Glossary of Terms and Definitions Digital Cinema

European Digital Cinema Forum (EDCF). This group, with representation from the cinema industry as well as governmental and other public organizations, makes recommendations, encourages cooperation, and provides input on standards, to help bring standardization and cohesion to digital cinema efforts and installations in Europe.

G

Graphical User Interface (GUI). A screen, which is part of a server / content player and used as a control device for the unit. Most servers / players have small screens built into their body, but since the units are most often rack-mounted at different heights, and the screens are small, the control are often inconvenient to use. The GUI screen on the Kodak Content Player JMN3000 is detachable, large, and can be moved to a convenient location for player programming and control.

H

Hard Drive. The device used to store, distribute, and load most feature content - and trailers - today. Hard drives are available in a range of file size storage capacities. Smaller-capacity ones are used for trailers and/or some advertising content that will play on digital cinema projectors; larger-capacity drives are used for feature movies. In general, the longer the movie, the bigger the file size, the higher the capacity of the drive.

High Definition (HD). A range of resolutions, including images that are 1280 pixels wide by 720 pixels high is a 'high definition' (HD - 720P) image of about one million total pixels and upwards. This is called '1K', corresponding to the number of pixels per width. With the right optics and associated electronics in the projector, an HD image can look appreciably sharper than SD to the human eye. HD images are in a 16 by 9 format, so they are often 'letterboxed' on TV, but look more suited to a cinema.

I

Intrusion Detection System (IDS) In digital cinema, this protects the internal network against unwanted intrusion or malicious Internet attacks. The integrated inspection firewall enables secure Internet access by internal users while defending the internal network against denial-of-service attacks and other forms of unauthorized access.

Ingestion. The loading of the content and keys, usually via hard drive or satellite, into the central server and/or content player of the cinema where they are scheduled to play.

Interoperability. The capability for all components from all manufacturers to connect to one another and to work together seamlessly. The industry is requiring this so no customer is beholden to any one manufacturer for a complete system. While most industry suppliers support this as a goal, it is still a ways from reality today.

Internet Protocol Security. IPSec. This is a framework of open standards that provides data confidentiality, data integrity, and data authentication between participating peers and provides security services at the IP layer.

IOS software. Inter-network Operating System software. This is Cisco's network system software that tightly integrates a broad range of Internet and enterprise network hardware.

J

JPEG 2000. A compression technology generally adopted by the major studios and other content distributors for use with content intended for digital cinema applications. 4K JPEG compressed content can be played back seamlessly and reliably on either 4K or 2K projectors. This enables studios to make one master - at 4K, if they choose - and know that it will play on today's 2K projectors as well as future 4K units.

K

Key Distribution Message. (KDM) The information - or 'message' -- incorporating the keys necessary to decrypt (decode) a feature movie or other encrypted content. The KDM is sent by the Network Operations Center to the theatre where the feature is booked to play.

Key. A code that 'unlocks' - decrypts - the scrambled content (image and audio) and enables the presentation to play normally through the content player and projector. Keys are supplied by the studio and valid only on those content players where the movie has been booked to play -- and only for a specified period of time. In general, exhibitors receive the keys to play a specific movie on any digital content player within a specific multiplex, so they can move their digital 'prints' with the same flexibility as their film prints.

Kodak Digital Cinema Solution. This is the company's full market offering and includes a high-quality system, evolving hardware, software, all service and support. The Kodak solution also includes all project management, installation, training, and on-going customer communications, as well as remote monitoring, diagnostics, and repair. Kodak can also handle preparation and distribution of all content, from pre-show through feature presentations.

Kodak Theatre Management System. A highly-capable server, loaded with unique software from Kodak and connected to wide area and local area (in cinema) networks to automatically receive, load, handle, distribute, schedule, store, and play a full digital presentation - feature, trailers, pre-show, other components -- as well as the keys associated with encrypted content. This sophisticated 'control center' for the cinema is driven by the ticketing /POS system and automates multiple functions in a way that enables new efficiencies and higher standards of presentation quality in the cinema.

L

LAN - Local Area Network This consists of network devices such as switches, hubs, and a router interconnected on the same physical segment(s) and connecting all end node devices. In digital cinema installations, the LAN is often includes within the multi-plex and used to share data among a central point and the various auditoriums.

Link Encryption. A local form of re-scrambling the image, briefly, as it passes from content player to projector in the cinema. Software in the digital projector then decrypts the image for playback.

M

Migration. The moving of content and keys from the central server to the content player in the auditorium where it is scheduled to play, via an in-cinema network.

MPEG, also called MPEG-2. This is the first, and most basic technique of compression used for digital cinema content. While it is still used for some documentaries, local language movies, smaller and/or low-budget features, and other alternative content, most studio features use JPEG-2000 compression.

N

National Association of Theatre Owners (NATO). A Washington-based organization that represents most cinema chains in the United States and Canada. NATO makes recommendations, proposes regulations, and supports practices that enable cinema owners to manage and grow their businesses efficiently, effectively, and profitably - and to adopt new technologies, such as digital cinema, in ways that make sense for the long-term.

Network. This is the connectivity that exists inside and outside the cinema for the purposes of moving data - including content, keys, and other information. A Wide Area Network (WAN) moves the data into the cinema from a network operations center, a Local Area Network (LAN) moves it within the theatre to the various auditoriums, and a smaller network connects the content player to the audio and automation systems as well as to the pre-show and feature projector(s) for scheduling and playing a seamless presentation. Reporting information also moves across all networks.

Network Address Translation. (NAT) Enables a local area network to use one set of Internet protocol addresses for internal traffic and a second set of addresses for external traffic.

Network Attached Storage (NAS). This is a large array of hard drives that are attached to the network forming a repository for digital information. Generally located centrally in a cinema complex, this stores multiple movies - as many as forty or more - with trailers and other content that is being shown throughout the multiplex. The use of a NAS enables the content held in each Content Player and or Central server to be minimal so those devices can work efficiently.

Network Operations Center (NOC). The facility that generates the keys (KDMs) for each feature and sends them to the cinema where the feature is scheduled to be played. In some cases, the NOC also monitors performance of the components of the digital cinema system, remotely identifying, diagnosing, and correcting potential problems, as well as generating affidavits of content receipt and play.

Network Time Protocol. (NTP) A set of rules to assure accurate synchronization of time on computer clocks in a network.

P

Packaging. This involves wrapping together all of the digital files - for image, sound, multiple language tracks, and/or other special instructions - in a way that they can be consistently and reliably recognized by the server / content player. The most common packaging approach today is called MXF - Multi-Exchange Format - and is done on a reel by reel basis for feature-length content.

Point-to-Point Protocol. (PPP) A standard method for transporting multi-protocol bytes of data in a packet (datagram) over a point-to-point link with the use of User Datagram Protocol for packet authentication.

Pre-Show. The mix of advertising and entertainment that precedes the digital feature presentation. Although they trace their roots back to rudimentary slide shows, today's digital pre-shows are often professionally produced and highly entertaining components of the cinema experience, targeted to specific audiences, and an important part of the exhibitor's revenue stream.

Pre-Show Projector. A digital device, handling either standard definition (SD) or high definition (HD) images, with a light output of 2500- to about 4000-lumens. Generally these projectors can only accept and play unencrypted content. They may or may not be networked.

Presentation. Also called 'Show', this is the complete on-screen experience provided to cinema audiences. It may include pre-show, snipes, trailers, features and/or other alternative content.

RAID. Redundant array of independent disks. These are multiple hard drives that enable a feature or other content to be stored across them, such that if one fails, the feature can still play fully and correctly. This is part of the redundancy built into most content players and servers.

Redundant Power Supply. An additional source of power. Most servers and/or content players contain two sources of power, so if one fails, the presentation remains on screen.

Resolution. Measured by multiplying the number of horizontal pixels by the number of vertical pixels. But, generally the resolution of an image is referred to by number of horizontal pixels alone. For example, an image with 2000 horizontal pixels is called 2K.

S

Secure Hash Algorithm (SHA)- - This is a data-scrambling procedure that produces a 160-bit digest based upon the input. The algorithm produces passwords that are irreversible or prohibitively expensive to reverse.

Secure Socket Layer (SSL) - This creates a secure connection between a client and a server, over which any amount of data can be sent securely. It uses public/private key certificates.

Secure Shell (SSH) This is a set of rules for logging into another computer over a network. This protocol secures the sessions using standard cryptographic mechanisms. It is a replacement for rlogin, rsh, rcp, and rdist.

Server. Sometimes called a Content Player when it is used in an auditorium, this device is generally located centrally in each cinema complex and contains the software to manage the flow of content - pre-show, feature, or full presentation - throughout the complex. It receives, loads, migrates, stages, and schedules content and associated keys on Content Players in each auditorium.

Sharpness. The human perception of detail. Image sharpness is dependent on many factors including resolution, the quality of a projector's optical and electronic systems, and even the surrounding conditions. Different digital projection technologies make it difficult to compare image quality based on pixel count alone. But, in general, assuming high quality optics, electronics and projection technology, more pixels mean images with 'less jagged' edges and finer detail without 'breakup'. Most people see this as increased sharpness.

Show Playlist (SPL). This is mix of content -- multiple ads, for example, or trailers, or even the various reels of a digital feature - in a particular order with the instructions needed to play correctly through a Content Player. A pre-show playlist, for example, might be targeted to a specific movie or rating and would have the associated business rules to enable it to be attached to the correct movie(s).

Single Chip vs. Multiple Chip Projectors. SD and lower quality HD projectors often use only one chip (or imager) to reproduce all three colors - red, green and blue -- so each color has either reduced resolution or is 'flashed' onto the screen for one-third the time. The highest quality HD -- and all cinema-grade -- projectors use three chips, one for each color, so each color has the full resolution and is projected on the screen simultaneously.

Society of Motion Picture and Television Engineers (SMPTE). This international organization writes standards for the motion picture and television industries. Their technology committee - called DC28 - is the working group charged with taking DCI's recommendations and turning them into written standards to ensure interoperability, consistency, and reliability for the development and deployment of digital cinema systems.

Staging. Loading and holding the content and keys in the content player of the auditorium where it is scheduled to play.

Standard Definition (SD). In the US, SD is 720 pixels wide by 480 high - or 345,000 pixels; in Europe, it is about 720 pixels wide by 576 pixels high - or 415,000 total pixels. Standard definition images, because they were developed for television, are in a 4 by 3 format -- roughly the shape of a traditional TV screen

Store and Forward. The process of receiving and storing content to be played at a later date. This process is often used with alternative content, such as musical or sporting events that will be scheduled for a specific future time.

T

Targeting. The relatively new capability that advertisers and other pre-show participants have to direct their cinema ads and other content at certain cinema audiences, based on feature, rating, studio, genre, or other criteria. Today's cinema systems can make those associations either manually or automatically.

Trusted Device List. (TDL). The list of approved cinema grade systems - with the serial number of the server / content player and the name / location of the theatre -- in the marketplace capable of playing back encrypted feature presentations at DCI standards. The TDL is used for booking of features and distribution of keys.

Ticketing / POS system. The cinema's central system used to generate tickets and/or handle point of sale activities. Because this system originates and maintains the show schedule for the entire complex, it can be used to drive the movement, staging, and playing of content on the various screens.

User Interface. The way the operator connects to and/or controls the device or system. This may include simple switches and buttons, but in digital cinema, it most often includes a mouse, keypad, monitor, and/or touch screen, to enable easier and more complete setup, monitoring, and control.

V

Virtual Local Area Network. (VLAN) A group of devices on different physical local area network (LAN) segments that can communicate with each other as if they were all on the same physical LAN segment.

Virtual Print Fee. (VPF). This is one approach that distributors and exhibitors may negotiate to help pay off digital installations. It involves the distributor paying a specific fee for showing a digital print on the exhibitor's system, rather than having to produce and send a film print to the site. As the industry evolves, all content providers - including those screening special events - with be expected to pay a negotiated fee to the exhibitor for system usage.

Virtual Private Network. (VPN) A method by which remote sites use the Internet to securely transport private data.

W

Watermarking. The process of embedding an invisible code in the image and audio content of a feature movie. Each watermark is specific to a projector and showtime. If a movie and its soundtrack have been copied by a camcorder, special equipment can make the watermarks visible and the source of the illegal recording can be traced. Examples of forensic watermarking systems include Philips' CineFence and NexGuard developed by Thomson.