommended depending on circumstances. This technology is actually installed inside the projector. Panavision has just introduced a similar digital 3D technology with promising performance. More expensive reusable glasses are currently used, requiring cleaning between uses. XpanD uses “active 3D glasses” and a standard non-silver screen.

  We’ve produced a comparison of 3D systems, just contact STS for information. There are some very good sources for more technical information on 3D processes, but you might start here: http://entertainment.howstuffworks.com/digital-3d.htm for a basic discussion of 3D in the cinema or the manufacturers’ websites noted above.

• What’s a “TMS” and why do I want one?

  “TMS” stands for “Theatre Management System”, and there are many competing acronyms and terms describing the system. Technically, it’s a hardware package (call it a “central server” or “Library”) including a PC, large storage server and network components. The operating platform is generally Windows or Linux. The software used for show programming and content management is the TMS, LMS or TCC (“Theatre Command & Control”). I’ll generally stay with TMS to describe such a system.

  The TMS provides centralized control of D-Cinema Systems within a cinema complex and typically resides in a manager’s office on a PC networked to servers within the cinema. The TMS is used to build Playlists (the list of Compositions or content to be played in a show) and show schedules for each individual screen, as well as to schedule show times and other presentation events (such as advertising, intermission and preshow). It can also be used to move content from a central server to individual servers. The basic architecture of the TMS may vary between providers but the basic purpose and functionalities remain the same.

  The TMS will require that the complex be networked for content and control & monitoring, through a network hub or switch from the TMS to each SMS and the central server. The TMS also allows access to the D-Cinema components for remote NOC monitoring and troubleshooting.

• Can I “sync” multiple cinemas together with the same movie like I can with film?

  Technically you probably can, yes, but you don’t need to. If your business arrangement with the movie distributor allows it, you can run the same digital movie in multiple houses using suitable keys. The same DCP can be ingested by multiple servers or distributed to more than one SMS from your LMS (see the FAQ on “digital cinema acronyms” elsewhere). This also lets you stagger show times in those houses rather than sync-start multiple houses for the same show time.

• How hard is it to move a movie from one cinema to another?

  That depends on the network you have in place. Over a 1GB network, movies can be copied from one SMS to another if the system software allows that feature. The time to transfer is dependent on network quality and traffic – typically it’s half of the content’s actual running time or less.
  A complex with multiple systems is best served with some central server operating with a TMS. The original ingested content should remain in that server through its possible run in the cinema.

  What is actually sent to an SMS is a copy of the original – you would not literally move it off the Library but copy it. If you need to show that feature in a different house, you would make another copy of that feature from the Library to the particular SMS. Note that you will need a different KDM in order to run that movie on the different system.
  Without a network or library, the need to run the same content in multiple houses must be planned out in advance. See “What are the critical operational issues and concerns for D-Cinema Systems?” elsewhere.

• What’s all this “alternative content” about?

  Basically, these are alternative revenue sources that D-Cinema equipment makes available to the exhibitor. 3D is the most obvious new and unique use of the technology that’s now so widely adopted by the cinema industry.

  Other uses include live broadcast events like sports and concerts, potentially some of them in 3D; Sunday morning Church broadcasts; interactive gaming; schools and seminars; special events, parties and meetings; and so on. It’s all entertainment and promotion, and theatre people have been doing that for a long time. D-Cinema opens new entertainment and activity markets for the cinema.

• Should I advertise that I have a D-Cinema system in my theatre?

  Sure. The consumer is becoming more and more discriminating in the available technologies through home theatre, digital broadcast and HDTV. DLP Cinema® is the state of the art in cinema projection technology – there’s nothing better for large screen image projection than D-Cinema. You’ve made the technology step, so why not talk about it?

• What is “Interoperability” and why do I care?

  One of the critical DCI requirements is “interoperability”, assuring exhibitors that the various components of a D-Cinema system can operate together. You can be assured that DCI-compliant projectors will work with DCI-compliant servers, or that the hard disk delivering content to your cinema will work with your server. Interoperability is necessary for all D-Cinema equipment and components.

• Why does a D-Cinema projector “like” constant-width screens vs. constant-height?

  The native resolution of the DLP Cinema chip is 2048 x 1080, a width-to-height ratio 1.896 to 1. That ratio is pretty close to 35mm film’s 1.85 to 1 ratio, so it matches well with screen image ratios already in use in today’s theatres. Nearly the full chip is used to project a flat image.

  For constant-width screens (those with top or top-and-bottom movable masking), the flat image is larger than the Cinemascope picture size, which has a ratio of 2.35:1. Essentially, the scope picture image can be “letterboxed” on the chip to match the ratio of the screen image. Light levels remain exactly the same and the lens’s zoom and focus positions generally do not need to be changed with different formats.

  Constant height screens (those with side movable masking) require the use of an anamorphic lens (the lens and its automated changer is an expensive option) or “zooming” the primary lens to properly fill the screen without cropping the image itself.

• What’s a “basic” D-Cinema equipment package? What options should I consider?

  The most “basic” equipment list would include the D-Cinema Projector w/ Xenon Lamp, a Zoom Lens, a pedestal, the SMS/Server, interfaces for audio and automation as required, and a basic cable kit (Ethernet and Video) for connection of components. It goes without saying that a spare xenon lamp should be included for the cinema.

  For options we might suggest:
  Monitor, Keyboard and Mouse (or touch panel); though some servers allow local programming for most basic operations like running Playlists, programming through an SMS front panel can be cumbersome. If you are not using a centralized TMS, consider a rack-mount drawer with a keyboard and mouse that can mount directly below the server in the equipment rack. Even with a TMS, the convenience of local access to the SMS might be worth the cost. There are many versions available; Strong can include one with your system if desired. There are also versions that include an LCD monitor that can significantly enhance programming and operation of the system. Can you get your own keyboard, mouse and monitor after the fact? Sure, but check type and compatibility requirements. For instance, some servers may not work with a wireless keyboard/mouse combination that requires unique drivers. Generally, a basic USB wired setup works fine.

  UPS; an Uninterruptable Power Supply should be seriously considered. The projector and server are highly sophisticated computerized devices and should be protected from power loss, spikes or surges that might damage them. Manufacturer’s warranties do NOT cover failures or damage due to such problems. A UPS with power protection is cheap insurance for your very valuable equipment. You should also talk with the Utility Company providing you power, as they may have surge protection solutions and coverage available to you.

  Laptop Computer; consider a low-cost Windows-based laptop computer for the Digital projection booth. The projectors are most easily setup using a laptop, and some require its use for standard maintenance and operating adjustments such as when a new xenon lamp is installed. The equipment also has screen-specific setup files that should be backed up and stored separately, just as you would any other critical computer files.

  A very useful option whether you have a single screen or an entire digital complex. A multimedia adaptor (often referred to as a “Scaler”) is generally required for alternative video sources not coming from the SMS. Alternative content sources such as a DVD or Blu-ray Disc Player, Satellite Receiver, etc., will require this adaptor to use the D-Cinema projector.

  [NOTE: as of early to mid-2009, many projectors including NEC NC1600-A and NC2500-A accept direct HDCP-compliant input directly from Blu-ray Players and other HDCP-compliant products.]

  Another equipment option might include a network switch or hub (required for multiple D-Cinema systems that are networked for use with a TMS). Individual or non-networked systems should not require a network switch.

• How can the D-Cinema equipment be set up in my booth?

  The equipment can be configured physically in several ways, depending on the ancillary equipment, space and how you feel the operation is best served. The most basic transition is replacement of the film projection system with a D-Cinema system of the same basic components, assuming a stand-alone sound rack in the booth. The pedestal can be pre-configured with the SMS server and other components (i.e., automation, UPS, etc.) installed. Cable runs will be required between the pedestal and the sound rack, dimmers and so on.

  This may put components such as the server at too low a level to be convenient for easy access for programming and operation. If there is physical room in the existing sound rack, it may be desirable to mount the SMS there. (Note that servers are large pieces of equipment, their depth often more than 24 inches.) Don’t forget power requirements and the environment within that rack, and the need for cable and control runs between the SMS and the pedestal. If you are using a recommended UPS, you may now be looking at two separate UPS’s to protect these two pieces of equipment in different physical enclosures.

  Another approach utilizes a smaller equipment rack to house the SMS and other components. The top of the rack can be utilized to support a monitor, keyboard and mouse. The same concerns for cable runs and electrical backup exist with this configuration.

  Consider future needs as well – though you may be doing only a single system today, you may be adding D-Cinema systems or converting the entire complex in the future. You then need to think about networking the complex, integrating a TMS, etc., and this may change the way to look at equipment configuration in your cinema.

• Should I think about a service contract?

  You should consider one, yes. This is new technology is definitely not the film projection systems we’ve dealt with as an industry for a hundred years. A periodic service agreement for one or two visits a year will provide qualified service and support, as well as the latest in system upgrades for your equipment. Your location and your own support capabilities should also be factored into that decision. Note that service agreements will likely be required for any VPF Recovery plans, including NOC Support, Monitoring and long term service commitment.

• How about equipment warranties? Are extended warranties available?

  Most equipment carries a standard one-year manufacturer’s parts warranty with the exception, of course, of the xenon lamps which carry an hourly use warranty. There are a couple exceptions – NEC projectors have a standard two-year parts & labor warranty, and GDC and Doremi Servers have a three-year factory parts warranty.

  Extended warranties are available for some equipment, all the way out to ten years from date of installation by some manufacturers. This is important as it shows the manufacturer’s willingness to support the equipment. Some are paid for at time of equipment purchase, and others can be purchased year-to-year. Strong can supply you all the details.

• 3D is a key to my D-Cinema decision; what do I have to think about?

  There are two sides to this decision; technology and cost over time. The systems currently available have pluses and minuses in both categories. Do your operations help you control the more expensive glasses? Do you feel one technology is preferable to another? That 3D decision is a major key to equipment specification and your overall project cost. We can talk it through with you but basically, the end decision is yours as the business owner.

• So I want D-Cinema – what do I have to do to my theatre be ready for it?

  Though the D-Cinema system replaces the film projector, there may be changes, upgrades or modifications of the existing projection booth needed.

  The best way to ensure a smooth transition to D-Cinema is through a “Site Survey” to determine the specific needs in the theatre to accommodate the new technology. The survey will gather not only the screen and throw dimensions needed to specify the required equipment, but information on the projection booth, AC Power, audio and automation needs and ancillary equipment that might be required. Access to the projection booth for the new equipment (and removal or set-aside of the old) also needs to be considered.

  The first decision is: Does the D-Cinema System replace the film projector or work alongside it? The obvious considerations are: Do you really need the film projector? Do you have the physical space available for operating dual systems, as well as the AC Power and exhaust needs? How about portholes and location relative to screen and cinema centerline? Most installations today replace the film projector completely.The power requirements of the D-Cinema system must be considered. Equipment installers generally will not handle conduit and AC electrical terminations from a sub-panel, mostly because they are not licensed to do so. You may require a licensed electrician to do either prep work or part of the actual installation.

  Modifications or improvements to the exhaust system may be required.
  The required audio interface is mainly dependent on the equipment you have.

  Most cinemas looking for conversion to D-Cinema are already equipped with a digital sound system and 5.1-channel or better capability, and if it was designed with some “head room” you should be okay. The processor will either need to accept a digital audio input (6-channels) direct from the server, or 6-channel analog input from a D-to-A Converter. Some processors can do that with an optional card or adapter.

  It’s the same with an automation system. Though most servers do have GPIO inputs and outputs, they may be limited in number and capabilities and virtually never have manual overrides for control of things like masking, lights and so on. Most cannot perform as required from a fire alarm input, for instance, without some “assistance” from an automation system. Newer automations may be utilized, especially those that are computer-based with Ethernet capabilities.

  Other issues might include an on-screen advertising system. Chances are that if your current system is controlling the OSA the D-Cinema system will as well.

  Again, these are all specific items that should be identified and planned for by the Site Survey.

• How long will conversion to Digital Cinema take for my theatre?

  That depends on a few factors, of course. Planning and logistics should be taken into account by the Site Survey and your provider’s project planning. Chances are you’ll have some preparation required at your theatre, such as electrical and exhaust needs, or other facility improvements such as a new porthole or cable routing. If all the preparation is in place, the entire process including the removal of the 35mm equipment can normally be done within a one to two day timeframe by a properly prepared and experienced tech or tech team.

  Lead times for needed equipment will vary according to the manufacturer and the market needs. Given the attention to 3D, the opening of a major film is very often the driver for new equipment needs. Allow as much time as you can to plan equipment specification, ordering and installation. Actual availability can be as fast as 2-3 weeks. Installation is dependent on STS’s work load at the time but we’ll always make every effort to accommodate your needs.

  Again for 3D, silver screens are required for at least two of the major 3D systems on the market today. These screens are generally a long lead time item and you need to plan accordingly. At least three and as much as six weeks lead time is not unusual in this market.

• OK, I’m ready. How do I take this next step in cinema technology?

  First, feel comfortable about the technology itself. It is a big change from film projection and you have every right to be both cautious and confident about the change. Ask questions, discuss with your booker and friends in the business to know their experiences. Know that the change is right for you and your cinema.

  Make sure your dealer or supplier has experience in D-Cinema equipment, its specification, installation and most importantly, their support. Let’s face it: your 35mm supplier may not be “digital ready”.

  It’s likely that the major reason you’re considering D-Cinema in the first place is 3D. Understand the available 3D systems, their advantages & disadvantages and their short- and long-term costs.
  Consider the finance options. For instance, Strong offers lease options that may be suitable for your business needs.

  And don’t go by the cheapest bottom line. The scale of the equipment investment is larger, and a couple thousand dollars can literally be the difference between a Chevy and a Cadillac in the equipment you buy and the support you receive.