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BKSTS Handbook Book 1

Unit 5 digital projection

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3 ©BKSTS & CEA - Digital Projection Handbook 2012

BKSTS Digital Projection Handbook

Introduction 4First things first 5How does digital film work? 5Digital Cinema Initiatives 6Colour Space 8How does digital film sound work? 8What is Resolution? 82K vs. 4K: Key things you should know 8Computers, Networks and IP Address 9Remote Management 10Picture Aspect Ratio 10Introducing the DIGITAL PROJECTOR: 11How Does a DLP projector Work? 11Series 1 and Series 2 Projectors 11Getting to know a Digital Cinema Projector 12Digital Cinema Packages (DCP) 13File naming conventions 13Subtitles 143D 14Servers and Integrated Media Blocks 16Overview of Servers 18Theatre Management Systems 19Show Playlists 20Key Delivery Message (KDM) 21Troubleshooting a KDM 22Sound 23Hands on 23DCP Ingest 23KDM Ingest 24Adverts & Trailers and Other Content 24Running a digital show 252D 253D 25Media Management 26Alternative Content 26Satellite links 26Projectors and Scalers 27Progressive v Interlaced Scanning 27Connecting Disc Players to a Digital Projector 27Audio for Alternative Content 28Connecting Computers 30Connecting a PC to a Digital Projector 30Connecting Apple Mac to Digital Projector 30Troubleshooting - Tools and Tricks 30Balanced and Unbalanced Sound 30Track Order 31Glossary of Connectors 31Maintenance 33How to change a lamp 34How to change a filter 36Troubleshooting 37Common problems 37Further reading 37Internet Links 37BKSTS/CEA Certification Scheme 38Glossary 41

BKSTS Digital Projection HandbookContents

Topic 1

Topic 2

Topic 3

Topic 4

Topic 5

Topic 6

Topic 7

Topic 8Glossary

4©BKSTS & CEA - Digital Projection Handbook 2012


INTRODUCTIONForewordWelcome to the BKSTS Cinema TechnologyCommittee (CTC) Digital Projection Handbook, aimedat those who are required to become familiar withDigital Cinema (DCinema) equipment. This may bethe first time that as a ‘Projectionist’ you are showingfilms to the public or you may be an experiencedhand, who has seen all the previous changes comeand go along the way, and is now adding additionalskills to your experience.

If you are familiar with film projection, then you willalready have a good starting point to understandingdigital projection; after all there is still a lamphousewith a bulb, a projector head, film (even if it is a digi-tal format), lenses and aspect ratios to deal with.Similarly the film still has to be played out through asound system, connected to amplifiers, and speakersin the auditorium. And, of course, there is still scopefor a bit of showmanship.

Where the two differ, is that a digital projector and itsrelated equipment now essentially make up a com-puter network, a rather fast one, in order to allow thevast amount of data to transfer, but nonetheless acomputer network. All of this will be discussed lateron in this handbook.

Digital Cinema is a new technology that requires pro-jectionists to learn new skills, processes and proce-dures. There is more of a requirement to haveInformation Technology (IT) skills than ever before.

As a Digital Projectionist it is critical to learn how touse your new equipment and to familiarise yourselfwith its operation to ensure that a digital cinemaworks efficiently. It is extremely important that youare comfortable with the equipment and confidentusing it in all situations, just as you would have beenwhen using film.

This part of the handbook aims to try to provide theinformation that is required to help a DigitalProjectionist along the way. However, just as with theFilm Projectionist part of this handbook, there is abalance between providing the knowledge requiredand what is good to know. To this end, there are‘Further Reading’ boxes provided and an entire sec-tion at the end of the handbook to enable a projec-tionist to gain additional knowledge and understand-ing, and to remain up to date as things change. Andit goes without saying that all projectionists should bereading ‘Cinema Technology Magazine’ which is alsoavailable in digital form from www.cinematechnology-magazine.com.

What’s in a Name?As cinemas change to Digital Cinema and moveaway from film there continues to be a move awayfrom some of the traditional names for the role of‘Projectionist’. For the benefit of this handbook theterm Digital Projectionist or Projectionist has beenused exclusively, although this could be freelyreplaced with AV Technician, Cinema Technician orany other relevant title.

Health & SafetyThe Digital Projectionist Certificate requires the projectionist to know about Health & Safety issues;these need to be relevant to their own site and company policies. Therefore in this handbook thereis no specific area covering this topic. However,where there may be a danger of a safety issue aris-ing, then this is noted in the text as appropriate.

Equipment MentionedIn order to provide a more relevant handbook, spe-cific instructions have at times been included ondifferent manufacturers’ equipment. The decisionto include a manufacturer in this handbook isbased on how common its equipment is in the newdigital projection world, and on the availability ofinformation.

The BKSTS does not endorse any of the manufac-turers mentioned in this handbook and manufac-turers will be reviewed in future editions of thishandbook as necessary.

Projection CertificationAlong with the publication of this Digital ProjectionHandbook, there is is also the introduction of theDigital Projectionist Certification scheme. Thisworks and operates in the same way as the FilmCertification scheme. In fact there are many over-laps between the two versions of the scheme, so itshould be fairly easy for a projectionist to obtainboth versions of the certification.

GlossaryAt the back of the handbook you will find a detailedglossary which tries to explain in more detail theterms used throughout this handbook.

The objectives of this handbook:

This handbook is intended as an introduction tothe subject matter; individual equipment suppliersprovide in-depth training courses, so the handbookdoes not provide equipment engineering details.



OBJECTIVES:Projector operation – a projectionist will be able to• power up, log on to and power down the projector• understand, basically, the local system architecture• know how to operate the control panel, including

selecting presets and viewing the projector statusas well as navigating through menus

• be able to switch from different sources• know how to change a bulb and reset alignment• know how to check and to change the air filter• be aware of common problems and solve them

Server operation – a projectionist should beable to • power up, log on and power down the server• understand the function of transport drives and

how to handle them• understand the menu structure and interface• know how to load content from the transport

drives onto the server• know how to load content within the system,

build a show and operate the basic transport controls

• be able to insert cues for automated events• be able to delete and rename content• know how to load decryption keys• be aware of common problems and solving them• be able to access and interpret the error log

General – a projectionist should be able to • describe the basic architecture and operations of

the network• understand the role of remote management• know how to recover from a power failure• be able to check for audio failure

Objective of this Module:At the end of this section you should be able toidentify the main elements of a digital projector,and understand the basics of DCI Compliance,Colour Space, Networks, Resolution, DigitalCinema Packages, Servers, Key Delivery Messagesand Theatre Management Systems.

IntroductionThis topic aims to introduce many of the conceptsand technical elements of digital cinema, from howthe film gets produced, through to the projectors,servers, networks and a whole host of acronyms. There are two really key parts of digital cinema, the

digital projector and the server or “media block”.There are alternatives to the server, and althoughthese are considered under the ‘AlternativeContent’ heading, it is only digital cinema serverswhich are able to contain the high quality largefiles which are provided by the studios. In this sec-tion we will introduce the equipment and compo-nents associated with Digital Cinema. But first...

How does digital film work?

In this topic we look at how digital film works andintroduce a few terms and concepts which will beexplained in more detail later in the handbook.

Many films are being ‘captured’ (filmed) using digi-tal cameras and then edited digitally on computer.With digital cinema, instead of these digital filesbeing transferred back to film, they are deliveredas encrypted files to cinemas; although it is possi-ble that at any of these stages there can be a com-bination of film and/or digital content.

At the moment delivery of digital cinema content isvia a hard drive which is then copied on to a serverbefore it gets played out into the auditorium.Eventually it is likely that the delivery of films (andads and trailers) to a cinema will be either viasatellite or via cables (variations on the Internet)and the content will then sit on a central cinemaserver.

In the DCI specification (see next section), moviecontent is delivered to cinemas as a Digital CinemaPackage (DCP). The content preparation facility cre-ates the DCP from the Digital Cinema DistributionMaster (DCDM). The DCDM is provided by the con-tent creation facility, which conforms the DigitalSource Master (DSM) to the DCDM standard. Thesethree elements form the fundamental basis of theworkflow model for digital cinema content distribu-tion.

Simple comparison of the processing of film and of digital images to form a Digital Cinema Package

DigitalSourceMasterDCM

DigitalCinemaPackage

DCM

DigitalCinemaDistributionMaster

DCDM

DigitalCinemaDistributionMaster

DCDM

Topic 1: First things first



The DSM consists of the audio, image, subtitle andancillary elements of the movie. These can be inany of the diverse formats available for handlingthese elements in digital form. However, the DCDMis strictly defined, and this definition acts to distilthe DSM down to a single delivery for the DCDM.This is invaluable to the content preparation facili-ty, since the process of producing the distributionmaster from the source is fraught with technicalpitfalls and a job that also requires creative signoff.

The DCP, which is the file that the projectionist willbe using, effectively being the digital representationof the several reels of film that make up a conven-tional movie, is created from the DCDM in the post-production house, and the major difference is thatthe image in the DCP will be compressed usingJPEG2000 (see Glossary) so that it is considerablysmaller than the original DCDM file, making it morepracticable to transport from distributor to cinema,whether on hard drive or via digital transmission. Tomake the DCP, every frame of the DCDM is convert-ed into a JPEG2000 image and the sound is carriedin PCM (pulse code modulation) form. The pictureand sound data is then “wrapped” into MXF formatalong with metadata and other files such as XMLsubtitles. This data will usually be fully encrypted sothat only the intended recipient of the DCP can playit back. The DCP data is then placed on a hard drive,and it is this drive that the projectionist will use tofeed a movie into the cinema server. In general thiswill be fed into (‘ingested’) into the TheatreManagement System server, from where the datacan be copied via the cinema network to the individ-ual servers feeding each projector, but in someinstances the hard drive will be fed into each individ-ual projector.Delivered along with the data representing themovie will be a KDM (Key Delivery Message), a filethat is sent to each cinema, via email or on a USBmemory stick, allowing them to unlock the film’sencryption. This file is made specifically for eachDCinema server and specifies exactly where andwhen the film can be played and how long for.The audio remains uncompressed, whilesubtitle/caption and ancillary data files are smalland have little effect on the size of the DCP. Any ofthese assets can be encrypted in the DCP to pro-tect the content from piracy, making them playableonly by those given the appropriate decryption key.The DCP can now be distributed to cinemas viasatellite, fibre or physically on hard disks; hard diskis currently the most popular method. Compressiontechniques are still developing, reducing theamount of data needed but keeping the image

quality as high as possi-ble. A typical DCP moviepackage might currentlyoccupy some 80-200Gigabytes of data, sothat it can easily fit on astandard hard drive.

Digital CinemaInitiatives (DCI)It’s not possible to spendvery long in the world ofdigital cinema without coming across the terms“DCI” or “DCI compliant.” What does it mean? Itmay be helpful first to understand a little about thehistory of digital cinema. Although there had beenplenty of experiments in the past using video tech-nology as a potential replacement for film, it wasonly towards the end of the 1990s that video stan-dards, projection quality and IT technology haddeveloped far enough to make a digital replace-ment for film with comparable quality feasible.Various manufacturers started experimenting withtheir own proprietary technologies using eitherMPEG or wavelet based compression schemes.Innovative film makers promoted the technologysuch as George Lucas with the Phantom Menaceand then Pixar with Toy Story in 1999. The major Hollywood studios took notice. On theone hand digital had the potential to eventuallymassively reduce their print duplication and distri-bution costs. But on the other hand if there wereno standards that saving might be offset by havingto manage “multiple inventory” – i.e. distributingtheir films in many different formats for many dif-ferent systems. Just as importantly, how wouldthey control the quality of the exhibition, and criti-cally, having seen the near collapse of the musicindustry through piracy, would it be possible to pro-tect their intellectual property? Piracy was alreadya growing problem but the spectre of pristine digi-tal copies of films being illegally distributed withinthe theatrical window was terrifying. Somethinghad to be done.

CooperationThe major studios, normally fierce competitors,were all in the same boat. They got together anddecided what was needed was a common specifi-cation. A specification that would set a high bar toensure the quality would be at least as good asfilm. A specification that would set a commonstandard for the content format that would last fordecades – after all, 35mm was a standard thatwas truly worldwide and had lasted more than 100years. And a specification that would use the best



industrial and military encryption and security man-agement techniques to protect their valuableassets. The DCI, or Digital Cinema Initiative, wasborn in 2002, formed by representatives from themajor studios at the time: MGM, Paramount, SonyPictures, Fox, Universal, Disney and Warner Bros.They applied to the US Department of Justice toobtain anti-trust waivers that would allow this co-operation without it being seen as anti-competitive.Each studio appointed a commercial and technicalrepresentative, and the body hired some consult-ants, notably IT security experts. They issued theirmission statement: “DCI's primary purpose is to establish and docu-ment voluntary specifications for an open archi-tecture for digital cinema that ensures a uniformand high level of technical performance, reliabilityand quality control.”

Then they shut the doors and got to work. Fromthen onwards their only communication to the out-side world would be via published press releases.There would be no consultations with manufactur-ers or exhibitors – who would have to lobby the stu-dios individually.

It cannot have been easy since inevitably each stu-dio has their own agenda, but what eventuallyemerged in July 2005 was the “DCI Digital CinemaSystem Specification v1.0” thereafter more com-monly known as the “DCI Spec.” This contained anoutline for the technological requirements of a stu-dio approved digital cinema system, covering quali-ty (resolution, colour gamut, audio capability etc.),interoperability (content format and packaging) andsecurity, with 60 pages of the 156 page documentcovering the latter, which was very specific. Therest of the document, however, was more vagueand not really a “specification” at all. It was left toSMPTE (Society of Motion Picture and TelevisionEngineers) to write the standards documents whichwould put some structure around the DCI require-ments.

ComplianceThere was another problem too – the studiosrequired exhibitors only to deploy equipment thatwas compliant with their “specification”, but therewas no way of testing that. It would take a coupleof false starts, many rounds of “errata” publicationand two more years before publication of the “DCICompliance Test Plan” and another year after thatto appoint testing facilities able to test whetherequipment met the DCI Spec. Then it would takeuntil 2010 for the first piece of equipment to passthe tests and to be declared “DCI compliant”.

At the time of publication there is still a limitedrange of equipment to have passed the verydemanding tests and whose manufacturers cantruly declare their products “DCI Compliant”.

It is very expensive and difficult to get through thetests, but it is very important. As compliant equip-ment becomes more available, so will studios startto withhold content from exhibitors with equipmentthat is not compliant.

The journey has been tough and it is by no meansover, but DCI has to a large extent accomplishedwhat they set out to do – the standards ensure ahigh level of quality. Interoperability between sys-tems is good, with a DCP generated in one part ofthe world able to play on the other side of theworld using equipment from multiple manufactur-ers. The high ambitions with respect to securityhave been attained - nobody has yet cracked anencrypted DCP directly or from within DCI compli-ant equipment.

DCI Compliance invoves two elements - hardwareand software.From a Hardware point of view this concerns thephysical security of the servers and projectors toprevent any tampering with any part of the hard-ware which could cause an unauthorised film to beplayed without a key. In addition every screen needs to be identifiedfrom a trusted device list which is part of the keyfor playing the film content. Before playing the filmthe system will check the projector serial number,board keys and server keys to confirm that systemis allowed to play the film.

For Software this should be easily upgraded asadvances in technology are made. Upgrades to theformat are designed in a way so that content maybe distributed and compatibly played on both thelatest DCI-compliant hardware and software, aswell as earlier adopted DCI-compliant equipmentinstallations. A projectionist may be called upon toinstall new software for a particular projector orserver from time to time - detailed instructions andinformation will be provided.

Further ReadingThe full Digital Cinema Initiative Specification is avail-able to download from the DCI website:http://www.dcimovies.com/For more details on how DCPs are created, the EDCFMastering Guide provides a very detailed explanation,and is available from http://www.edcf.net/edcf_docs/edcf_mastering_guide.pdf



Colour SpaceA colour space is a concept whereby colours arespecified numerically, usually by three numberscorresponding to the three different kinds ofcolour-sensitive cells in the human visual system.Three primary colours are generally used as thelimiting points of an area called the colour triangle.Any colour can theoretically be produced by speci-fying the amounts of red, green and blue coloursthat lie within the boundaries of the lines joiningthe primary colours that form the colour triangle.No practical device can display all the colours asthe human eye sees them, and different colourspaces have been defined for different types of dis-plays and for printing, each trying to make the bestof the capabilities of the particular colour displaydevice.

The colour gamut is the range of colours that canbe displayed, and TV has a narrower range ofcolours than film. For digital cinema the currentlyused colour gamut is wider than for television, andclose to that of a film print. It is expected thatwider colour gamuts will become available aslasers replace the current Xenon light sources, sothe DCI system has been made flexible enough tocope with expected future developments. There area large number of colour spaces in use in the worldtoday, including RGB, sRGB, YUV, YCbCr, CMYK andthe DLP P7 which was developed by TexasInstruments for use with its digital cinema projec-tors. The DCI system uses colours transformedfrom the source RGB data into coordinates X’, Y’, Z’(the ‘ signifies gamma corrected) and all DigitalCinema Projectors include the capability to mapthe gamut of the source master to match thenative colour gamut of the projector.

It is important to use the right Colour Space for themedia being used, otherwise you will end up withodd colours on the screen. This is particularlyimportant when switching from 2D to 3D content,where if the colour space isn’t also changed youcan end up displaying a magenta image if trying toshow a 2D image when the projector is still expect-ing 3D. While a YPbPr image being used instead ofRGB will produce a green picture.

The correct colour space for each input is generallyprovided by means of a set of ‘macro’ instructionswhich are provided as pre-set operations for theprojectionist, whose main involvement will be toensure that the correct macro is selected for eachpresentation, as well as subsequently checkingthat there are no obvious on-screen colour errors.

How does digital film sound work?Whereas all digital film sound is compressed insome way in order to squeeze the digital sounddata into the limited area available on the film,with systems such as DTS using time-code on thefilm to trigger the appropriate sound from a syn-chronised compact disc, no such restrictions applyto the sound used for digital cinema, so the oppor-tunity was taken to provide uncompressed soundwith a bit depth of 24 bits per sample at a sam-pling rate of 48,000kHz. The system allows for upto 16 channels, to allow for future expansion insurround systems, and it is common for one or twoof the available channels to carry auxiliary audiosuch as Visual Impaired (Audio Description) tracks.The channels chosen for these access services areby no means universal, so it may be sensible forthe projectionist to check which channels havebeen used in the event that either of these servic-es is missing.

Resolution - What is Resolution?The display resolution of a digital television or dis-play device is the number of distinct pixels in eachdimension that can be displayed which is usuallyquoted as width × height, with the units in pixels:for example, “1024x768” means the width is 1024pixels and the height is 768 pixels. In cinema thecurrent standard is 2048 often shortened to 2K.However with the introduction of new generationsof projectors this is likely to change to 4K – the DCIspecifications allow for the use of both 2K and 4K.

2K vs. 4K: key things you should know2K means that there are 2,000 pixels across thescreen, and 4K of course means that there are

Further ReadingWikipedia has a good technical explanation of ColourSpace: http://en.wikipedia.org/wiki/Color_spaceRGB Colour Space:http://en.wikipedia.org/wiki/RGB_color_model



4,000 pixels across the screen. If you want to becorrect about it, 2K is 2,048 x 1,080 pixels and 4Kis 4,096 x 2,160 wide (depending on the aspectratio). This means that a 4K image ends up beingfour times the resolution of 2K.

Computers, Networks and IP AddressDigital Cinema relies heavily on IT networks tomove information and data, with most of the digitalcinema equipment being networked together in amultiplex. As a result it is necessary for a projec-tionist to know at the very least the basics of net-works and IP addresses. This section provides avery brief overview of networks and IP Addresses,as there are entire manuals dedicated to this topicalone.

What is a Network?A computer network provides the facility to join sev-eral computers together in order to share data andinformation. The most widely known computer net-work is the Internet, which joins millions of comput-ers together all over the world.

If you have a wireless router in your house athome, then you have a network.

LANs and WANsThere are two main network types - Local AreaNetworks (LAN) and Wide Area Networks (WAN). Itis possible for a LAN to exist on its own, and refersto a network in a local area, such as a house,office, school, building or cinema. There may ofcourse be more than one LAN in a building, per-haps one for the finance system and one for theadmin system, or in the case of cinemas, theremay be one LAN for the digital projector andservers and one for the box office system, althoughit is possible that the box office system could beintegrated into the digital cinema network.

A WAN is used where more than one network isjoined together over a geographic wide space -such as more than one cinema.

How this works in terms of CinemaDigital Cinema relies on a computer network inorder to share information. Each device on the net-work has its own unique address which allows it tocommunicate with other items on the network. AnIP address is short for Internet Protocol which indi-cates the protocol that is used. So for example: the projector in auditorium 1 mayhave an IP address of 10.16.93.2, the projector in auditorium 2 may have 10.16.93.4; while the serv-er for auditorium 1 may have 10.16.93.3 and theserver in auditorium 2 may have an IP address of10.16.93.5. The Theatre Management System mayhave an IP address 10.16.93.1.

An IP address is the equivalent of having a phonenumber or PO Box number. When you want to com-municate with someone you can send them a mes-sage directly by dialling that number, they can con-tact you by dialling a number. An IP Address allowsthe servers and projectors to talk to each other in asimilar way.

Each cinema would have a different set of IPaddresses or at least a different external IPaddress (e.g while the internal IP adddress couldbe the above, there could be another address forthe site such as 192.16.93.45, which would beunique to that cinema). This in turn means that itis possible for a projector to be remotely monitoredor controlled from anywhere in the world.

An important task for the digital projectionist is tobe able to find the IP address of the projector andserver and to establish a connection with a laptop,enabling the laptop to control the projector, ratherthan the touch screen, if so configured.

Basic diagram of a LAN network, which is connectingout to the Internet, such as would be found in the

home. The computers in the house may be connectedeither via a cable or via wireless to a router or wirelessmodem which in turn connects to the Internet and the

World Wide Web.

Further ReadingIf you want to see what the values for different for-mats are, with the number of pixels involved, thenhave a look at this Wikipedia entry:http://en.wikipedia.org/wiki/List_of_common_reso-lutions#FilmsDLP Cinema Reaches 4K, Cinema TechnologyMagazine, December 2009, pp 14-18, available onthe CT website: http://www.cinematechnology-magazine.com



In general there is an IP for the projector which canbe looked up from the projector instructions, and aseparate IP address for the touch panel. The laptopsettings must be configured to connect viaEthernet with the static IP address of the projector.

Remote ManagementJust as it is possible to dial another country andtalk to people there, so it is possible to talk to aprojector or server from outside of the cinema aslong as you know the IP Address. In our examplethat might be 89.90.10.564. Why is this useful?Well it allows for the remote management of theDCinema equipment in the cinema. This meansthat engineers can diagnose and help resolveissues without having to visit the cinema, some-times from completely different countries. If theengineer is not able to resolve the issue then ofcourse a visit to a site would be necessary.

Picture Aspect RatioDigital cinema is presented using the same on-screen aspect ratios as the equivalent film. In cine-ma we have two common movie formats,Widescreen 1.85 aspect ratio and CinemaScope2.39 aspect ratio. They are not the same shape asthe 2K chip. There are two ways of presenting thedifferent aspect ratio images on the screen -Constant Height or Constant Width. Digital projec-tors can scale the image electronically to make thesource material fill the image, allowing them totake different source formats and resize them. Somost Digital Projectors handle aspect ratios in theprojector and no longer require a separate anamor-phic lens in order to produce a scope image. ADigital Projectionist will however, be expected tohandle an increased number of different aspectratios, especially if also dealing with AlternativeContent. Unlike Film Projectors where a lens has tobe changed to change the aspect ratio, a digitalprojector just needs a push of a button and a‘macro’. The lenses on digital projectors are gener-ally zoom lenses which have servo controlledmotors for the purpose of zoom and focus.Therefore these can be adjusted for differentaspect ratios under the control of the projector forthe different presets. It is worth noting that on

Showing how IP addresses and networks work in the Digital Cinema

Cinema IP address89.90.10.564

TheatreManagementServerIP 10.16.93.1

Server 1 IP10.16.93.3

Server 2 IP10.16.93.5

Server 3 IP10.16.93.7

Projector 1 IP 10.16.93.2

Projector 2 IP 10.16.93.4

Projector 3IP 10.16.93.6

Screen 1

Screen 2

Screen3

Widescreen 1.851:1.85 Aspect Ratio

CinemaScope1:2.39 Aspect Ratio

2K chip - 1.896 Aspect Ratio1.896

1

1080

pix

els

2048 pixels

Further Reading:Networks & IP Addresses Information.IP Addresses: Wikipedia has a very good articleabout IP Addresses if you would like to know more:http://en.wikipedia.org/wiki/Ip_addressesHow Stuff Works, also provides in-depth articles onIP Addresses: http://computer.howstuffworks.com/internet/basics/question549.htm and networking in general:http://computer.howstuffworks.com/home-net-work.htmA general explanation of a Network OperationsCentre (NOC) and how it works in relation toTelevision can be found here:http://en.wikipedia.org/wiki/Network_opera-tions_center Although it is not about cinema, it iseasy to relate to the cinema environment.



older digital projectors it is possible that the zoomlens was not motorised but needs to be adjustedmanually, or left in a fixed position and electroni-cally scaled using the stored presents in order topresent the different aspect ratios through thesame lens.

Introducing the DIGITAL PROJECTOR.A digital projector has a number of similarities to a35mm projector in that it has a lamp house andlenses and a way of receiving the ‘movie’. However,compared to film projectors there are fewer movingparts, but a lot more buttons!

Just as the film projector was at the heart of thefilm world, the digital projector remains at theheart of the digital cinema. The first digital projec-tor started to appear in cinemas in 2000 when theOdeon Leicester Square screened ‘Toy Story 2’using a machine from Texas Instruments, althoughthere had been previous screenings using the newtechnology before this, such as ‘Star Wars, Episode1’.

There are four main manufactures of digital projec-tors: NEC, Christie, BARCO and Sony. NEC, Christieand BARCO all use the same underlying DigitalLight Processing (DLP) technology that was devel-oped by Texas Instruments, while the Sony systemuses a proprietary 4K technology known as SiliconCrystal Reflective Display (SXRD).

How Does a DLP Projector Work?DLPs work by reflecting the light from the Xenonbulb onto three DMD™ chips. The three chips rep-resent Red, Green, Blue (RGB). Each of the chipshas many thousands of mirrors, each one of whichcan individually move many times a second. Thelight reflected from these constantly moving mir-rors forms the image which is projected on to thescreen.

A 2K DMD utilizes 2211840 moving aluminiummirrors, with each one representing a pixel in thefinal projected image. Each mirror is suspendedover address electrodes by a torsion hingebetween two posts. Depending on the voltagepolarity applied, each mirror will either tilt to theleft or to the right. When light is applied to thecomplete DMD, only the light redirected from a mir-ror tilting to the left is projected.

For ease of maintenance and service the lamp-house, digital video processing boards, alternativecontent input modules and lens can all be removedand replaced in a matter of minutes by a trainedprojectionist, although as a rule a projectionist isunlikely to be expected to do this.

Series 1 and Series 2 ProjectorsThere are currently two ‘series’ of DLP in use.A Series 1 projector is slightly older than the Series2, with some Series 2 models being capable ofbeing upgraded to 4K. Since 2011, all new projec-tors being supplied are Series 2.SONY Digital ProjectorsThe SONY Digital Projectors only come in 4K reso-lution and uses a propriety technology. The SXRDpanels include only the liquid crystal. Polarisationis handled by external Polarised Beam Splitters

In the SXRD panel, light from the lamp entersthrough the glass substrate at the top, passesthrough the Liquid Crystal layer, reflects off the mir-rored surface of the Silicon backplane, then passesout through the Liquid Crystal, towards the screen.

Light from lamp Light to screen

Silicon backplane

Inorganic alignmentlayers

Index matchingIndium-Oxide(IMITO) Glasssubstrate

Vertically AlignedNematic Liquid crystal

Further ReadingProjectionists’ Handbook, Topic 11, pp.34-35.Wikipedia:http://en.wikipedia.org/wiki/Aspect_ratio_(image)

Further ReadingDLP website: http://dlp.com/technology/how-dlp-works /default.aspx



(PBS’s). Before light reaches the SXRD panel, itreflects off the corresponding pre-PBS. This pre-polarised light passes through the SXRD liquidcrystal where it is aligned as the image requiresand reflected back out. If the SXRD pixel has rotat-ed the light, it then is not aligned with the post-PBSpolarisation and is allowed to pass. If the incominglight has not been rotated, then it is reflected bythe post-PBS back into the source light path.

Getting to know a

Digital Cinema ProjectorIrrespective of which brandof Digital Projector you endup working with, there area number of similar ele-ments which will be foundon all of them. A Power button, for switch-ing on and off the device, A number of inputs:SDI - A digital projector hastwo SDI sockets (they have

BNC connectors) which go to the server. It is neces-sary to have two sockets due to the amount ofdata which has to be transferred between the serv-er and the projector. (On the Sony 4K projectorthere are four HD-SDI connectors, allowing for fourindividual HD images to be displayed simultane-ously).Ethernet port - In order for the film to be decryptedby the projector it is necessary to have a traditionalnetwork connector.DVI - most digital projectors have one or more DVIconnectors so that alternative content can be runon the digital projector, although it maybe neces-sary to connect an alternative content interface orscaler.USB/Serial - these may also be present.A button to open and close the dowser.The ability to change the macro (this is a prede-fined configuration of the projector)A button to switch on/off the lamp.Lamp indicators. Some projectors have quick visu-al references to know the status of the projector: Red LED = Lamp off, Green LED = Lamp On.Touch Screen Display or Computer. Both providethe ability to interrogate the Digital Projector. Thisincludes the ability to adjust the image (if you have therights).The ability to change sources (i.e Server, alterna-tive content).

All digital cinema projectors come with manage-ment software that allows access to all elementsof the projector set-up and maintenance. This soft-ware can also be run from a desktop computerthat is connected to the same network. Digital cin-

Simplified view of Sony’s optical engine. It performspolarisation with a series of Polarised Beam

Splitters external to the SXRD panels themselves.

Whichever brand of digital projector you use, they will all have some com-bination of the above. With a lens at the front of the project, controls onthe side to control macros, the dowser, switch the lamp on and off, a dis-play screen to provide information. There may be a remote control associ-

ated with the projector.

Polarised beamsplitter

Valved light output

Projector /lamp status

Displayscreen

Polarised light

Lens

Remotecontrol

Macros, Dowser Control, Lamp striking unit

SDI, network,DVI ports

May contain server and other equipment

Filtered light input

Further Reading SONYwebsite:http://www.sony.co.uk/biz/product/dcinema SXRD info at:http://www.sony.co.uk/res/attachment/file/83/1214313424283.pdf



ema projectors also have the ability to automatical-ly adjust the lamp power over time thus compen-sating for the inevitable decay in light output asso-ciated with all Xenon lamps. Due to the large num-ber of electronic components in a digital cinemaprojector they are more sensitive to the heat creat-ed by Xenon bulbs than 35mm projectors, so it isvital that there is proper ventilation and that it isalways switched on.

Digital Cinema Packages (DCP)A file that is in the correct format to be shown from adigital server on a digital projector is known as a DCP.

While 35mm film would arrive at a cinema in cans,with reels that would need to be spliced together, dig-ital content currently arrives on hard drives whichwork in much the same way as a computer externalhard drive might do in the home. The DCP is a set of encrypted files representing digi-tal moving image content packaged for shipment tocinemas. The DCP’s files or tracks contain images,audio, subpictures and/or timed text, and auxiliarydata. Only the image track is compressed in the DCP.The DCP consists of the package itself (with all thetrack files) and a separate XML Packing List thatidentifies and includes file-integrity checks for eachfile, as well as a public key and digital signature thatis part of the overall security system. ExtensibleMarkup Language (XML) is a standardised set of

rules for encoding documents in machine-readableform.

Note on Digital Delivery from Satellite or InternetProtocol Cable deliveryAs this is being written, in 2011, digital delivery is inits early days and is not the normal delivery methodof DCPs to cinemas, although this will change in thecoming years. There are many advantages to thismethod of delivery especially in terms of the environ-ment. There are several differences with this methodof delivery. Whilst a satellite or IP delivery systemcould deliver DCPs in real time, economic argumentscurrently suggest that it is more likely that movies willbe delivered to cinemas using a lower bit rate ‘tricklefeed’ system that might take 24 hours or more toconvey a complete movie from distributor to cinema.The actual delivery time is not necessarily important– the error free and secure delivery of a movie isvital, and special error-checking and correcting soft-ware is included as an essential part of such deliverysystems.

File Naming ConventionA hard drive containing one or more Digital CinemaPackages will contain many different files to allow forall the different variations that may exist for a film.The projectionist needs to know whether a file repre-sents a feature or a trailer, whether it is for ‘flat’ or‘Scope display, what language versions are present,what accessibility functions are available, etc. Inorder to identify files on a hard drive, a human-read-able naming convention has been created, displayingfile information in assigned fields in a specific order.Standard abbreviations are used, making it possibleto understand the function of each element. Below isan example of a file name and what it actuallymeans:

TITLE-OF-DCP:TYPE-OF-CONTENT:ASPECT-RATIO:LAN-GUAGE_SUBTITLE-LANGUAGE:CERTIFICATE:AUDIO-MIX:RESOLUTION:STUDIO:DATE-PRODUCED:PRODUC-TION-FACILITY:VERSION

PIRATES-2_FTR-1_S_EN-LAS_US-13_51_2K_DI_20060607_TDC_OV(Pirates 2 Feature Version 1. Scope. English Audio

with Latin American Spanish Subtitles for US. RatedPG-13. 5.1 Audio. 2K Resolution. Disney. Packagedon June 7, 2006 at Technicolor Digital Cinema.Original Version file.)

TOY-STORY-3_FTR-1-3D_F_EN-XX_UK-PG_71_2K_DI_20100510_PX_i3D_MPS_OV(Toy Story 3 Feature Version 1. 3D. Flat. English

Audio with no subtitles. 7.1 Audio. 2K. Disney.Packaged on May 10, 2010 at Pixar. Interop 3D

Composition Playlist

( feature - English)

Image Essence (track file)(English 2.35)

Pointers

Audio Essence (track file)(English 5.1)

Subtitle Essence(track file) (Spanish)

Reel 1

Reel 2

Image Essence (track file)(English 2.35)

Audio Essence (track file)(English 5.1)

Subtitle Essence(track file) (Spanish)

Further ReadingBARCO: http://www.barco.com/ en/productcate-gory/11NEC:http://www.nec-display-solutions.co.uk/p/uk/en/products/choice.xhtml?cat=DCPChristie: http://www.christiedigital.co.uk/ emea/cinema/Sony: http://www.sony.co.uk/biz/product/dcinema



compatible with either ghostbusting or no ghostbust-ing. Original Version file.)

TITLE OF DCP This is the title of the content, itmaybe an abbreviation of the full film name, as thereare a limited number of characters available.TYPE OF CONTENT This indicates the type of con-tent, whether it is a FTR (Feature) or TRL (Trailer).There are other types of content that can be listed.ASPECT RATIO The main two aspect ratios are S(Scope) and F (Flat).LANGUAGE_SUBTITLE-LANGUAGE This indicatesthe language. The first two letters will relate to theaudio lanaguage and the second two will relate tothe subtitle language. So a French film in French butwith English Subtitles would be FR-EN.CERTIFICATE This relates to the Certifate that theFilm has been given. So in the examples above wehave UK PG and US 13 as the certificate.AUDIO-MIX Most of the audio mixes will be 51,meaning DOLBY 5.1, but it is possible for it to be 71,meaning DOLBY 7.1. There are also additional tracks available for hearingimpaired patrons, or / and supplementary narrativedescription tracks for vision impaired patrons. Thesewill be described as follows:51-HI = 5.1 audio with a supplemental HearingImpaired track51-VI = 5.1 audio with a supplemental VisionImpaired Narrative Description track51-HI-VI = 51 audio with both Hearing Impaired andVision Impaired Narrative Description tracksRESOLUTION With the introduction of 4K projectorsit is possible to have content that has been masteredespecially for them. The resolution reflects the pic-ture quality: 2K or 4KSTUDIO This is a short three letter code relating tothe studio who are responsible for distributing thefilm. DI = ‘Disney’, PX = ‘Pixar’, TCF = ‘TwentiethCentury Fox’ and so on.DATE-PRODUCED This identifies the date when theDCP was created in the format YYYYMMDD, which isthe international date standard. This can be impor-tant if an updated DCP has been made available forany reason.PRODUCTION-FACILITY This identifies the companythat actually produced the DCP. DUK = ‘Deluxe DigitalLondon’, MPS = ‘Motion Picture Solutions’, TDC =‘Technicolor Digital Cinema’3D If the film is in 3D, then this element will beinserted here, between the Production Facility andVersion. The 3D element will determine where theversion has been ‘ghostbusted’ or not. i3D-ngb = 3DInterop Non-Ghosbusted as opposed to i3D-gb = ‘3DInterop Ghobosted’.VERSION This is the version of the DCP, often being

OV = ‘Original Version’ but can change as versionschange.

SubtitlesIf the subtitles for a film are not ‘burnt in’, i.e. theyare subtitles which can be shown for some per-formances and not others, then a separate subtitlefile version will be on the hard drive and will needto be ingested at the same time as the main fea-ture file. It may sometimes be necessary to ingestthe main film files before ingesting the subtitles.The information about the subtitles, and the lan-guage that the subtitles are in will form part of theFile Name (see previous section). In order to run asubtitled file an appropriate KDM with the correctfilename will be required.

3DIn recent years one of the main drivers for conver-sion to digital cinema has been the large numberof 3D films which the studios have been producing.Of course 3D is nothing new, and there are plentyof systems that have existed over the years for filmprojectors. However, there are many advantages todigital 3D.This handbook does not set out to explain all thepros and cons of the different 3D systems whichexist in the market. If you would like to know moreabout all the different systems, and how they workthen please look at the further reading section.

However, whichever system is present in your cine-ma it will require that both the projector and theserver are configured to show 3D. 3D DCPs arealso required in order for afilm to be shown in 3Dalong with the appropriateKDM, although a 3D filmcan be shown in 2D. Theother element of making3D work, is that somethinghas to be put in front of theprojector lens.

MasterImage 3DMasterImage 3D sits infront of the Digital Projectorto produce the 3D image.One of the big advantagesto MasterImage is that itcan be moved to be in front

Further ReadingA fuller and complete explanation of naming con-ventions can be found at this website: http://digitalcinemanamingconvention.com



of any Digital Projector in any of the screens. Formore details on its installation: http://masterim-age3d.com/ products/cinema-system

MI 3D requires a Silver Screen in order to maintainthe polarisation discrimination, and passivepolarised glasses to filter the left and right eyeimages which are produced.

RealDIs one of the most popular 3D systems and isinstalled in many cinema screens, although it doesrequire a Silver Screen. The original Real D ‘ZScreen’ polarises the light and has a controller tosynchronise the Z screen to the left and right eyeimages. The glasses are passive, using a filter foreach eye.

The subsequently developed RealD XL systemworks on the same principles as Real D but it usesmirrors to make use of the light that would other-wise be wasted, making it more suitable for use onlarger screens.

Dolby 3DThe Dolby 3D system uses a special colour filtra-tion system that provides each eye with a slightlydifferent full colour spectrum. It works on a whitescreen, although a high-gain screen may be benefi-cial.

The 3D image is created by installing a mechanicalDolby colour filter inside the head of the projector.However, Dolby 3D requires a Dolby server. LikeMasterImage and Real D, Dolby 3D uses passiveglasses, although they are multi-coated to providethe necessary spectral filtering and are thereforerelatively expensive.

wavelength

wavelength

Primary colours in standard 2D digital cinema projector

In Dolby 3D each primary colour is split into two shadesone for the left eye image and one for the right

All three primary colours are used for each eye, giving accurate colour reproduction

wavelength wavelength

Left eye RGB Right eye RGB

inte

nsity

inte

nsity

inte

nsity

inte

nsity

Server Z-Screenpolarisation switchLeft Eye

Source

Right EyeSource

Polarised glasses (circular)

High frame ratedigital projector

Non-depolarising screen



Xpand 3D

Like the Dolby 3D system, Xpand uses a whitescreen, but unlike the other three systems, it usesactive electronic shutter glasses which are synchro-nised to the projector by an infrared transmitterdriven by a projector synchronisation unit. Like theMasterImage system, Xpand can easily and quicklybe swapped between screens.

SONY 3DThe SONY DigitalProjectors have theirown 3D system.Unlike DLP systems,the Sony DigitalCinema™ 4K projectorshows two imagessimultaneously, shar-ing the 4K imagingarea. The SONY 3Dsystem shows boththe left and right eyeviews simultaneouslythrough RealD’s duallens adapter, andsince both images areshown at all times there are no ‘triple-flash’ switch-ing artefacts which some people can find disturb-ing.

Servers and Integrated Media BlocksIntroductionLike everything else to do with cinema and digitalprojection there are several different types of serv-er in use. Servers are where the content for eachauditorium are stored. A cinema may also have alibrary, which is a server with more space in orderto store more films. All computer networks have atleast one server at their heart. A server is reallyjust a very powerful computer which often has avery specific purpose (email, Internet, video etc). InDigital Cinema the server’s purpose is to store onhard drives the content to be used in a particularauditorium. This will include all the trailers,adverts, features, logos and anything else that isnecessary to make up a programme for the screen.

It is also from the server that content is playedback from and playlists exist. In old film terms aserver would be the equivalent of a tower or plattersystem where a film programme would exist.

The servers in DCinema, like in other industries,can run Linux, Windows or custom operating sys-tem platforms. Servers will have a number of inter-nal hard drives which are used for storage.However, in order to make sure that data does notget corrupted or lost if there is a hard drive failure,multiple drives are placed in what is known as aRAID Array within the server. A RAID (RedundantArray of Independent Disks) is where data is storedon more than one drive at the same time and insuch a way that if one of the drives has to bereplaced no data is lost.It is even possible to replace a failed hard drive ina RAID without having to switch the server off,although not while a film is running.

Some of the DCinema servers come with controlsand display built into the server, so that it is notnecessary to plug in an external keyboard andmonitor in order to control or playback content.However, if a keyboard or monitor is present thenthere is more control or flexibility of the functions.A server can also be controlled from anywhere inthe world, if the individual network has been soconfigured.

Further ReadingThe EDCF Guide to 3D Cinema, available free fromthe European Digital Cinema Forum: www.edcf.net.Xpand 3D: www.xpand.me/RealD: http://reald.com/content/cinema.aspxDolby: www.dolby.co.uk/professional/products/cin-ema/dolby-3d/dolby-3d-system.html



Currently DCinema servers have a capacity ofbetween 1Tb and 1.5Tb (Tb = Terrabytes - 1Tb =1000 Gigabytes). This is likely to be provided bythree 500 Gigabyte drives arranged in a RAID-5configuration so that if any fails the show can stillgo on without any quality change using the remain-ing two. When time permits, a replacement diskcan be fitted and the missing data rebuilt andrecorded to it.

A typical 90-minute movie with 20 minutes of pre-show material all running at 250 Mb/s (mega bitsper second) with uncompressed 16-channel 24-bitAES audio would require about 230Gbytes.

The connections between the server and the pro-jector include transactions for projector settings,automation cues and everything required to runthe projection smoothly. The main connections aretwo HD-SDI SMPTE 292M links that together carry3Gb/s with physical encryption – as specified bythe DCI. A dedicated Gigabit Ethernet connectionbetween the projector head and the server isrequired to use the Cinelink subtitling system.

In order to protect the security of the DCP content,servers are fitted with a variety of devices and tech-nologies to avoid and discourage copying the materi-al.

IntegratedMedia BlockMost currentdigital projec-tor installa-tions utilize a media block in an external serverthat is linked by cables to the projector. This cancreate bandwidth limitations that impact picturequality and inhibit the overall system’s ability tomaintain and display video at higher frame ratesand increased pixel resolution. The official DCI term for a playout server is “MediaBlock”, at least for the part of the playout serverthat deals with the business of decoding audio andpicture data. For playout servers, this normallytakes the form of a module inside the server chas-sis, which uses specialist hardware to handlethings like decryption, JPEG2000 decoding, water-marking, audio data decoding etc.

It is often a PCI card, fitted with HDSDI outputs toconnect to the projector and other connectors tointerface with the audio system. This architectureis fine, but to maintain the security of the contentand to prevent unauthorised recording of the

HDSDI video signal, this signal, which has beengenerated within the media block by decryptingand decoding the original DCP, now has to beencrypted again, using a secure key exchange withthe projector to ensure that only that projector candecrypt the signal.

This is complex, and requires repetition of securehardware in both the server and the projector.What if this could be avoided by placing the mediablock inside the projector?

This is the concept of the IMB, or Internal (orIntegrated) Media Block. In this case all of thesecure operations take place inside secure hard-ware within the projector. There is no video linkfrom where the signal might be recorded, and thecircuits are built in such a way to prevent even themost determined hackers equipped with drills andprobes from intercepting the signal.

To make such a concept feasible depends on therebeing some sort of common interface, and thiswas introduced with Texas Instruments “Series 2”DLP cinema projector, which has a standardisedslot capable of accepting an IMB from any manu-facturer who follows the standard.

Most of the current generation of IMB productsrequire an external server to act as the contentstore and to host the SMS (Screen ManagementSystem or in other words the user interface) but itis likely that future generations will be self con-tained, requiring only a network link to a commonlibrary server to complete the system.

Apart from security and simplicity another com-pelling reason to consider IMBs instead of sepa-rate playout servers is for format compatibility: thedual HDSDI video interface typically used betweenplayout servers and projectors has limited band-width. Notably it is not possible to transport 4Kimages over this interface, so the only way toimplement a 4K system using TI DLP Cinema tech-nology is to use a 4K capable IMB inside a 4Kcapable projector. Furthermore, enhancements tothe current 2K formats, such as high frame rate3D will require an IMB architecture.

It should be noted that Sony have always referredto their server as an internal media block. Theirarchitecture is slightly different: the whole playoutserver is housed within the projector chassis withvarious physical security mechanisms employed toprevent tampering.



Overview of ServersBelow is an overview of some of the most commonservers currently in use:

DOREMI SERVERSDOREMI Servers usethe Linux operating sys-tem. When the server isswitched on, using the power switch it will take afew minutes to ‘boot up’, this is the process wherethe system runs through and checks that every-thing is working. It is the same as switching onyour computer at home, but just takes a bit longer,largely due to the server having to check the RAIDArray.

When the server is booted, it should automaticallyrun the Digital Cinema software, known asCinelister. If it does not then it can be found underthe Menu, which can be found in the same loca-tion as the ‘Start’ menu on a Windows computer.For the most part a server should never beswitched off, or at least not until the end of theday. There may however, be a need to reboot theserver if there is a problem with the playback of afilm in any way. As usual with anything to do withelectronics and computers, if there is a problem,try to switch it off and back on again and it oftensorts itself out. To do a restart or shutdown on the Doremi server,click on the ‘Menu’ and then on ‘Log Out’ whichwill provide the options to ‘Log Out’, ‘Shutdown’,‘Reboot’ or ‘Cancel’. (Shutdown turns the server offat the end of the process, while a Reboot will shutthe server down and then automatically start theboot sequence again).

DOLBY SERVERSThe older Dolby Serveris actually two units,the control interface and a 2K media block unit(DSP100) and the storage server system

(DSS100), which is the unit where the hard-driveswere housed. The DSP100 has playback controlsand a screen that allows the projectionist to accessmost functions without the requirement for a moni-tor or keyboard; the Dolby DSP100 has the abilityto playback, pause and stop directly controlled bybuttons on the front of the unit. The DSS100 is theunit that ingests the DCP controlled from theDSP100 or via client software over the network. The newer version of the server (DSS200) is acombined unit without the small display panel. TheDSS200 combined unit includes a 2K media block;however, the DSS200 is designed to be able to beused with a compatible 2K/4K Integrated MediaBlock by bypassing the internal unit. All DolbyDigital Cinema servers can ingest 2K and 4K DCPsand will play back according to the limitations ofthe media block unit used at that time. In additionto the DSS/P100 and DSS200, there is also a sep-arate library unit (DSL100) that offers more con-tent to be stored and managed on the network -whether that's for a multiplex or a busy previewtheatre where lots of titles need to be kept onhand for screening.

GDC SERVERSGDC servers have nofront panel displays - amonitor or PC isrequired to access the all of the features. On theright hand side of the panel is a lockable partitioncontaining the hard drives and, optionally, a SATAbay and DVD reader. In the centre is the mainpower button, with 2 LEDs, one to indicate the unitis powered up and the other showing hard diskactivity. Below the power switch are 2 USB sock-ets.

As with the Doremi severs, GDC servers use theLinux operating system and this takes a few min-utes to boot up. Once complete, the software willrun automatically. To perform a restart or shut-down the appropriate option on the control panelshould be selected. It is not advisable to removethe power prior to completion of the shutdownoperation.

Further ReadingDoremi provide a large amount of informationonline, both fall manuals with detailed instructionsfor both the user and the engineer, along with anumber of videos via their YouTube Channel. Theseare very much worth reading and watching as theyprovide a far more in-depth amount of informationthan can be provided here. The Doremi Manualscan be found here:http://www.doremilabs.com/support/cinema-sup-port/cinema-manuals/ while the Doremi YouTubeChannel is available here:http://www.youtube.com/user/DoremiCinema

Further ReadingDolby website: http://www.dolby.co.uk/profes-sional/products/cinema/digital-cinema/dss200.html

Further ReadingGDC Technologies, also provide the user manualfor people to download from their website:http://www.gdc-tech.com/



Theatre Management SystemsA Theatre Management System (TMS) controls andmonitors the individual screen servers that wewere looking at in the previous section. A TMS isdesigned to bring together and manage all the indi-vidual servers in an easy to use interface. The primary functions of a TMS are to:• Control and monitor the entire digital projection

network from a single location.• Manage all content assets (movies, trailers,

advertisements, clips) in one place and to move them between screens as required.

• Create and build playlists and copy to any Screen.• Ingest incoming movies.• Monitor server activity.

A Theatre Management System (TMS) is effectivelya software application that manages the playbackof digital cinema shows in a simple and efficientmanner. Using a TMS allows you to control allaspects of your digitised cinema from a single loca-tion: creating shows, managing automation, start-ing playback, scheduling and moving trailers,advertisements or features between screens.Everything is controlled through a web interfacethat can be securely accessed from computerswithin a cinema or, if appropriate, remotely.

The TMS can monitor all of a cinema’s digitalscreens, providing a view of each screen’s status,

showing what is currently playing on each and theprogress of the playout. Some TMS also include a‘chat’ function allowing direct two-way conversationto take place between a TMS user and a NetworkOperations Centre (NOC).



The TMS can control the playout ofcontent centrally, remotely starting,stopping, or pausing any show. Whilethe TMS can also show full details ofall the content on a particular screen,or on your library server (LMS - LibraryManagement System).

Content within the TMS system can becolour coded according to type (fea-ture, trailer, advertising, etc.) and it ispossible to see details of each piece ofcontent (title, duration, whether it is3D, etc.), and whether that contentcan be played, highlighting any errorsor missing KDMs.

Content can also be easily movedbetween screens with just a click of amouse. A playlist is built on the TMSand then can be moved to the required screens,automatically transferring all the required content,but only those files that are required - if a correctfile exists on a server already, this will be recog-nised.

Playlists for each screen can be built or edited sim-ply by dragging and dropping content, and automa-tion cues can be added to run a seamless show.Playlists can be built in advance and scheduled torun at the right time and can be easily repeated.The TMS also flags any playlists that may haveproblems (such as expired KDMs) and informs youabout them in advance.

The TMS provides an easy to use system for man-aging security keys (KDMs) for all your cinema’sdigital films. The TMS shows which content the keyis associated with, for which screen the key is validand the key’s validity dates. Keys can be uploadedvia the interface and will be sent to the correctscreen automatically. Warnings are issued auto-matically if a KDM for a forthcoming showing ismissing or incorrect.

A TMS is clever enough to be able to read andanalyse the contents of an incoming key and tothen automatically determine from the certificateinformation to which servers it should be sent. Thismeans that keys could be sent to one central headoffice and distributed automatically from there,rather than being sent to each screen individually.

TMS are continuing to develop and have additionalfeatures added to them. A Circuit ManagementSystem has also been launched, taking the TMS to

another level, allowing for entire cinema circuits tobe managed from one location.

Show PlaylistsWhichever server is used it is necessary to create a‘playlist’. Users may be familiar with the concept ofplaylists if they use software applications such asiTunes or Media Player. A playlist is a digital equiva-lent of making up a film programme. A playlist ismore flexible than film would be if it was beingspliced together. Playlists are created by draggingand dropping a list of the available content on theserver across or down, depending on the server, tothe playlist area. Once there it is possible to movethe individual items around the playlist or removethem. Playlists can also contain cues and macrosin order to talk to automation systems, so that thelights, sound and masking can all be controlled viathe playlist. A playlist can also be made up of acombination of adverts, trailers and features.

Two examples of how playlists are created on dif-ferent makes of equipment are given below - eachmanufaturer will provide details of their own sys-tem.

Doremi Playlist CreationTo create a playlist on a Doremi Server, follow thefour steps below:• Click the ‘Editor’ Tab• Click ‘New’ to create a new playlist• Click on the individual item from the ‘Elements’

list (ad, trailer, feature etc)• Click on ‘Add to Playlist’Repeat steps 3 & 4 until all required items are inthe Playlist. Once the Playlist has all the desiredelements in it, save it by clicking on the ‘save’ but-



ton. Enter a name for the Playlist and then click‘Save’. Playlist names should be logical titles sothat you and others are able to easily find the cor-rect one later on.

GDC Playlist CreationTo create a playlist on a GDC server, follow thesteps below:1. From the control panel click on ‘SMS’.2. On the SMS screen click on the ‘Edit Show’ but-ton. Click on ‘New Show’ and enter the name ofthe playlist.4. To build the playlist, click on the categories (e.g.advertisement, trailer, feature) on the left handpanel and select the required item.5. Press the + button.Repeat steps 4 and 5 until the playlist is complete.Save the playlist by clicking on the ‘Save Show’button.

MacrosMacros relate to cinema automation and are itemswhich appear in the playlist to make things happen. Amacro is a saved set of commands which have beenpreconfigured in order to make the projector have theright settings. In short, this is what is used to changethe projector’s aspect ratio, from 2D to 3D and alsofor switching formats between DCP and alternativecontent. Most macros are pre-programmed into the

system and therefore just need to be dropped intothe playlist at the appropriate time.

Moving content aroundServers allow the user to move the content of thefilm around, if they have a valid KDM, which meansthat it is possible to find out the point where thecredits start (for setting auditorium lighting to comeup, for example), or to go back if there has been atechnical fault; or even for checking the playback vol-ume.

Key Delivery Message (KDM)A KDM is a small file which is sent to a cinema to‘unlock’ a DCP. It is delivered in a file format knownas Extensible Markup Language (XML). XML is a for-mat which is designed for the sharing or transfer ofdata from one computer system to another (SystemInteroperatability). A KDM stores important informa-tion which will allow a Digital Cinema Server to unen-crpyt the DCP and send the data to the DigitalProjector.

Why KDM?Part of the DCI specification requires that distribu-tors are provided with security against the theft ortampering with their content. The security systemuses data encryption that only allows the system toplay content which is authorised and known about.



How?A KDM is sent, usually via email, from one of anumber of different companies, although often itwill be Technicolor, Deluxe, Motion PictureSolutions (MPS) or Arts Alliance Media (AAM).Usually the email will contain the XML file as a ZIPfile (.zip) or sometimes it will be .zzz (this is to over-come issues with virus and spam filters). This zipfile will need to be uncompressed and then theresulting file copied to a USB Memory Stick.

ExamplesOn the left is an example of an KDM file which hasbeen opened in an INTERNET BROWSER, such asIE, although it is possible to open it in NOTEPAD.Troubleshooting a KDMMany of the issues relating to Digital Cinema tendto be around the KDM. The following are some ofthe key things to check if you are having problemswith a KDM working, and which should be checkedas they arrive:• The server model number should exactly match

the model number of the server the content is to

be played on.• The film title should be identical to the one

mentioned in the KDM.• The serial number mentioned in the KDM should

exactly match the serial number of the server the content is to be played on.

• The composition Play list should match that of the content the KDM was intended for.

• The date/time is incorrect, it is worth remembering that the times specified in the KDM are in UTC (same as GMT).

A couple of examples are given of how to check theKDM on different equipments - each manufacturerwill provide their own instructions.

To check this on a DOREMI:• Click editor (Bottom L/H corner of the Screen).

Once your play list is built on the R/H side of the screen, single click on the content to which the KDM relates.

• Click the magnifying glass (Properties) icon towards the top of the screen. The UUID section should match the one shown in your KDM as above.

To check this on a GDC SERVER:• Select Control Panel and then click on ‘Manage

Content’.• Click on the ‘Content’ tab.• Scroll down to the bottom of the content list to

the KDMs which are indicated by a ‘key’ icon.• Select the appropriate KDM and the details will

appear in the lower window.

Further Reading: Unzipping the KDMBelow are instructions on how to unzip a KDM fileand copy it to a USB Memory Stick ready to ingestinto the server. The instructions also include howto view the KDM in order to check the data insideit. This is not the only way of doing this task, socan be ignored if you are already comfortable withthis process. It is also important to make sure thatyou do not open a suspicious email from anunknown source, in order to make sure that youdo not accidentally infect the computer with avirus. If you have any queries then you should con-tact your local IT Support. The typical process is:• Plug your USB Memory Stick into your computer.• Open your email application.• Open the email with the KDM attached to it.

Depending on your email application, you should see an attachment(s). One of the attachments should be [something].zip e.g. “Feature_Keys_1018103_Your_Cinema.zip”.

• If you double click on the ZIP attachment and it should open your zip application. (Windows has a basic Zip application built in).

• Click on the file(s) and then click on extract, if you are using winzip and select your memory stick from the folder structure, it should be listed as a seperate drive.

•If you have the ZIP application, smaller than full screen, and open your windows explorer window for your USB Memory stick, then it is possible to just drag and drop the KDM files onto the memory stick and for them to automatically extract.

Task for the projectionist - know the KDMprocess Many companies will have a detailedprocess and a set of contact email addressesand phone numbers for people to contact in theevent that a KDM fails to turn up, is not valid orneeds to be changed. It is essential to knowwhat the process is. Find out the above informa-tion and make sure that you have it to hand.



SoundFor most cinemas which have older sound proces-sors it is necessary to have an additional piece ofequipment installed, often known as a digitalmedia adaptor (e.g. Dolby DMA-8) to allow the digi-tal projector to talk to the sound system, especiallyif the older film projector remains in place. TheDMA allows for more than one digital signal to endup on the sound processor.

DCP IngestIn order to get a digital file to play it is necessary tocopy or ‘ingest’ the DCP file onto the playout serverthat is connected to the digital projector. There aretwo ways in which a file can be ingested - either viaUSB, connected in much the same way as youwould connect an external hard drive at home or toconnect the drive directly into the server via theDataPort connection (see glossary). Ingesting theDCP via the DataPort is much faster than using theUSB connection, so wherever possible the formershould be used. Typically a film can be ingested in30 minutes via a DataPort compared with inexcess of 90 minutes via USB.

Currently most DCP’sarrive at a cinema on harddrives, in special carrycases. Inside the case canbe found a power supply, aUSB cable Type B (thistype of USB connection isusually found on largedata items, such as con-necting to printers). The hard drive comes intwo parts - when the onepart is removed it can beinserted directly into aserver or left on to con-nect via the USB cable. Ifyou are ingesting the DCP via the DataPort thenyou will need to remove the back portion of thehard drive, and then insert into the bay or the serv-er.

Below are some examples of how content is ingest-ed into servers; these are for guidance only:

Ingesting onto the Dolby ServerOn the Dolby server press the ‘>’ button twice untilyou have selected the ‘content’ menu, then the ‘↓’button to the ‘load content’ and select the file or

files you wish to ingest. There is an option to ingestall the content held on the drive.

Ingesting onto the Doremi Server• Connect the power cable to the hard drive.• Connect the USB cable to the hard drive.• Connect the other end of the USB cable to the

front of the Doremi server.• Switch the hard drive on:

The ingest screen should open automatically.• Select the item(s) you wish to ingest (holding

down CTRL on the computer keyboard will allow you to select more than one file).

• Press the ‘Ingest’ button and an login box will appear.

• Enter the required username and password and click ‘OK’. The Ingest Process should now start.

Content which is on a USB memory stick can beplugged directly into the USB port.

Ingesting onto the GDC Server1. Connect the hard drive via the DataPort or USB. 2. Select the ‘Manage Content’option from the

Control Panel.3. Select the ‘Ingest’ tab.4. Select the source to ingest via the menu.5. Select ‘Open’and click on ‘OK’.6. Select a file to be ingested and check the

‘Transfer’ box.7. Press ‘Import’ to start the ingest.8. Other files can be selected whilst ingesting is in

progress – repeat steps 5 and 6 as required.9. Progress of the ingesting can be viewed by

selecting the ‘Status’ tab.

Need To KnowHard drives are fragile and so need to be treatedwith care. You should avoid dropping them orbanging them about. And wherever possible youshould un-mount the drive or follow the correctdisconnect process for the server that you areusing. Failure to do this will result in the drivebecoming corrupt and not working on anotherserver. This is the equivalent to not spooling off a 35mmfilm correctly and sending a damaged print backto the distributors.

ImportantJust as with 35mm film cases, it is equally asimportant to make sure that the hard drives arereturned in a timely fashion to the distributors andthat they are looked after appropriately while theyare on site. Take note of any important procedureswhich affect this at your cinema.

Topic 2: Hands on



KDM IngestIngesting a KDM is a similar, but faster process toingesting other types of content. To ingest a KDM,unzip the KDM, copy the KDM XML file on to a USBMemory Stick, and then insert the stick into a USBsocket on the server (there is usually one on thefront of a server). The server should detect thememory stick is present. From there it should bepossible to ingest the KDM. If there is more thanone KDM in the same root directory of the USBmemory stick then all the keys that are not alreadypresent on the server will be ingested at the sametime.

KDMs are normally emailed in a zip format. Thesefiles must be unzipped before use. Technicolor usu-ally supplies KDMs with the same zip filename forall films. This means that if you have KDMs for anumber of films you need to save the zip file andextract the files for each one before moving on tothe next one. If you do not do this you will overwritethe zip file and end up with only one KDM.Alternatively you can create separate folders on theUSB stick to hold each zip file.

Ingesting KDMs to the Dolby ShowPlayerOn the Dolby server press the ‘>’ button twice untilyou have selected the ‘content’ menu, then the ‘↓’button to the ‘load content’ and select the file orfiles you wish to ingest. There is an option on ingestall the content held on the drive.

Ingesting KDMs to the Doremi Server• Copy and extract KDM(s) onto USB Memory Stick• Insert memory stick into USB connection at the

front of the server.• Select the KDMs you wish to ingest in the same

way as you select content.

Ingesting KDMs to the GDC Server• Copy and extract KDM(s) onto USB memory stick

• Insert USB memory stick into USB socket on the front of the server.

• Select the KDMs you wish to ingest in the same way as content.

Adverts and Trailers and Other ContentA DCP does not just have to be ingested via anexternal USB Drive, it is possible for it to be ingest-ed via a USB Memory Stick. Adverts, Trailers andOther Content of a similar size will fit on a USBDrive so they can be ingested via that method. Thismaterial is also unlikely to be unencrypted so noKDM would be required.

If there is a Theatre Management System in thetheatre then all this material can be ingested to theTMS system and then copied over as required.

AdvertsCinema advertising currently consists of two compo-nents - ad packs and ad reels. No KDMs arerequired to play these adverts.

Adverts are sent out as files on hard disk or USBsticks. These files must be ingested into the serverin the same way as DCP features.

Ad reels are emailed weekly and are contained in azip file. This file must be unzipped and the con-stituent files ingested to the digital server. The filesare basically pre-defined playlists, automaticallyselecting the appropriate advertisements loaded onthe server. The ad reels can be added to playlists inthe same way as other content.

Note that it is not possible to skip missing advertsor to amend the ad reel to remove “unwanted”adverts).

It is possible to add your own content to your serv-er, providing you can get it in the correct format. Ifyou are on a limited budget, there are a number offree and open source utilities available to down-load. These can enable stills, slides and video tobe converted in to a DCP that can be ingested suc-cessfully. Whilst this is not a simple process, withso many variables, a bit of experimenting canresult in excellent results. As an example, below isa procedure for converting a PowerPoint presenta-tion to a DCP. The real benefit of doing this is thatinstead of running the slide show manually fromyour PC, you can run it from your digital server

Other Content, for the advanced userPlease note that this section is only for theadvanced user who feels confident to attempt this.



which therefore enables it to be added to yourshow’s playlist and it can then be run automatical-ly.

Create PowerPoint slide showUsing the VirtualDub software from the addressbelow - • In Powerpoint (2010 version) Select File-Save &

Send, Create Video (highest resolution). This converts the slide show into a video in WMV format.

• Run VirtualDub to convert the video so a series of individual images. The WMV file is opened from the File menu.

• The image size needs to be reset to 1998 x 1080.This is done via the Video menu, selecting add filter - resize.

• The frame rate is set to 24fps by using the Video menu, selecting Filters and Select To FPS.

• The video is exported as individual images using the File-Export-Image Sequence option and selecting the BMP format.

• Close VirtualDub and run Digital Cinema Package Creator.

• Select the option to create a 2D Movie 2K.• Enter the directory containing the images just

created.• Enter the location of a sound file – in this case

there is no sound, so a 1 second blank wav file was created.

• Enter the package name, movie name, and creator as appropriate.

• Choose the appropriate package type from the drop down list (in this case advertisement). This will ensure that once ingested it shows in the correct place on the server’s content list.

• Enter a directory for the output and press start.• The audio and video are checked for correct

formats.• Press OK to start the creation of the DCP.• On completion, copy the DCP to a USB memory

stick and ingest onto the digital server.

The software used above can be found at:http://www.virtualdub.orghttp://cinema.terminal-entry.de

It is interesting to note that some cinemas will poweroff all of their equipment overnight, while others willonly power off some of it - it is very possible that theservers will be left on while a projector is switchedoff. Check your company policy and follow that.

2D - Manual Operation• The first thing is to power everything on that isrequired. As a rule a server should be switched onbefore a digital projector - most projectors have arocker switch located on them to power them up.

• Switch on the lamp, this will depend on the model of projector that is being used.

• Load the correct film playlist on the server.

• Start the Show: this will either be via a dedicated button or a mouse click on the user interface.

Examples are given of the use of two systems -other manufacturers will provide their own detailedinstructions, and operation via a TMS will also beexplained in local instructions.

Doremi Playlist: 1. Click open on the ‘Editor’ Tab.2. A window will open displaying the contents of all

Playlists.3. Select the Playlist that you wish to open.4. Click on ‘Open’.5. Select the ‘Playback’ Tab.6. Select the Mode Icon for Manual Playback.7. Select Play.

GDC Playlist: 1. Select the SMS application.2. Press the ‘Edit Show’ button.3. Select the required show from the ‘Shows’ drop

down menu.4. Press the ‘Load Show To Play’ button and the

main screen will now appear.5. Press the ‘Play’ button.

Automatic OperationDifferent cinemas use different automation sys-tems, and different methods are used to causeautomated effects to work. A typical method isdescribed below, but a projectionist should becomefamiliar with the particular system in use. Doremi Scheduled Playback:1. Select New - RH side of the screen should be white.2. Open the Schedule Tab and check that the

correct playlist and start times are displayed.3. Open Playback Tab.4. Select the Mode Icon for Scheduled Playback.

3DMuch of the process of running 3D content is thesame as running 2D, although there are a fewadditional instruction sets, some of which willdepend on the exact 3D system being used in the

Topic 3: Running a digital Show



theatre. It is important to make sure that a 3D filmhas been ingested into the playout server. This willbe identifiable when a hard drive is connected tothe server. Both the server and the projector needto be set to 3D mode. Projectors will have a sepa-rate pre-programmed macro which needs to beselected.Things to remember when changing to 3D:• Change the Colour Space (2D/3D setting on Server)• Change the Macro on the Projector (2D/3D)• Move the relevant lens in front of the projector,

or enable the colour wheel if using the Dolby Server.

Media ManagementIt is important to make sure that old and out ofdate files, such as adverts, trailers and featuresare regularly removed from the servers as other-wise the drives will become full and no new fileswill be able to be ingested. Also by removing filesthat are no longer required it will be easier to findthe content that is required when making up aplaylist and also reduces the chances of the wrongor incorrect item being played by mistake. Theexact process and procedure for cleaning up themedia on the server will be based on a cinema orcompany basis, but a couple of examples areshown:Doremi Server:Deleting Playlists1. Click on the Editor Tab 2. Cick on New. 3. Click on Clean up Icon 4. Click OK.5. Click on the Playlist(s) you wish to delete.6. Click ‘Delete’.Deleting Content1. Click on the Editor Tab.2. Click on the content that you wish to delete.3. Click on the Delete Selected Content icon.4. Click OK. 5. Click Yes.GDC ServerDeleting Playlists1. Press the ‘Edit Show’ button on the mainscreen.2. Select the show to delete from the ‘Shows’ drop-down menu.3. Press the ‘Delete Show’ button followed by ‘Yes’.Deleting Content1. Select the ‘Manage Content’ application fromthe Control Panel.2. Select the ‘Content’ tab.3. Click in the ‘Select?’ box against any content tobe deleted.4. Press ‘Delete’ followed by ‘OK’. Note you mayneed to further confirm the deletion if the contentforms part of an existing playlist.

IntroductionOne of the biggest advantages to having a digitalprojector in a cinema is its ability to be able toscreen what has become known as ‘AlternativeContent’ - this can be anything from video, DVD,computer presentations or even sports or musicevents. In essence it is anything that is not a DCP.

This Alternative Content can, however, be a trickything to deal with - whereas once there was oneformat - film, there are now hundreds of differentformats and variations within those formats. Belowwe try to talk through some of the things to lookout for and the things to know in order to success-fully run Alternative Content in your cinema.

Satellite LinksOne of the most common forms of AlternativeContent that a projectionist is going to encounter,other than DVD and computer presentations, is viasatellite distribution.

There is a large choice of communications satellitesacross the world. These tend to have footprints chosen for a combination of commercial or politicalreasons. It may also be necessary to use more thanone satellite to achieve the area of service required.These satellites may have differing operational frequency bands and differing power outputs, necessitating a selection of receiving dish sizes forreliable operation.

Good to Know:Useful tips to help manage Alternative Content:• Information: Get as much information about the

event as you can, as far in advance as you can, then double check this again closer to the event.

• Plan: Make sure you prepare what you have been asked for with your own test setup material and that it is working as you expect.

• Test: Check the content you are given, looking for information relating to aspect ratio, cues, format etc – it’s good to note these down.

• Backups: Have plenty of cables and connectors available so that if something unusual turns up you can connect it or if something breaks you have a way of dealing with it.

• Understand your equipment and its setup – this will help with problem solving and being able to find work rounds if there are other problems.

• Time: Try to make sure that there is enough time planned in for setting up the necessary equipment and for rehearsing the event. The more time you have the better.

Topic 4: Alternative Content



Though the programme distributor will contract withthe teleport operators to deliver the signal, it isimportant that there is a certain minimum level ofcooperation to ensure that the right dish sizes willbe fitted and pointed in the right direction. Planningapplications will also need to be made for the largerdish sizes which may be necessary for some satel-lites.

A cinema may have either a professional satellitereceiver or a domestic satellite receiver in order toreceive a predefined programme.

In advance a projectionist will be provided with allthe relevant information needed in order to config-ure the receiver. There will also be a test broadcastprovided in advance in order to make sure that thecorrect settings are in place.

A great deal of usefulinformation can beacquired from the DTGGroup publicationBroadcasting Live Eventsto Cinema available onapplication to:www.dtg.org.uk/publica-tions/books/html

Projectors and ScalersThe main purpose ofDigital Cinema Projectors is to show DCP films fromservers which conform to the relevant securitystandards, so the number and type of video inputsis often limited. For alternative content the rangeof different picture resolutions, video renderingtechniques, frame rates and refresh rates used onthe video market is simply too large, also requiringthe ability to quickly switch between different for-mats and image sizes. To this end there are mediascalers which can convert incompatible video sig-nals into the ideal input signal for DCinema projec-tors, and in addition enhance the projector’s capa-bilities of connecting alternative content sources.As a rule the two HD-SDI inputs of the DCinemaprojector are normally occupied by the connectionto the DCinema servers. This means that the maininputs that are available are the two DVI inputs.Scalers, on the other hand, are designed for inputflexibility. There is a whole range and variety ofscalers available, both domestic and professional,which provide a range of different inputs, configu-rations and image adjustments. The range goesfrom analogue component, composite, S-Video andVGA inputs for connecting PCs or laptops, DVDplayers, satellite receivers, digital encoders, cable

receivers and manyother sources, up toHDMI inputs for Blu-ray players and gamesconsoles etc. Premiumscalers even offer SDIand HD-SDI inputs forprofessional sources.

Progressive vInterlaced ScanningAnalogue video signalscan be either progres-sive or interlaced.Interlace was common when using older style CRTtelevisions. An interlaced image comprises twofields per frame, the first field being drawn fromtop to bottom, containing the odd-numbered lines1,3,5 etc. When this field has been scanned thedisplay device starts again from the top and drawsthe even-numbered lines 2,4,6 etc. between theexisting odd numbered lines. As there are twofields per frame, content recorded this way can dis-play smoother motion than a progressive scan.Progressive scan was originally used for computermonitors; it produces the complete image in onego, providing two advantages over interlace. Theperceived resolution is increased, since you seethe full resolution of each frame, and this mimicsthe way film is shot, frame by frame, which is howit should be shown.Interlaced signals used to be the standard andmost broadcast and domestic equipment used it.Images created in progressive format are thereforeoften delivered in interlaced format, including thePsF (Progressive segmented Frame) format.Alternative content can come in either progressiveor interlaced, often represented as (p), (i) or PsF. Scanning can also relate to frame rates so that itcan be 25 frames per second progressive or 50frames per second interlaced.

Connecting DVDs and Blu-ray Players to a Digital ProjectorBlu-ray players use HDMI but the signal uses HDCP(High-bandwidthDigital Content Protection) whichwill only work with the newer HDCP compliant pro-jectors by connecting directly to the HDMI or DVIconnector. For security reasons, scalers don’taccept HDCP signals, so the only way of connectinga Blu-ray player to an older digital cinema projectoris by using the component connectors into thescaler. (Component connectors are the Green,Yellow, Blue, Red sockets on the left of the picture). A cinema projector is just a display device, and willnot process audio from the HDMI connection, so



audio needs to be taken separately from the play-er. The model of Blu-ray player shown has severalways of connecting the audio, either via the opticalout or the coaxial (centre of picture), or plugging inthe individual channels. The same process can beused for a DVD player, although it is possible thatthe only option will be via the composite (phono)connectors, depending on the age and build of theDVD Player.

Audio for Alternative ContentIn most installations the sound from the DCinemaserver is permanently wired into the cinema’ssound system and the operator does not have anycontrol over the connections. However, for alterna-tive content there are many combinations avail-able and it is up to the individual to get the bestquality audio from the source material; be it DVD,Blu-ray, satellite or a professional tape medium. Looking at the rear of a typical player there areoften several audio outputs available. As with thevideo output there are low and high quality optionsavailable and the experienced operator will selectthe output to best suit the sound processor and tooffer the audience the highest quality. Below is atypical rear panel of a DVD player showing the arrayof connections available and we will look at the var-ious options they can deliver.

5.1 OutputThis is an analogue output and presents the sixchannels as discrete signals which are then fedinto the analogue input of the cinema soundprocessor.

L + R OutputThis is an analogue output and offers two channelsof discrete audio but often this can be an encodedsignal which if fed through a Dolby Pro-Logicdecoder can produce four channels of full rangeaudio plus a sub woofer. Digital Output For domestic equipment there are two types of digi-

The Folsom ImagePRO-HD is a powerful scaler thataccepts a wide range of video input signals andprocesses them into different signal formats to meetthe video requirements of virtually any application.The ImagePRO-HD incorporates a high performancevideo scaler, scan converter, switcher andtranscoder, ideal for converting RGB, HDTV, compo-nent, s-video, composite (NTSC, PAL and SECAM),DVI, SDI and HD/SDI into any chosen video format.As well as HD/SDI In and Out, the unit features DVIIn and Out, HD/SDI input and output, with DVI-I con-nectors supporting both universal analogue and DVIinput as well as DVI-D output. This fully professionalunit costs around £5000.

The low-cost (around £200) Gefen GTV-HIDEFS is aTV High-Definition Scaler which can upscale andswitch standard definition or high definition compo-nent sources to resolutions up to 1080p. Anythingfrom set-top boxes, DVD players to the next genera-tion of gaming consoles including the Xbox 360 andPS3 can be plugged into the Gefen Scaler. It sup-ports two component sources and one DVI sourceall with digital TOSlink and analog audio inputs. Theanalog audio inputs will be output as analog audioand the digital TOSlink audio inputs will be outputas digital TOSlink audio.

The Christie Cine-IPM 2K is a well-known profession-al scaler and image processing unit that came asstandard with the original UK Film Council DSN pro-jectors. A comprehensive image processor that con-verts analogue or digital signals, it displays virtuallyany content regardless of source, such as broadcasttelevision, satellite, business presentations, andHDTV sources. Christie’s Cine-IPM 2K offers imagescaling, image processing and reformatting capabili-ties for both standard and HD sources. It needs anoption card to cope with SD/HDSDI

5.1 CH output Audio outFront Rear Center

Digital out

LLR

R

1

2

PCM /DTS /Dolby Digital



tal output; SPDIF (Sony/Philips Digital InterconnectFormat) using a single phono socket, and TOSLINK,an optical connector utilising a fibre optic cable.The two outputs offer the same signal and it is upto the individual to select the format his equipmentcan process.

Good ConnectionsWhen connecting any piece of equipment to anoth-er it is vital that good quality connectors and cablesare used. Today it is relatively easy to purchaseready-made cables and it is strongly recommendedthat these be used.

SPDIF - Phono or RCA - BNCIt is worthwhile pointing out that interconnectingcables for analogue signals are different to thoseused for digital audio even though they may bothterminate in identical connectors. Using poor qualitycables for digital audio can often result in thesound breaking up and spoiling a presentation. Theimpedance of a cable used for SPDIF should be 75ohms.

ProcessingOnce the correct connection is established betweenthe alternative content player and the cinemaprocessor it only remains to determine what type offurther processing is required before it is ready tobe played in the auditorium. As can be seen fromthe diagram of a typical cinema audio processorthere are many inputs including one for 8 channelanalogue via a 25 way D connector which wouldallow the 5.1 analogue audio to be input to the sys-tem. There is also an auxiliary L+R which wouldallow the two channel source to be input. Once this is selected it can be replayed as a dis-crete left and right signal but commonly it would bedecoded as a matrixed signal into left, centre, right,surround and sub woofer using the internal soft-ware. The two coax or phono plugs will accept thedigital bitstream from the player but again by select-ing different software programs within the proces-sor the signal can decoded is several ways. An inputfor the optical digital input can also be seen.

Processing a digital bitstreamAs stated previously the digital connections on therear of the equipment can vary and often need tobe selected. This can be done in two ways, either byselections from the source material menus or the

hardware menus. It is usual for audio information tobe printed on the outer packaging. With a DVD or Blu-ray you usually enter the play-back menu and select the audio option. There thenappears a list of the various sound formats avail-able on the disk. • Dolby Digital Stereo is a two channel matrixed

signal which will require the processor to be set to decode Pro Logic.

• Dolby Digital 5.1 will need Dolby’s AC3 software to decode the signal into the appropriate chan-

nels.

DTS Digital Surround will require DTS’s proprietarysoftware to decode the signal into its various chan-nels. With satellite transmissions the contentprovider will usually inform the recipient which for-mats are being transmitted and it is up to the cine-ma to decode the chosen signal to best suit hissetup.

Once it is determined which formats are being deliv-ered by the various pieces of equipment the opera-tor may have to then select the method of decodingwithin the sound processor. However, with somedecoders the software will auto detect the signaland route it accordingly.

The AES/EBU StandardSo far we have looked at Dolby and DTS 5.1 digitalsystems but these both use considerable amountsof compression to fit the data into a single bitstream. However, since there is much more spaceon professional tape formats the audio is delivereduncompressed in pairs of channels. Referring backto the SPDIF signal, although it is output on onephono plug the PCM (Pulse Code Modulation) bitstream contains two channels, left and right.

Because the system is free of patents it is the pre-ferred delivery system for many providers as they donot have to pay any royalties to use it. On the rearof a domestic player there is only one phono plugwhereas on a professional tape machine there willbe at least three. Rather than use a simple phonoor RCA socket the professional machines have whatis known as BNC sockets which are more robustand have a locking device to stop accidental discon-nection.

Each socket outputs a pair of channels and areconfigured L + R, C + SW, & Ls + Rs. Further chan-nels may be used for extra stage speakers, extrasurround channels, or audio description and hear-ing impaired. With high end professional machines the BNC sock-



ets may be replaced by XLR sockets offering a bal-anced line output. This signal must be input to asystem capable of accepting a balanced AES/EBUsignal and cannot be unbalanced as in analogueaudio. If this was attempted then unwanted dropouts could occur during a presentation.

If the audio processor can only accept unbalancedsignals then a signal matching transformer must beused. Such transformers are bi-directional and canalso be used to covert an unbalanced SPDIF signalinto a balanced AES signal. The transformer has anunbalanced BNC connector at one end and a bal-anced XLR at the other. Three such transformersare required for a full 5.1 system.

Decoding PCM Audio Using a digital media adaptor, a two channel PCMsignal may be decoded as two discrete channels, asa six channel Dolby Pro Logic signal, or as threepairs of discrete channels.

Connecting to ComputersWhen connecting a computer to a projector it isalways best to connect the computer to mainspower, and to make sure that things like screensavers and power saving settings have been dis-abled beforehand. However, if you find that you getan earthing hum on the sound from a computer,then this can quite often be resolved by not havingthe power plugged into the computer, although thisis obviously not ideal.

PCs: Connect a PC using a VGA cable, or on newerlaptops a HDMI cable. If it is a laptop then it maybenecessary to change the display settings so that theimage appears on both the laptop monitor alongwith the projector. Often there is a function key(F5/F6), although it can also be set from the desk-top. If an image does not appear then try rebootingthe laptop with the cables connected. If this doesnot resolve the issue then, try reducing the resolu-tion of the laptop to 1024.

Apple Macs:1. Connect the video cable (VGA or HDMI) from theMac to the projector. You will most likely need aMac adaptor cable. There are at least five differentMac adaptor cables, which will vary depending onyour computer’s video inputs. 2. Once the Mac and projector are connected, clickon the Apple Menu in the top left corner of yourscreen.3. Select System Preferences from the drop-downmenu.4. Select the Displays icon

5. When the Displays window appears, click theDetect Displays button

Getting the Aspect Ratio RightFirstly, never believe what has been written on thelabel of the tape or disc, or on any countdownclock.Check the image on the screen, and where possiblelook at it on a trusted monitor.

Balanced and Unbalanced SoundThere is a difference between audio connectorsused on professional and domestic equipment.Professional equipment uses balanced auido whichcan travel long distances without gathering noiseand interference. It uses three pins - often XLR con-nectors. Domestic equipment uses unbalanced con-nectors with two pins, often Phono or BNC.Balanced audio usually has an impedance of 110ohms, whereas unbalanced has an impedance of75 ohms. With analogue audio a simple adaptprcan be used, and although levels will be changed, itstill works. With digital audio such changes must bedone using impedance adaptors. Mismatching can

Troubleshooting and Useful Tools and Tricks Alternative Content is full of issues, but there areoften ways to help reduce the chances of thingsgoing wrong.• Try to make sure that you have a selection of

different adapters; that way no matter what equipment you are provided with, you can connect it in the box.

• Know your equipment - know what works and what does not work, learn the shortcuts and the alternatives. This means that if something happens and it does not work one way, it is possible to get it work in another.

• Have test material. Have material that you know what it is meant to look at and sound like. This will be very helpful with diagnosing issues.

• If something doesn’t work, make sure that cables are all plugged in correctly. It is also always worth replacing a cable if there is any reason to believe that is the issue.

• If it is a temporary setup, work through each piece of equipment in turn to make sure it is working, and then add in each additional item until the problem is solved. For example if a Blu-ray Player is connected via an HDMI splitter and a projector and plasma TV are meant to be getting the same image at the same time, but are not, then remove the HDMI splitter and see if that solves the issue. If it does, either get a replacement HDMI splitter or find an alternative solution.



cause droputs in the sound.For digital audio, the AES/EBU distribution standardprovides a balanced (professional) version of SPIDF.This normally uses an XLR connector, but a 25-pinD-type connector is also used for multi-channeluncompresssed balanced audio.

Track OrderThe SMPTE order for audio tracks is: Left, Right,Centre, LFE, L-Surround, R-Surround. When pluggingis multi channel AES/EBU into a cinema it is in thatorder.

The order of the audio tracks on the source is occa-sionally different. If for example a tape comes inthat has a different track layout, it will be necessaryto correct this either by changing the track outputorder on the deck, via the software of the D-A or byre-patching the analogue audio if a patch bay isavailable.

Glossary of Connectors .........On the following pages you will see that thereare nearly as many connectors and cables fordigital cinema as there are bits of data in afilm! We have provided a visual glossary ofsome of the most common ones, and whatsort of equipment they can be found on. Insome instances we have also set out the pre-ferred connector to use if more than one islikely to be used. Images used in this section come from WikimediaCommons and remain public domain.

AND FOR THE VERY LATEST INFORMA-TION ABOUT ALL ASPECTS OF DIGITAL

CINEMA, READ

Further ReadingThis device, will help to reduce ground loop prob-lems: http://tinyurl.com/3kquw9r, although thereare other devices available.

Further ReadingAlternative Content is a rather complex area, andrequires an entire manual of its own to covereverything that you would need to know.

Arqiva Satellite &Media have produced adocument called ‘GoingLive!’ which aims to bean objective, non-pro-motional, easy-to-read,informative and non-technical overview ofdigital projection of liveevent content in cinemas. It looks at the market opportunity, the currentstate of digital cinema set-ups, and helps projec-tionists ask prospective digital cinema suppliersthe right questions to ensure they get the best set-up for their specific requirement.You can download the PDF version of this fromhttp://www.arqiva.com/broadcast/pdf/Digital-Cinema/DC-Going-Live.pdf

The UK Digital Television Group has published auseful technical manual ‘Broadcasting Live Eventsto Cinema’ which can be obtained fromhttp://www.dtg.org.uk/publications/books/html

The leading specialist publication for cinema industry professionals

- in print and online

With more editorial content than any otherindustry title, Cinema Technology magazineuniquely provides a dedicated coverage of

technological trends and developments in worldand European cinema exhibition. Read and referenced by industry decision makers, it is

sent to cinemas worldwide.www.cinematechnologymagazine.comJim.Slater@ SlaterElectronics.com

Official media partner to



VGA

This is the highest quali-ty analogue video signalcomprising of full resolu-tion Red Green and Bluevideo signals. VGA actu-ally stands for VideoGraphic Adaptor but isnow the term used todescribe the 15pin D-Type connector com-monly used on a com-puter or laptop. It is alsosometimes broken out toit's components RGBHV(Red, Green, Blue,Horizontal & Verticalsync) on BNC connec-tors. The maximum reso-lution depends entirelyon the video graphicsadaptor.

DVI

There are actually fivedifferent types of DVIconnector. As a resultone DVI cable will notalways plug into anotherDVI connector.•DVI-D (digital only sin-gle or dual link)•DVI-I (Integrated digitaland analogue single ordual link)•DVI-A (analogue only)The dual link optionallows high resolutionand should be usedwherever possible. Theanalogue signal is a VGAsignal which can beused as an alternative,it's useful for going overlong distances. It's nor-mally used on monitorsand other displaydevices where audio isnot used.

HDMI

This is the most com-mon domestic digitalvideo connection. Thevideo signal is the sameas DVI but it also carriesdoes audio. HDMI hasevolved since it's intro-duction and currentlysupports many extrasincluding 3D, audioreturn, Ethernet and 4kvideo resolution. A simple adaptor canconvert from HDMI to DVbut the audio will belost. The HDMI signalfrom a Blu-ray player willhave HDCP and will onlywork in HDCP compliantequipment.

SCART

The SCART or Euro-con-nector supports 3 differ-ent analogue video sig-nals, RGB, S-Video andcomposite - all limited tostandard definition.Scalers don't have Scartas an input, butadapters can be usedfor s-video or compositesignals. It also has ana-logue stereo audio.Beware, as Scarts canwork loose and fall out.

COMPOSITE

This is the lowest qualityanalogue video signalavailable. It is standarddefinition (PAL or NTSC)

and is nearly alwaysavailable. Usually a yel-low phono connector butsometimes BNC.

COMPONENT

This is the next highestquality analogue connec-tion comprising of fullresolution luminance (Y)and half resolutioncolours (Cr & Cb). It sup-ports resolutions up1080p but is usually lim-ited to 1080i on blu-rayplayers. Connect-orscommonly used areeither phono or BNC.

S-VIDEO

This is a standard defini-tion (PAL or NTSC) ana-logue video signal thatcomprises a separateluminance and chromi-nance signal. Keepingthese signals separategives you a cleanerimage compared withcomposite.

SDI/HDSDI

The first professionaldigital video signal stan-dardised by the SMPTE.SDI stands for SerialDigital Interface and itonly does standard defi-nition video (480i &576i) which won't workwith a digital cinema

projector. HDSDI sup-ports resolutions up to2048x1080 eitherInterlace, Progressive orPsf and it uses variousframe rates. It uses com-ponent colour space forthe signal and has 16channels of PCM audioavailable. Using dual linkHDSDI the signal canalso support full rangeRGB colour space.Beware, the colourspace of the signal doesnot always reflect thecolour space of the con-tent. The connector is aBNC and with good qual-ity cable the signal cantravel a long distance.

TOSLINK

A TOSLINK provides adigital audio signal. It'san alternative connec-tion to the Coaxial cable.The Coaxial looks like aphono cable but mustbe 75Ω. For more detailson TOSLINK and Coaxialconnectors see previoussection on ‘Audio forAlternative Content’

BNC

BNC connectors are theprofessional connectorsused to connect bothunbalaced audio andvideo signals on profes-sional equipment. Theyprovide good quality con-nections and are by farthe best connectors touse where possible.



Compared with film projectors there is less gener-al maintenance required on a digital projector aslike a computer most of it is electronic. Andbecause the projector is digital it also means thatthe projector is full of sensors and logs whichmeans that it is possible to self diagnose issues orto know when maintenance needs to be carriedout. With Remote Monitoring much of this mainte-nance can be done from off site.

For the most part the only real maintenance thatneeds to be done is related to cleaning or changingfilters, and this can be done at the same time asthe lamp is changed.

It is important to take the usual safety precau-tions and to to remember a few things that you know already:• Never look directly into the projector lens or at

the lamp - can cause permanent eye damage.• To protect yourself from ultraviolet radiation keep

all projector housings intact during operation.• Keep hands, clothes and all combustible materi

al away from the concentrated light beam.• Position all cables where they cannot contact hot

surfaces or be pulled or tripped over.• Check that power supply and pedestal voltages

are within the specified voltage range, and don’t use the projector if there are problems.

• Always disconnect from the mains before opening any enclosure, checking that ALL supplies are disconnected via the relevant wall, ceiling or floor breakers.

Electrical checks and maintenance• After every 500 hours of operation, or every 60

days, whichever comes first, check the contact surfaces of the projector for cleanliness and ensure that the electrical and lamp connections are tight.

• Note that the lamp housing door should not be opened without wearing the correct protective clothing - even when you are not changing the lamp and just checking that the connections are in good condition, this kit should be worn.

• Ensure the projector is fully disconnected from any power supply before commencing maintenance.

• The anode and cathode connector connect to both the power supply and the Xenon lamp. Check the connectors to the power supply..

• It is important to clean all electrical contact surfaces to prevent the development of high contact resistance from overheated connectors.

Servers• Air vents should be kept clear of dust and filters

checked regularly.• Error messages should not be ignored!Projectors• Lamp replacement similar to 35mm, but short

arc digital specific lamps perform better.• DCI specification illumination may require more

regular lamp changes.• Coolant level should be checked regularly.• Air filters should be replaced or cleaned

regularly.• Error messages should not be ignored!

MINI-VGA

The MINI VGA is foundon the older MAC lap-tops. Adapters can bebought which convertthe Mini VGA into VGA,HDMI or DVI.

MINI-DVI

The MINI DVI is found onthe newer MAC laptops

such as MacBook Proand MacBook Air.Adapters can be boughtwhich convert the MiniDVI into VGA, HDMI orDVI. It is always worthhaving some of theseavailable. Check beforebuying a MAC DVI adap-tor that it is dual-link.

RCA CONNECTORS

Probably the most com-mon set of connectorsfound on any AV piece ofdomestic equipment,from cameras to DVDplayers. This specific setof cables, provide left,(red), right (white) soundand composite video(yellow).

XLR

XLR cables can be usedin a number of differentways for audio. In theorythey are used for bal-anced audio and micro-phones. However, it isalso possible using theright adaptors to sendunbalanced stereo ana-logue audio down anXLR cable.

CAT5

While a CAT5 cable isn’tactually either an audioor video cable or con-nector it is still worthknowing about.

The CAT5 cable con-nects networks together,usually from a computeror server to a router, orthe digital projector tothe server.

However, it is also possi-ble to send virtually anytype of signal down anetwork cable.

As a result when con-nected to a Cat5 exten-der with the correct boxit is possible to sendaudio or video data overa network rather thanhaving to run separatetie lines.

Topic 5: Maintenance



How to change a lampThe safety techniques that served you well for film projec-tors should also be applied when you are dealing with digi-tal projectors. One of the advantages that digital projectorsbring is that you can easily check the age of the existinglamp to help you to decide whether a replacement is need-ed. There will be a feature for this under an appropriatemenu in the projector. [1]

If the lamp needs to be replaced ensure that you have areplacement lamp of the correct wattage available - neverinstall a lamp intended for a different model or projector. Since the high pressure inside the lamp increases withtemperature, it is vital to allow the lamp to cool prior tohandling. Failure to do this could cause the lamp to explode, causinginjury and damage. The lamp must be turned off at leastten minutes before turning the projector off, providing suffi-cient time for the internal lamp cooling fans to properlycool the lamp.

• The lamp is generally controlled from the touch screen menu.[2]

• At the breaker panel on the projector, set the 3-phase MAIN AC circuit breaker to OFF. [3]

• After running the fans for at least 10 minutes for cooling, turn off the remaining INTERNAL and PROJECTOR circuit breakers located on the breaker panel of the projector.

• Then unplug the projector from the AC supply - never attempt to conduct maintenance on a live projector.

• Wearing your protective clothing and face shield, as always whenever the door to a lamp housing is open or when handling lamps, unlock the lamp housing door and open it. If desired you may release the latch mechanism to remove the door entirely. Turn the knob to open the inner lamp cooling compartment and reveal the cathode end of the lamp. [4] [5]

• Loosen the set screws from the negative/cathode and the positive/anode lamp connectors. Only apply minimal torque and do not stress the quartz tube. Carefully slip the positive anode connector off the front of the lamp.

• Handling it by the cathode end only, unscrew the lamp from the rear connector and carefully remove it from the projector.

• Immediately replace the used lamp inside the protective lamp cover (saved from the previous installation) and

1

2

3

4

5

We are grateful to Christie for their excellent photo-graphs, but do note that these are only illustrating theprinciples of lamp changing, and that different projectorswill differ in the ways that their lamps are changed.

In spite of the differences between different makes ofprojector, the generic description below should be a use-ful guide - but don’t attempt the task on your own projec-tor without having the full manufacturer’s details by yourside.



then seal it in a heavy carton on the floor where it cannot fallor be bumped. Handle the box with extreme caution – thelamp is hazardous even when packaged. Dispose of the lampin accordance with safety regulations for your area.

• With the lamp removed, visually inspect the reflector fordust and clean if necessary. Brush most of the dust off with acamel-hair brush and/or blow dust away with compressed air.If some dust remains, just leave as is – air circulating at thelamp is unfiltered, so some dust is inevitable. Avoid unneces-sary cleaning. [6]

• Take the new lamp, remove the tape, knurled nut and lock-ing star washer (if present) that secures the lamp within itsprotective cover. Handling at the ends only, extract the lampfrom the cover. Set aside the cover for re-use in next lamp dis-posal or for warranty return of an expired lamp. [7]

• Insert the threaded cathode (-) end of the lamp into the negative lamp connector nut located in the rear of the lampcompartment and screw in fully – hand-tighten only. [8] [9]

• When inserting the new lamp handle by the cathode and anode end shafts only, never the glass. Do not over-tighten. Do not stress the glass.

• Rest the anode (+) end of the lamp on the lamp cradle andslip the positive lamp connector over the bulb end. [10]

Note that the lamp cradle is an adjustable stand, designed forplacement within the lamp housing to accommodate differentsizes of lamp. It is unlikely that the lamp cradle will requireadjustment unless the projectors is being moved to support adifferent screen / screen size.

• Hand-tighten set screws in both negative and positive lampconnectors, ensuring proper electrical content. Proper electrical contact prevents resistance in lamp connectors.

• Make sure that the anode (+) lead between lamp and igniteris well away from any projector metal such as the reflector fire-wall. Leads too close to metal parts will cause arcing duringthe lamp starting pulse. This is a safety hazard and also thelamp may not ignite.

• Close the lamp-housing door, as the projector will not oper-ate unless the louvred door is locked shut.

• Reattach the projector pedestal to the mains and at the projector’s breaker panel, turn all breakers to ON.

If your new lamp is larger or smaller than the old lamp, you willneed to record the new lamp type (2.0,3.0,4.5 or 6.0kW) inthe Touch Panel Controller’s menu before igniting the newlamp. This setting establishes the proper range of power avail-able for the newly installed lamp, ensuring it is neitherunder-powered or over-driven.

Turn the lamp on by pressing and holding the lamp buttonon the Touch Panel Controller’s (TPC) Main Menu.Continuing to use the TPC to adjust the lamp position withinthe projector. This is to ensure maximum performance, with

6

7

8

9

10



the lamp well-centred with the reflector and distanced cor-rectly from the rest of the illumination system. [11]

Now record the lamp’s serial number. From the AdvancedLamp menu, select “New Lamp” and in the Lamp Historysubmenu, enter the serial number in the text box. Save torecord the serial number and to reset the lamp timer. Thetimer will now begin to log time for the new lamp. [12]

And Finally....Remember - Whenever the lamp module ischanged, replace the air filter. This is vital for the continu-ing reliable operation of the projector.

How to change the air filters(The diagrams from Christie show the procedure with a typi-cal digital cinema projector.)

• Disconnect the projector from the AC supply.

• Open the filter door by loosening the screws with anappropriate screwdriver, then lift off the door.

• Slide the old filter out and discard it.

• Insert the new filter, fol-lowing the labelling for cor-rect inside/outside orienta-tion.

• Slide fully into its slot.Use only the correct filters.

• With the filter in place,insert the tabs of the filter door into their slots, closethe door, and secure withthe original screws.

11

12

And we repeat - we can-not stress too highly thatthese are purely genericinstructions to illustratethe process of lampchanging and filter changing.

They are intended as auseful guide - but pleasedon’t attempt the task onyour own projector with-out having the full manu-facturer’s details by yourside.



This section of the handbook is for looking upthose common problems which may occur whenshowing a digital film and ways in which to solvethem. For Alternative Content related troubleshoot-ing please refer to that section of this handbook.Common problemsLamp doesn’t strike.• Press ‘lamp’ button. • Allow up to I minute between strike attempts. • After three unsuccessful attempts, call for

technical help.Colours are wrong.• Reselect the proper macro button for the movie. • Use test pattern button to select colour bars

test pattern. • Check that Red, Green & Blue can be seen

properly.• Reselect the macro for the movie. • Restart projector and server after allowing for

one minute lamp cooling period.Indicator lamps show errors.• Check what malfunctions the indicators are

showing, • Check control panel for error messages. • Call for technical help.No image on screen.• Check lamp is on and dowser open. • Check lens cap not on. • Check that correct macro is selected. • Check that server is playing.• Try to show a test pattern.• Check all connections between server and

projector.• Restart projector and server after allowing

for one minute lamp cooling period.Expired or missing keys are also a common prob-lem. If the key has expired, call your film bookersand request they order a replacement. If your picture looks green or pink, then you mightbe in the wrong preset. Sometimes wallboxes get switched off at the mains.If this happens, your projector will refuse to strikethe lamp as it will see this as an open fire alarm(auxiliary) interlock. Always start and end your script with black headerand footer. Just like 35mm, the DCP needs to beplaying material to trigger pulses and automationevents. Colour Bars or flashing colour may be fixed by res-electing the macro.

Digital Cinema is changing at an increasing rate, sothis section aims to point the projectionist in the rightdirection for finding out more information and keep-ing up to date. It is also allows for topics discussed tobe expanded upon. Links are provided to the mainmanufacturers’ websites where the latest informationcan be found. Arqiva:http://www.arqiva.com/broadcast/digital-cinema/Arts Alliance Media:http://www.artsalliancemedia.com/ Balanced and Unbalanced Sound: www.ians-net.co.uk/articles/balanced_lines.phpBARCO: http://www.barco.comBKSTS: http://www.bksts.comBKSTS Cinema Technology Committee:http://www.bkstsctc.comCinema Technology Magazine:http://www.cinematechnologymagazine.comChristie: http://www.christiedigital.com/ DCinema Today: http://www.dcinematoday.com DeLuxe: http://www.deluxedigital.co.uk/assets/pdf/Digital_Cinema_Troubleshooting_UK.pdf Digital Cinema Package Creation Toolshttp://en.wikipedia.org/wiki/Digital_Cinema_Package#DCP_creation_tools.Digital Cinema Initiatives: http://en.wikipedia.org/wiki/Digital_Cinema_InitiativesDigital Cinema Naming Convention:http://digitalcinemanamingconvention.com/Dolby: www.dolby.co.uk/professional/products/cinema/Doremi Labs: www.doremilabs.com/manuals.htmlDLP: http://www.dlp.comEuropean Digital Cinema Forum (EDCF):http://www.edfc.netGDC: http://www.gdc-tech.comHow Stuff Works: http://www.howstuffworks.com/search.php?terms=digital+cinemaJPEG: http://www.jpeg.org/apps/cinema.htmlMad Cornish Projectionist: http://www.madcornishprojectionist.co.ukMasterImage 3D: http://www.masterimage3d.com/Motion Picture Solutions:http://www.motionpicturesolutions.com/NEC: www.nec.com/global/solutions/digitalcinema/OPEN DCP: http://code.google.com/p/opendcp/Progressive and Interlaced: www.animemusicvideos.org/guides/avtech/video2.htmRealD: http://reald.com/content/cinema.aspxSony: www.sony.co.uk/biz/product/dcinemaprojTechnicolor: http://www.technicolor.com/Wikipedia: http://en.wikipedia.org/wiki/Digital_cinemaXpand: http://www.xpand.me/XDC: http://www.xdcinema.com/

Important: Digital FaultsEach company will have its own process for faultfinding and escalation. It is important that youfind your own company’s policy, along with therelevant contact details.

Topic 6: Troubleshooting Topic 7: Further Reading



Digital Projectionist CertificationProjectionist Notes – Requirements forCertification

INTRODUCTION

For some years the BKSTS Cinema TechnologyCommittee, in conjunction with the CinemaExhibitors Association (CEA), has certified the com-petence of individual film projectionists, to the gen-eral satisfaction of the major cinema exhibitors andindependent cinema operators. As well as demon-strating their competence in operational and servic-ing matters relating to projection equipment, thosewho achieve certification must show a knowledge ofhealth and safety issues as they affect both the pro-jection equipment and the cinema audience, togeth-er with the essential requirements of putting on agood show at the cinema, providing the best possi-ble pictures and sound for the cinema audience.

The Certification process is not a training scheme,but a set of minimum projection standards. TheBKSTS CTC Projectionist’s Handbook contains all thebasic information required for projectionists to teachthemselves to satisfy the requirements for certifica-tion, in conjunction with the regular on-the-job train-ing that the cinema companies provide.Projectionists aiming for certification are assessed,generally in their own cinema environment, by anassessment team of highly-experienced projection-ists, who, as volunteers, will also offer a degree ofadvice and mentoring to those undertaking theassessment tests for certification. On completion ofthe assessment, which generally takes a couple ofhours, the projectionist satisfying the requirementsis issued with a certificate provided by the BKSTSand the CEA. Some major exhibitors arrange tohave a senior projectionist at each site approved tocarry out the assessment, and once the trainee hascompleted all the criteria to the satisfaction of theassessor, the documentation will be sent to the com-pany Head Office

THE DIGITAL PROJECTIONIST

The rapid changeover from film to digital projectionhas led to the need for the Certification scheme tobe extended to projectionists dealing with the newerdigital technologies, and the BKSTS CinemaTechnology Committee has looked at projectionduties and considers that the minimum criteria for aDigital Projectionist to be classified as competentare set out below, with explanatory notes. Note that

these are the minimum requirements, and do notpreclude any cinema company adding elements thatthey feel are necessary. With numerous differenttypes of digital projector installed in cinemas, theremay be the need for extra requirements in somecases, but these will be discussed with the cinemachains concerned before assessments take place.

THE CRITERIA FOR CERTIFICATION AS A COMPETENT DIGITAL PROJECTIONISTEach person undertaking the assessment for certifi-cation must satisfy the assessor in regard to ALL thefollowing criteria:

HEALTH AND SAFETY1. Has read, signed and understands relevantHealth and Safety policy and ensures that it is fullyimplemented.2. Participates in prescribed Health and Safety train-ing activities. There should be evidence on site tosupport this.3. Understands Regulations/Rules relating to emer-gency lighting and evacuation. The applicant shouldbe able to explain the principles of maintainedPrimary and maintained Secondary lighting, and theimportance of means of evacuation.4. Can carry out evacuation, and take necessaryaction if equipment fails. The applicant will beassessed on participation in evacuation drills,demonstrating how an evacuation should beachieved, and also on their knowledge on the equip-ment installation. The assessment questions will bebased on the Health and Safety policy of each com-pany.

DIGITAL PROJECTION

Identify and describe as necessary the individualcomponents of the digital projection equipment,including:1. The main power breaker supplying electricity tothe projection equipment (single or three phase asappropriate).2. The Mains Power switch on the projector.The Lens and lens cap, with 3D attachments asappropriate.3. The control (touch) panel where fitted.4. The keypad controls for lamp power, dowser con-trol, macros, lens adjustments and test patterns.5. The various indicator lights and their functions.The connectors on the input panels, including BNCconnectors, DVI-D connectors, etc.and inputs foralternative content, as appropriate.6. The digital cinema ‘scaler’ equipment for convert-ing inputs such as Blu-ray, satellite receivers, usinginputs such as twin-link DVI , HDMI, etc.7. Server equipment.

Topic 8: Certification Scheme



8. Sound processing equipment.

Demonstrate basic operational skills and competencies.

Powering up:1. Check extraction system is switched on and work-ing.2. Switch on mains power.3. Allow projector to complete its boot-up sequence.4. Check that projector’s indicator lamps show nor

mal operation or indicate errors. If errors indicated, know what action to take or how to call for further advice.

5. Press appropriate button to strike the lamp.6. Press dowser control button to open dowser.

Getting ready for the show:1. Select appropriate macro for ‘Scope or Flat as

required for the coming show – demonstrate the ability to select both.

2. Demonstrate how to select appropriate settings on server and projector for 2D and 3D.

3. Play movie content from server and check image is properly aligned with screen masking.

4. Demonstrate the use of the lens alignment buttons to correct the image on screen.

5. Check image focus and adjust as necessary.6. Turn off the lamp and close the dowser until

nearer the time of the show.

Playing a movie:Although during normal operations the movie willautomatically start from the server, if this doesn’thappen the projectionist should be able to demon-strate a manual operation by switching on the lamp,selecting the appropriate macro, opening the dows-er, and starting the movie from the server.

Powering down:Switch off lamp and allow lamp to cool down for tenminutes prior to switching off the projector’s mainsswitch.

Simple maintenanceClean the lens with a proper lens cloth as required.Clean porthole glass as required.Know how to access the projector maintenanceguide for details of any routine maintenance such aschecking coolant levels.

Lamp ChangingThe projectionist must be able to demonstrate howto remove and replace a Xenon lamp, taking accountof all necessary health and safety requirements.

3D The projectionist should understand the basics

of how their 3D system works. Make sure correctmacros and settings on the server and projector areselected for 3D content, and that any additional fil-ters or units are enabled, depending on the 3D sys-tem in use. After a 3D presentation, demonstratehow to revert back to standard 2D settings.

Alternative ContentThe projectionist should be able to run and presentalternative content as described in this handbook,from both computer and video sources, such as DVDor Blu-ray. The projectionist should be able to pres-ent the content in the correct aspect ratio andsound format.

TroubleshootingDemonstrate the ability to cope with the followingpotential problems:

Lamp doesn’t strike.Press ‘lamp’ button. Allow up to one minute betweenstrike attempts. After three unsuccessful attempts,call for technical help.

Colours are wrong.Reselect the proper macro button for the movie. Usetest pattern button to select colour bars test pattern. Check that Red, Green and Blue can be seen properly. Reselect the macro for the movie. Restart projector and server after allowing for oneminute lamp cooling period.

Indicator lamps show errors.Check what malfunctions the indicators are showing.Check control panel for error messages. Call for technical help.

No image on screen.Check lamp is on and dowser open. Check lens cap not on. Check that correct macro is selected. Check that server is playing.Try to show a test pattern.

Check all connections between server and projector.Restart projector and server after allowing for oneminute lamp cooling period.

Image is dim.Press ‘service’ button on projector. Select lamp dimming adjustment and move until‘current light output’ indicates 14 foot-lamberts. Call for technical help if this doesn’t work.


21DC: (formally DC28): A technology committeeof the SMPTE (Society of Motion Picture andTelevision Engineers) to provide an industryforum for digital cinema. It consists of workinggroups to provide standards and recommenda-tions to ensure interoperability, compatibility,and performance.

2K: is the term used to describe images thathave approximately 2K vertical lines. In digitalcinema, a 2K image with a 2.39:1 (“scope”)aspect ratio is delivered having 2048 x 858 pix-els. A 2K image with a 1.85:1 aspect ratio isdelivered having 1998 x 1080 pixels.

4K: is the term used to describe images thathave approximately 4K horizontal pixels. In digitalcinema, a 4K image with a 2.39:1 (“scope”)aspect ratio is delivered having 4096 x 1716 pix-els. A 4K image with a 1.85:1 aspect ratio isdelivered having 3996 x 2160 pixels.

ALTERNATIVE CONTENT: refers to any contentwhich is screened using a Digital Projector in acinema, which has not originated from either filmor a DCP. Specifically this would be content froma Blu-Ray or DVD Player, via computer or gamesconsole or satellite such as an opera.

ASPECT RATIO: The aspect ratio of an image isthe ratio of its width to its height. It is usuallyexpressed as a ratio to unity by dividing the widthby the height. So a standard TV image may beshown as 4:3 or 1.33:1. Many different aspectratios have been used in the past. Film, in partic-ular, has utilised a variety of aspect ratios to cre-ate new experiences. Digital cinema systems aremost likely to need to accommodate the follow-ing ratios:• 1.33:1 Academy Silent (full-gate) ratio for film,

traditional TV images (4:3).• 1.38:1 Academy Sound ratio for film - exact

ratio is 1.375:1.• 1.66:1 Early European Widescreen ratio for film.• 1.75:1 UK Widescreen standard film ratio

during 1960s and 70s.• 1.78:1 Widescreen TV and High Definition

standard (16:9).• 1.85:1 US Widescreen film standard - now

effectively World Widescreen standard.• 2.39:1 Panavision Anamorphic film format – often called “Scope” - changed from 2.35 in 1995

AUTOMATION: There are many forms anddegrees of automation in cinemas. Simpleautomation systems may just need a connectionto the lighting system to bring up the lights whenthe show finishes. Full automation may have theentire performance scheduled and controlled bya computer. Digital cinema systems can be fullyintegrated into existing automation schemesthrough good system design. Digital cinemaservers generally have their own event-drivenautomation which may connect directly to anexisting film-based system. During the designprocess, it is important to identify any incompati-bilities between systems and specify any addi-tional equipment required to achieve translationof the signals.

BALANCED SOUND: refers to sound cableswhere there is a separate connection for theground, which helps to reduce the chances ofground loop hum.

BITRATE: The amount of data (bits) per secondthat passes through a digital system. Normallyexpressed in kilobits per second (kb/s), Megabitsper second (Mb/s) or Gigabits per second (Gb/s).

CMS: abbr. for CIRCUIT MANAGEMENT SYSTEM: -While a Theatre Management System, is soft-ware which looks after one cinema site, a CircuitManagement System is the next level up andlooks after an entire circuit of cinemas. CODEC: A Codec is a device or program capableof encoding and/or decoding a digital datastream or sign.

COMPOSITION: A single element used for aDCinema presentation i.e., a feature, trailer oradvertisement. A composition contains every-thing required for a successful screening of thecontent including image, audio, subtitles, and aComposition Playlist.

COLOUR SPACE: is a concept whereby coloursare specified numerically, usually by three num-bers corresponding to the three different kinds ofcolour sensitive cells in the human visual sys-tem.

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BKSTS Digital Projectionists’ Handbook: Glossary

Digital Cinema Glossary


COMPRESSION: The uncompressed digital datafor a typical full-length feature film consumesTerabytes (millions of megabytes) of storagespace. Data of this size are difficult to transportand store so methods of reducing the size havebeen developed. Compression processes reducethe size of the data without noticeably impairingthe appearance or sound of the content. Theprocesses frequently exploit our understandingof human sensory systems by reducing or remov-ing portions that convey little or no value. Thequality requirements of digital cinema necessi-tate very high performance compression. Whilesome existing methods have been extended tocope with the requirements, the best resultshave been demonstrated by schemes that weredesigned to specifically meet the needs of high-quality, large screen projection.

CONTENT: In digital cinema relates to any audioor video material which is either stored on aserver or played through the projector.

CPL: abbv. for COMPOSITION PLAY LIST: a textfile that contains all the information on how thefiles for a specific Composition should be playedback, including how the audio and subtitles aresynchonized with the picture. The CPL could con-tain one reel or many reels, and there are differ-ent CPLs for each soundtrack or version thatwould play back. The CPL is created by theDigital Cinema Packaging Facility.

D-CINEMA: See digital cinema.

DATA PORT: This is the name which is given tothe connection of the hard drives contain theDCPs sent out to cinemas. The connection allowsfor a much faster transfer of information to theserver. More info on Data Ports can be found at:http://www.cru-dataport.com/products/Digital-Cinema.php

DCDM: abbv. for DIGITAL CINEMA DISTRIBUTION MASTER:Is the output of the Digital Cinema postproduc-tion process, - a master set of files which havenot yet been compressed, encrypted or pack-aged, then becoming a DCP. The image DCDM iscolour corrected for Digital Cinema projectionand will be used to create the compressed filesfor Digital Cinema distribution.

DCI: abbv. for DIGITAL CINEMA INITIATIVES:

Was born in 2002 formed by representativesfrom the major studios at the time: MGM,Paramount, Sony Pictures, Fox, Universal, Disneyand Warner Bros. The DCI’s primary purpose is toestablish and document voluntary specificationsfor an open architecture for digital cinema thatensures a uniform and high level of technicalperformance, reliability and quality control.

DCP: abbv. for DIGITAL CINEMA PACKAGE:Corresponds to the DCDM when it has been com-pressed, encrypted and packaged for distribu-tion. A generic term for a container/collection ofDigital Cinema files (compressed image files,subtitles files, uncompressed audio files) and itsassociated packing list. More specific types ofDCPs include the Feature DCP (contains all thefiles for a feature), a trailer DCP (contains all thefiles for a trailer) and a Distribution DCP.

DELIVERY: Method of transferring digital cinemafile packages to cinema installations. This can bevia physical delivery of digital media such asremovable hard drives, or by cable or satellite.File encryption is used to secure the files duringtransfer.

DIGITAL CINEMA: Digital cinema is the electronicprojection of content with a level of quality thatmeets or exceeds that of 35mm film. The con-tent used for digital cinema may have originatedon film or have been electronically captured.

DIGITAL CINEMA PLAYBACK SYSTEM: Oftenreferred to as a server, the playback system per-forms several functions, including storage andreplay of the digital movie data, security decryp-tion, and image decoding.

DIGITAL INTERMEDIATE: The Digital Intermediaterefers to the digital files that results from thescanning of the film’s source material.

DIGITAL CINEMA PROJECTOR: A very high per-formance device designed specifically for cine-matic display of movie content. Projects the digi-tal image from the digital cinema playback sys-tem on to the screen. Digital cinema projectorstoday use the DLP Cinema™ technology fromTexas Instruments or the Sony SXRD system.Christie, Barco and NEC have licences to use theTI DLP technology, and Barco licences its tech-nology to Kinoton and Cinemeccanica.

DIGITAL ROLL OUT OR DEPLOYMENT: The switchover to digital screens.

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DSM: abbv. for DIGITAL SOURCE MASTER:The Digital Source Master is created in post-pro-duction and can be used to convert into a DCDM,a home video master, and/or a master forarchival purposes.

DISTRIBUTION: In the world of digital cinema,distribution refers to the way in which content ina digital form is delivered to the point at which itis to be present to an audience.

EDCF: EUROPEAN DIGITAL CINEMA FORUM: A group with representatives from public bodiesand the cinema industry formed with the inten-tion of encouraging co-operation in European dig-ital and electronic cinema projects and to provideinput into worldwide standards.

ENCRYPTION: The general name for techniquesused to protect digital data so that it can beaccessed only by legitimate users. Encrypteddata is meaningless to anyone who obtains ituntil is decrypted using a mathematical ‘key’. Indigital cinema, encryption is used at severalpoints along the electronic chain to prevent thevaluable digital movie data from being stolen bypirates. In parts of the system where encryptioncannot be used (for example, during imagedecoding), physical security is required so thatvaluable data cannot be accessed.

ENCODING: The process of transforming fromone format/type to another (such as compres-sion). Normally, after something is encoded, thepiece needs to be decoded for play back.

ESSENCE: Picture, sound or subtitle informationcontained in a file; contrast with Metadata.

ETHERNET: A standard way of interconnectingpieces of digital equipment on a network, used indigital cinema systems to interconnect equip-ment within a screen or between multiplescreens.

FILE NAMING CONVENTIONS: In order to identifythe correct file on a hard drive a file naming con-vention has been created which helps todescribe all the elements of the film.

FILE PACKAGE: See Digital Cinema Package

FORMAT CONVERSION: Content is delivered inmany, increasingly, different forms – in terms ofthe both the physical medium and the way inwhich the images and sound are encoded. Theform in which it is available may not always beideal for the intended use and a conversion stepmay be necessary. Typical conversions include:• Physical media. • Frame rate. • Resolution up or down conversion.• Aspect ratio. • Colour space. • Image encoding. • Sound encoding.

FPS: abbv. for - FRAMES PER SECOND:The rate at which images are displayed (typically24 fps for Cinema).

GUIDE TO PLAYING A DIGITAL SHOW:• Step One: Load Content.• Step Two: Build the Show. Drag and drop onthe computer screen to assemble Ads, Trailers,Movies, and Cues. Load movie. Load licence.• Step Three: Play the Show. Press Play to startshow manually or schedule an automated showusing the digital cinema system or existingautomation.

HARD DRIVE: Also known as a hard disk, thisdevice is used to store large quantities of digitaldata. Used in RAID arrays in digital cinema play-back systems to store the digital movie file pack-ages ready for playback. Removable hard drivescan also be used to transfer movies to cinemas.

HD-SDI: abbv. for HIGH DEFINITION SERIAL DIGITAL INTERFACE:A standard interconnection for carrying high reso-lution image data. Often used for connecting digi-tal cinema playback systems to digital cinemaprojectors.

IMAGE DECODER: The portion of the digital cine-ma playback system that decodes the imagecompression. Some designs use dedicated sili-con chips to do this, but these can only decodeone image format and are therefore difficult toupgrade. Other designs use re-programmable ormodular hardware.

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INTEGRATED MEDIA BLOCK: Is where the ‘MediaBlock’ is actually integrated within the Projector.

INTERLACED SCANNING: Displays half the frame(every other line) before displaying, or refreshing,the other half. Traditional standard definition tel-evision and CRT monitors all used interlacedscanning in order to produce moving images.

INTEROPERABILITY: Compatibility between differ-ent manufacturers’ digital cinema systems. Avital industry requirement is the ability to replaya common digital movie file on playback systemsfrom multiple manufacturers.

IP ADDRESS: Is the abbv. for Internet ProtcolAddress and is required in order for any comput-er network to work. Each device on the networkhas its own IP Address which allows the devicesto talk to each other.

JPEG 2000: is a DCI compliant wavelet-basedimage compression and decoder technology standard, developed for a broadrange of applications.JPEG: abbv. for JOINT PHOTOGRAPHIC EXPERTSGROUP: is the group responsible for the develop-ing standards for JPEG compression schemes forimages only.

KDM: abbv. for KEY DELIVERY MESSAGE:is a small file which is sent to a cinema to‘unlock’ a DCP. It is delivered in a file formatknown as Extensible Markup Language (XML). A KDM stores important information which willallow a Digital Cinema Server to unencrypt theDCP and send the data to the Digital Projector.

LAN: abbv. for LOCAL AREA NETWORKsee network

LINK ENCRYPTION: A local form of encryptionused to secure the valuable image data as itpasses from the playback system to the projec-tor.

LUMINANCE: Is used to characterize emission orreflection from flat, diffuse surfaces (a screen).

The luminance indicates how much luminouspower will be detected by an eye looking at thesurface from a particular angle of view.Luminance is thus an indicator of how bright thesurface will appear. The luminance of a 35mmfilm projector is usually measured by running itwith no film in the gate and measuring the lightreflected from the screen with a spot light-meter.The commonly accepted standard for this “open-gate” reading is 16 foot-lamberts (55 candelasper square metre). The actual luminance of a projected image wouldnever be this high as even clear film wouldreduce it by about 25%.Digital cinema projectors have no equivalent toan open-gate reading so luminance measure-ments are made during projection of a full-frame,peak-white test pattern. As this corresponds tothe mechanical projection of clear film, the lumi-nance standard for digital cinema is 75% of theopen-gate figure (12 foot-lamberts) for compara-ble brightness with actual images.

MACROS: A saved set of commands which havebeen preconfigured in order to make the digitalprojector have the right settings to do somethingelse - for example different aspect ratios.

MASKING: Digital cinema projectors use electron-ic masking so that the image can be adjusted toexactly fit the screen dimensions. Recent modelsallow independent adjustment of the position,angle and curvature of each edge of the project-ed image. This is an electronic version of a filmprojector aperture plate.

Correct adjustment of the electronic masking candramatically improve the appearance of theimage and improve the audience’s experience ofthe content. Adjustment of the projector maskingmust take into account all the aspect ratios thatmay be required as well as the physical proper-ties of the screen, its fixed or variable maskingand compatibility with film projection.

MASTERING: The process of creating the masterdigital cinema file package containing all themovie images, audio, subtitles, and any addition-al information, Mastering is performed on behalfof the Movie distributor at a suitable facility.Encryption is also applied at this stage. The filepackage is then ready for duplication on toremovable hard disks or transfer via satellite orcable to cinemas.

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MEDIA BLOCK: The official DCI term for a playoutserver which is responsible for the part of the sys-tem which decodes the audio and picture data.

MPEG: abbv. for MOVING PICTURES EXPERTSGROUP: The group responsible for the developingstandards for MPEG compression schemes fordigital audio and video (MPEG-1, MPEG-2, MPEG-4, MP3).

MPEG-2: An image compression technology witha wide range of applications. High quality MPEG-2 encoding is currently used for digital cinemareleases.

MXF: abbv. for MATERIAL EXCHANGE FORMAT:A file format that holds essence combined withmetadata that describes the essence. MXF isintended to be a standardised way to move videoand audio files between systems regardless ofoperating system and/or hardware.

NOC: abbv. for NETWORK OPERATION CENTRE: -A central location which is used to monitor oneor more locations/cinemas. From these centresthe operators are able to see whether a Serveror Projector is working as it should be, accesslogs and other information.

NETWORK: A computer network provides thefacility to join several computer devices togetherin order to share data and information. The mostwidely known computer network is the Internet,which joins millions of computers together allover the world. A LAN (Local Area Network) is alocal network which exists in the same building,while a WAN (Wide Area Network) is a networkwhich exists over a wider geographic space.

PACKING LIST: Like a packing list for deliveries,the Packing List contains the identification ofeach individual file included in the DCP. This listalso includes information about each file thatallows the receiver to verify that they have everyfile in its entirety.

PCF: abbv. for PROJECTOR CONFIGURATION FILE:-A file that is put into the TI D-cinema projectorsin order to configure the projector to a standard-ised set-up. The PCF stores various projector set-tings, including aspect ratio and colour space.

Individual projector configuration files may infuture be distributed with specific movie releases.

PROGRESSIVE SCANNING: is where the entireimage is produced in one go, like a frame of filmbefore displaying the next one on a projector,monitor or television.

RAID: REDUNDANT ARRAY of INDEPENDENTDISKS - used in some digital cinema systems toenable very high quality movie data to be playedback reliably by storing the data across multiplehard drives. Hard drives contain moving partsand have a finite lifetime, so RAIDs can be usedto ensure that a hard drive can fail completely,yet show playback will still continue unaffected.

REDUNDANT POWER SUPPLIES: Dual power sup-plies used on some digital cinema equipment toensure that the show remains on screen, even ifone power supply fails.

REMOTE MANAGEMENT: is the ability for adevice on a network to be accessed, controlledand managed from either another location. Seealso Network Operations Centre.

RESILIENCY: The ability of equipment to with-stand a non-ideal operational environment. Thisis important for digital cinema equipment, asprojection booths often have non-ideal electrical,ventilation, or operational characteristics.

RESOLUTION: is the number of distinct pixels ineach dimension that can be displayed by adevice such as a projector, television, monitor orcamera. It is usually quoted as width x height.

SCALER: can convert incompatible video signalsinto the ideal input signal for DCinema projec-tors, and in addition enhance the projectorscapabilities of connecting alternative contentsources.

SERVER: is really just a very powerful computerwhich often has a very specific purpose (email,Internet, video etc) and is at the heart of a net-work. In Digital Cinema the server’s purpose tostore on hard drives the content to be used in aparticular auditorium.

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SHOW PLAYLIST: Is a playlist, similar to thosecreated in applications such as iTunes orWindows Media Player. A Show Playlist will con-tain all the titles, adverts, trailers, cues, macro changes, and features infor-mation required for a show.

SMPTE: abbv. for SOCIETY of MOTION PICTUREand TELEVISION ENGINEERS - is an internationalprofessional association based in the USA ofengineers working in the motion picture and tele-vision industries. An internationally- recognised standards develop-ing organisation, the SMPTE has over 400 stan-dards, Recommended Practices and EngineeringGuidelines.

SMS: abbv. for SCREEN MANAGEMENT SYSTEM:The user interface that a cinema manager woulduse to control a single screen’s system includingstart, stop, the creation or selection of a ShowPlaylist and editing of a Show Playlist. Each audi-torium has one SMS.

SHOW: A term referring to a complete digital cin-ema presentation. This could include movie trail-ers, cinema advertising, and feature films. Ashow is assembled on the digital cinema play-back system by selecting the desired pieces ofcontent, called clips, and setting the runningorder.

SXRD: abbv. for Silicon Crystal ReflectiveDisplay:The technology which is used by Sony in theirDigital Projectors. It is a different technical solu-tion to that from Texas Instruments DLP technol-ogy.

TMS: abbv. for THEATRE MANAGEMENT SYSTEM:The TMS controls and monitors the individualscreen servers in a cinema and is designed tobring together and amange all the individualservers in an easy to use interface.

UNBALANCED SOUND: is where the audio cableonly has one wire for sending the signal and theground, thus creating the potential for a ‘groundloop’ or hum.

UPS: UNINTERRUPTIBLE POWER SUPPLY:A power conditioning device that is required fordigital cinema playback systems with insufficienton-board electrical protection.

USB MEMORY STICK: is a portable storagedevice that uses solid state memory (no movingparts, unlike a hard drive). Often shortened inname to USB stick or Memory Stick they come ina variety of different shapes and sizes. However,they all operate in the same way and need to beplugged into a USB port on a device.

In digital cinema, USB Memory Sticks are usedfor transferring KDMs from email applications toservers or for storing short pieces of contentsuch as adverts and trailers which can then beingested into the digital servers.

USER INTERFACE: The way in which a user cancontrol a device. Digital cinema playback sys-tems sometimes offer different controls opti-mised for different uses – for example, illuminat-ed keys for use by the projectionist during ashow, plus a screen and mouse for setup ofshows.

VPF: abbv. for VIRTUAL PRINT FEE:A fee paid for each digital screening by distribu-tors and exhibitors to a third party who has paidfor the digital cinema equipment.

WAN: abbv. for WIDE AREA NETWORK - see network.

XML: abbv. for EXTENSIBLE MARKUP LANGUAGEA format which is designed for the sharing ortransfer of data from one computer system toanother. See KDM.

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