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TOPIC: what's my motivation?

what's my motivation? 05 Mar 2012 17:33 #37989

  • Mike
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I am wrestling with the motivation behind the DCI. I get they'd want to be certain that the piracy would not be an issue and so would make security absolute primacy but why require such an expensive projector. Now one could say: so that you have a certain level of projection. However; for one thing they have never cared about that level of projection to date as near as I can tell. I've been in booths in Europe, SA, carib, North America and they vary from pristine to discombobulated! Some booths and the proj equip look like they came out of a hospital surgery room and others look like they are applying to be in The Matrix. Bottom line for me is why require so much projection and sound upgrades if they're not paying for it? I can see making requirements beyond the security etc. if you are on the hook for a VPF but if there is no vpf where do they get off demanding the projector, sound, etc. etc. On the other hand if the true motivation is to kill off thousands of screens and theatres: then I guess it works really well.
Michael Hurley
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Re: what's my motivation? 06 Mar 2012 01:15 #37998

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Motivation behind DCI is simple, they are looking for a standard to streaming into the home. They also realize that clearing out a couple of thousand independent theatres and five thousand chain screens may give them a short term cost savings. The independent does not equate. Remember they are already starting to push 8K....4K for the home
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Re: what's my motivation? 10 Mar 2012 04:39 #38020

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Mike,

The first priority of DCI was digital security against piracy, eliminating the potential to make pristine digital copies from the server or the projector. The second priority was standardization, so that you wouldn't need to equip your theatre with a different projector or lens for each studio, and so the studios didn't need to produce a different file format for each server or projector. Mission accomplished, more or less.

The studios also wanted to protect their investments by setting up presentation standards in order to qualify for VFP reimbursements. Why would they want to help finance a transition with sub-standard devices that do not give them any additional protection against movie theft? They will not allow a film to be presented on a server or projector which they do not deem as secure against piracy, including the ability to encode the presentation with forensic visual and audio watermarking, allowing them to trace a pirated movie to a specific theatre on a specific date.

Non-DCI compliant projectors and servers would quickly become an easy target for pirates to obtain pristine digital video and audio of first-run studio movies as soon as they were released in theatres. If you were running a multi-billion dollar international studio, you would want to protect your investment also. This technology is expensive, but it protects the studios as well as the theatres.

Rick
"As long as there are sunsets and stars at night, there will always be drive-in movies."
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Re: what's my motivation? 12 Mar 2012 18:41 #38035

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ONE) there is no protection from piracy right now and from what I hear digital is recorded on a cam corder better and easier than with 35mm

TWO) screw the VPF and focus on a secure server and let smaller theatres buy a 5,000.00 projector that works as good or better than the current 40K 2k projectors

THREE) what business is it of Disney or Sony what my sound or screen or projector is if they don't give me a VPF.

I buy, I get, the secure server need and I support it. The rest is entirely a mechanism to put smaller theatres out of business.
Michael Hurley
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Re: what's my motivation? 13 Mar 2012 00:04 #38037

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If you were running a multi-billion dollar international studio, you would want to protect your investment also. This technology is expensive, but it protects the studios as well as the theatres.

Rick,

Did you receive your check from NATO for this month yet?
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Re: what's my motivation? 14 Mar 2012 13:42 #38044

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Mike wrote:
ONE) there is no protection from piracy right now and from what I hear digital is recorded on a cam corder better and easier than with 35mm

Mike, read my post again. The protection against piracy I'm referring to is the ability to hack into the server output or the projector to obtain a direct digital copy. I'm not referring to cam recording. With your $5,000 projector, there is nothing to prevent the movie from being stolen in a high resolution digital format. One of the major downsides of watching movies pirated from a cam recording, is that the image quality is typically awful. Removing the security measures from the projector would be like handing a pristine HD quality movie to the pirates on opening day. That may not make a difference to you, but it sure does to the studios.
Mike wrote:
TWO) screw the VPF and focus on a secure server and let smaller theatres buy a 5,000.00 projector that works as good or better than the current 40K 2k projectors

Mike, A secure server is useless if the projector is not equally secure.

Mike wrote:
THREE) what business is it of Disney or Sony what my sound or screen or projector is if they don't give me a VPF.

The studio owns the movie, which in many cases has cost them hundreds of millions to produce and distribute. They have the right to demand minimum presentation standards for theatrical exhibition, if they so choose, just as you have the right to refuse to show any particular movie if you so choose. They can demand 5.1 sound or better to get a print, or even 2K resolution or better. Why would they want to devalue their investment by allowing it to be shown on sub-standard equipment?
Mike wrote:
I buy, I get, the secure server need and I support it. The rest is entirely a mechanism to put smaller theatres out of business.
Mike, To say the studios are intentionally trying to put small theatres out of business is not a fair assessment. At worst, it's collateral damage from a natural business transition. Nobody went into this thing with their primary goal of putting anyone out of business. Digital distribution is in the best long-term financial interest of the studios, that is indisputable. Whether or not it's good for exhibitors depends on your individual situation. Generally speaking, the larger the complex or circuit, the more beneficial digital distribution will be for you. The strong will adapt and survive, while the weak will perish. That's how the world turns, always has been, and always will be. Is it fair? Fairness has nothing to do with it.

Rick
"As long as there are sunsets and stars at night, there will always be drive-in movies."
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