Tips for the Digital Projectionist

By: Don Lane, Manager, Digital Cinema Services, Kodak Digital Cinema

If you work the booth, you've probably worked with film so long that you have your own routine. You know what to expect, what you have to do, and when everything needs to be done. With digital, there are some differences. Here are some tips for those who work the digital booth.

Housekeeping

Delete feature content from your server after it's been off screen for a couple of weeks. Just because the keys to play it are no longer valid, the content doesn't automatically delete itself - you must do that. It may be taking up space you need for the next digital feature.
In general, the longer the feature, the bigger the digital file on the hard drive - and the more space you need on your server / content player to store it. One of the main causes of loading problems is -- not enough disk space available in the content player / server. Make sure you have enough space - with a bit of a buffer - before you try to load the feature and associated trailers.
While you may be in the habit or turning off sound processors and other equipment when you leave for the night, digital cinema servers are better left ON. If they're networked, your system can be monitored 24/7 but even in the standby mode, they will be always 'ready to go' without you needing to re-boot.
When you do shut down your content players / servers, don't just turn them off. Go through the unit's 'shutdown function'-- just as you do with a computer -- so you're safely and completely closing files - and saving the data you want to keep.
Servers are intended to be mounted either in a rack or (if you are using Barco projectors) can be placed in the bottom console of the projector. Wherever you locate the server, make sure the controls are accessible. With the Kodak Content Player JMN3000, you can mount the touch screen in a convenient place.
Although the top of a server is a large flat surface, don't use it as a table or a desk. Nothing should be stored on it. Keep all magnets away from it.
Although you should delete old content, there are some elements - your institutionals, snipes, PSAs - you will want to keep. Make sure you know what you have in your system, its aspect ratio, wrapping (active pixel or full container), compression format, and color space - so you can assemble your show playlists easily, correctly, and consistently.

Set Up

Servers / content players just send the content to the projector - and expect it to play consistently and correctly - with the right color space, the right format, the right compression scheme, and so forth. While all of those can be set manually, it's better and much easier to have your technician install the Projector Configuration Files on your unit (only for projectors with TI chips). Then you push one button to set the right combination of factors to enable the whole presentation to play they way the filmmaker intends and audiences expect.

Loading and Run-Through

When new digital content comes in, load it as soon as possible. The keys most likely won't be valid, so you can't play it, but at least you can make sure it loads correctly. And, if you do have problems, you have enough time to get help.
When the keys arrive, load them as soon as possible, again to be sure they load correctly. If you have problems, ask for replacement keys immediately.
As soon as the keys are valid, play all content - trailers, snipes, and features - all the way through. You need to do this well in advance of any show scheduled, so if you do have a problem, you can get help before there is an audience in the house.
Although a mechanical device - such as a film projector - can 'limp along', digital equipment - such as a server /content player -- either works correctly, or it doesn't work at all. That's why a full run-through, as soon as possible, is so important. If everything works during the run-through, chances are very good it will work flawlessly during the actual performance.

Keys

Make sure the content distributor knows how you want the keys sent - via email, DVD, thumb-drive - and any receiving limitations you have in your facility. Some cinema firewalls won't let you open an XML file, some won't let you unzip a file. Today, about half the keys are sent via e-mail and about half on thumb-drives.

Playlist Assembly

Because digital trailers are simply small files most often included with the movie and stored in the server / content player, the preparation of the 'trailer ring' is relatively easy, quick and straightforward. But, one major reason for server 'failure' is because trailers have been assembled incorrectly.
For many features, Studios provide several versions of a trailer. When they provide a new one, they want the old one 'off screen'. As a new version of the trailer arrives, delete the old version from every server/player where it's stored.
Just as you wouldn't mix 'flat' and 'scope' film trailers, everything you intend to play on the screen must have the same 'aspect ratio' - and the same ratio (of course) as the movie. Mixing ratios may cause a server/player malfunction.
Everything in a show playlist also all must be either 'active pixel' or 'full container'. If the server/player sees inconsistency, it will most likely stop.
For consistent quality, everything - trailers, snipes, movie -- should be in the same 'color space' to look its best on screen, although mixing color spaces usually won't cause a malfunction.
Most content from major Studios is compressed in JPEG, although, on an international basis, there is still plenty of MPEG content available. If you are receiving a mix of content, know that your content players can handle both (Kodak Content Player JMN3000 switches automatically) and that the color space for each compression format will be correctly handled when a mix is played.
Because digital trailers are often distributed worldwide, most Studios are now encoding them without 'greenbands' (used in the US) and features are encoded without the blue card (used in the US and Canada). At the cinema, those greenbands or blue cards need to be programmed into the show playlist, as appropriate.
Sometimes, the audio files will have both a stereo and a 5.1 version included. Make sure you select and play the correct version.

Communications

The distributor of digital content should provide a number for you to call with any questions, problems, or concerns. Make sure you have that 'contact number' - and post it - visibly and conveniently - in the booth, near the server. Kodak's number is 1-800-678-8435.
Try to establish a personal connection, via telephone and/or email, with the content distributor. Call when your content has been loaded and plays correctly. Call when you've had your first show. The best time to establish a personal contact is long before you really need it - so if you ever do have a problem, you will be talking to someone who is familiar with you and your situation.
Make sure your content distributor knows if your content player can also handle MPEG as well as JPEG. And, if you have several servers of different brands, make sure the content provider knows which you are using, in which house.

General

When the manufacturer's installation team finishes its work and your system is fully installed, make sure they don't leave before your staff (or at least your key people) completely understand the system's operation. Don't wait until you have a potential problem.
Trailers are not encrypted, so they can be opened and played as soon as they arrive.
If you have a power failure during a performance, you should simply need to push PLAY on your server, once the power comes back on. The program should pick up - and resume playing - at the point where it went down.
Cinema projectors have a number of inputs. If you are going to play other programming - alterative content, for example - from other sources, you should not unplug your feature presentation content player / server. Just use another projector input.
Most servers / content players today are used in stand-alone mode, unconnected to a network, so if your server is down, the distributor won't know. In a network configuration, server / content players (and other major components of the system) can be remotely monitored 24/7 and failures and/or potential problems can be identified and dealt with.

Because today's digital cinema systems often look like 'just another computer', there is a tendency to take the whole system for granted, to ignore basic instructions, to delay 'run-throughs' until the last minute. Please don't. This really is a new application for digital technology and you need to gain experience with it to become comfortable.

As you develop tips and techniques of your own, please share them with us at ei-cinema@kodak.com. We'll post them to help others.