Digital Cinema Glossary - In today's digital cinema world the amount of acronyms used are humongous..a sneak peak in to most of those
General Terms
2K resolution
2K resolution is the generic term for images with a horizontal resolution of about 2000 pixels, and is the most commonly displayed resolution at digital cinemas. This is the native resolution of DCI compliant 2K projectors
4K resolution
4K resolution is the generic term for images with a horizontal resolution of about 4000 pixels. This is the native resolution of DCI compliant 4K projectors.
5.1 surround sound
This is the most common surround sound set-up and creates five areas of sound- left, centre, right, left surround, right surround, plus the low frequency effects (LFE) generated with the subwoofer, which is what the .1 refers to.
7.1 surround sound
7.1 surround sound creates seven areas of sound- left surround, back surround left, right surround, and back surround right, centre, left, and right, plus the low frequency effects (LFE) generated with the subwoofer, which is what the .1 refers to.
Aspect ratio
The aspect ratio is the image's height in relation to its width. Today, most content will be filmed and projected at the cinema in either Flat or Scope, unless it is shown in a proprietary format, like IMAX.
Bookend schedule
Some complexes have a sequence of cues that must be run at the start of the day to "open" the cinema, and at the end of day to "close" the cinema. These could include, for instance, turning the lights on and striking the projector lamps. A bookend schedule is a playlist that can be used to perform the function of the start of day and end of day cues automatically
CC (Closed Caption)
A method of displaying subtitles for a piece of content
Content
Content can be anything played out on a screen. A content item is a specific item of media, Composition Playlist (CPL), or pattern (a black transition on Doremi and Sony devices). In a complex, content is usually stored on a library server, screen server, and/or plugged-in device.
Content sheet
The content sheet contains information about the Digital Cinema Package (DCP) versions for the feature it accompanies. It is usually provided by the mastering facility. It is the definitive list of what is included in the DCP, and how it is intended to be played.
Deadlist
A deadlist is a list of content that is no longer used, usually advertisements.
Digital Cinema 2K Flat
Has a resolution of 1998 x 1080
Digital Cinema 2K Scope
Has a resolution of 2048 x 858
Digital Cinema 4K Flat
Has a resolution of 3996 x 2160
Digital Cinema 4K Scope
Has a resolution of 4096 x 1714
Feature
The main content of the showing, most commonly a feature-length film
Flat 1.85:1
Also known as Widescreen, but not to be confused with widescreen TVs, which run at a 1.77:1 ratio. The ratio means that if we had a screen that was 2 metres tall, it would need to be at least 3.7 metres wide to play Flat content.
Foot-lambert
A unit of luminance used in the USA
FPS (Frames Per Second)
This indicates how many frames will be displayed on screen per second. The most common FPS is 24 FPS.
Full HD 1080i/1080p
A resolution of 1920 x 1080
Gold spot (advertisement)
The ‘gold spot’ in cinema advertising is the most desirable ad position in the preshow. Traditionally the last spot before the feature plays, the gold spot can however vary by territory.
HFR (High Frame Rate)
Any film shot at higher than the industry standard 24 FPS (frames per second). The frame rate indicates how many frames are visible on screen per second.
HI (Hearing Impaired)
HI Screenings (to be accessible to hearing impaired customers) might include subtitles, or audio induction loops.
HOH (Hard of Hearing)
A variation on HI (Hearing Impaired)
Lumens
A unit of measurement for the total visible light coming from a light source.
Luminance
The brightness of an image projected on a screen.
Masking
Masking is a border, usually a black curtain, around the cinema screen that can be adjusted based on the aspect ratio of the content being shown, and provided films shown in 35mm with crisp edges. Either curtains on both sides will turn a Scope screen into Flat, or a curtain will drop from the top of the screen to turn a Flat screen into Scope. This allows the projected image to take up the full size of the screen for an immersive experience.
Missed show / lost show
This refers to a scheduled screening that was not played out. This could be due to hardware/software errors or faults with the content or equipment.
Non-sync music
The music that plays in the theatre before the show starts, commonly using a CD player.
Playback
Playback refers to the playing of a Composition Playlist (CPL). Playback logs are logs of events that occurred during playback. It includes everything that was played from the playlist.
Playlist
A playlist defines an ordered list of items that play in sequence. Playlists can contain different types of items including content (features, and events), cues (such as open or close the dowser), packs (containers for ads and trailers), macro packs (set of cues automation instructions), patterns (such as a three second black transition), titles, and placeholders (container which can be populated with content or cues later). When it has been scheduled for playback, a playlist is referred to as a Show Playlist (SPL).
PLF (Premium Large Format)
Refers to theatres with large screens, sometimes paired with other premium features like reclining seats or enhanced audio. IMAX, or Barco Escape solutions for example.
Preshow
The collection of ads and trailers that is played out prior to the feature.
Resolution
Resolution refers to the number of pixels that make up the image, and is usually denoted by the number of horizontal pixels x the number of vertical pixels.
Scope 2.39:1
Also known as Cinemascope or Anamorphic. The ratio means that if we had a screen that was 2 metres tall, it would need to be at least 4.78 metres wide to play Scope content.
SPL (Show Playlist)
A show playlist is a playlist that has been added to an exhibitor's schedule in their TMS. These can also variously be known as packs, segments, or mini-SPLs, depending on what your TMS provider calls them.
Split feature
A split feature is a feature that is divided into more than one CPL (Composition Playlist).
Surround sound
Surround sound systems work by dividing the auditorium into discrete sound areas that each use their own sound channels. Each channel has its own uniquely mixed audio output, which is why sound at the cinema is so immersive. Dialogue comes right from characters' lips through the speaker centred behind the screen, and the footsteps of the villain gaining on them come from behind the audience, while the subwoofer produces the deep boom of an explosion that resonates within the whole room.
Title
A title is a single point of reference for a feature, such as Rocky IV. In your TMS, you might be able to associate all the CPLs for that feature to the title, for example the 2D version, the 3D version, a foreign-language version, packs for ads and trailers, and titles used by external systems such as POS.
Transfer
Moving content between local storage devices. For example, the TMS transfers features from the Library Management Server (LMS) to screen servers.
Versions
Different versions of a feature, i.e. a 3D version, a Spanish language version or a version with Danish subtitles all require a different CPL to tell the server to play different audio or picture files.
VI (Vision Impaired)
VI screenings (to be accessible for visually impaired customers) might include audio description.
The wider industry
Complex /Theatre
A single cinema in which there may be one or more screens. (Depending on country, the words cinema, site, complex, theater or theatre can be used interchangeably)
Content mastering facilities
Distributors will contract content mastering facilities to master content, create DCPs (Digital Cinema Packages), perform quality checks and assemble all the versions of a feature that they need for different territories. These versions could include everything from different audio or subtitle languages, to 3D, to different regional edits of the film. All these different versions are then grouped by territory, assembled, and encrypted to become DCPs. They also create the corresponding KDM (Key delivery message) that unencrypts the DCP for specific screens at specific cinemas. Software at the cinema can then use the KDM to unlock the DCP and extract all the versions of the feature they need for their screenings. Screening rooms at the mastering facilities are essentially private cinemas, using the same projectors and screen servers as the full-size version, and each DCP is watched by experienced QC engineers who will spot errors like incorrect subtitles, out of sync audio, or incorrect image sizing. They can then rectify these issues before the DCP is sent out to cinemas.
CTP (Compliance Test Plan)
To complement the DCSS, the DCI also produced a Compliance Test Plan (CTP) that provides all the testing procedures a manufacturer needs to prove their equipment complies with the DCSS. Becoming DCI compliant is practically a prerequisite for cinema hardware like projectors and screen servers today, as studios won't send content that will play out on screens without the anti-piracy and quality control features detailed by the DCI.
DCI (Digital Cinema Initiatives)
A joint venture formed in 2002 between the major Hollywood studios that aims to standardise a high level of technical quality across all aspects of digital cinema technology. By conforming to the specifications laid out by DCI, studios, exhibitors, and digital cinema suppliers could ensure compatibility and interoperability between their equipment and content, thus resulting in widely playable content.
DCSS (Digital Cinema System Specification)
The comprehensive document that DCI laid out to ensure compatibility between all digital cinema systems and suppliers. It specifies everything from hardware performance minimums, to presentation environment requirements, to naming conventions, and anti-piracy measures. First published in 2005, the DCSS, which also included standards from SMPTE (Society of Motion Picture and Television Engineers).
EDCF (European Digital Cinema Forum)
Founded in 2000, it is a non-profit organisation that aims to represent European views in the wider film industry, as well as further the understanding of both business and technical aspects of digital cinema. Together with UNIC, they are helping to manage the roll-out of SMPTE DCPs.
Estate / Circuit
All the cinema complexes/theatres in a group. It is usually owned by a single exhibitor.
ISDCF (Intersociety of Digital Cinema Forum)
A forum dedicated to exchanging information between digital cinema providers, distributors, and exhibitors, and meet once a month in Los Angeles to discuss industry trends.
NATO (National Association of Theater Owners)
The exhibition trade organisation for the USA. They represent the interests of over 33,000 screens to the federal government, host annual conventions (including CinemaCon in Las Vegas), and works on everything from technology to marketing.
NOC (Network Operations Centre)
A location with remote network monitoring and/or management abilities. Engineers who work in a NOC can be responsible for all parts of ensuring the network is running, including monitoring temperatures/network usage, configuring hardware, and providing support for hardware and software issues. Digital cinema NOCs can remotely monitor equipment performance and even remotely control screens to prevent and fix issues.
Ratings boards
Regional bodies who determine the feature's recommended age rating. In the UK, the BBFC (British Board of Film Classification) classifies content on a scale from U (Universal) to 18, where the USA has the MPAA (Motion Picture Association of America), and many countries have their own individual scales and criteria. Sometimes, the ratings board will specify changes that are required if a distributor wants to achieve a certain rating. Once the distributor has made any necessary changes, and ratings boards have finalised the ratings, the content mastering facility can add a ratings card to the DCP, and the feature is finally ready to be distributed.
SAC (Screen Advertising Company)
Exhibitors often use a Screen Advertising Company (SAC) to sell and manage its advertising space. Some cinema chains even have their own SAC division, who will work exclusively on selling their advertising inventory. A typical tiered structure to the pricing might be local advertising, national advertising, and the gold spot ad, which plays just before the feature and is most likely to be viewed by audiences.
SMPTE (Society of Motion Picture and Television Engineers)
An international society of film/cinema/audio engineers that produces engineering guidelines, recommended practices, and industry standards across digital cinema, film and television production.
Studio/distributor
The distributor's main role is to book the film into cinemas, arrange for copies to be sent, and market the film to the public. Broadly speaking, if a studio has financed the production of a film, they will likely act as its distributor as well. In the cases of independent films, the producers of the feature will sell the film on to a sales agent, who will then sell it on to a distributor.
UNIC (International Union of Cinemas)
The union was formed to advocate for cinemas in Europe, and strives to represent the more than 33,000 screens therein at the EU. They also co-organise CineEurope, an annual convention in Barcelona held for exhibitors and their suppliers.
VPF (Virtual Print Fee)
The Virtual Print Fee was a means of financing the transition to digital cinema. Digital prints are much cheaper to manufacture and distribute than 35mm film prints, therefore the switch to digital largely benefits distributors. Exhibitors (cinema owners) however are the ones that need to pay for the digital projectors. So the VPF scheme was set up to share the cost. Usually a third party finances the equipment, and the distributor pays a fee (a Virtual Print Fee) every time a digital film is played on the equipment. The exhibitor pays a (smaller) maintenance fee. The payments continue until the equipment is paid off. Now the VPF deployment is over, and over 98% of the world's cinema screens are now digital. As of 2016, there were 155,069 digitally powered cinema screens in the world, a long way from the 2,991 there were just a decade earlier.
Digital cinema technology
Amplifiers
When the sound passes through the audio processor, the volume is still at a low level. Amplifiers boost the volume by increasing the power of the electrical current to the speakers in the auditorium. They typically each have two channels, and can therefore provide the audio to two different area channels in the auditorium. Each channel on the amplifier has a volume control, however standard procedure is to use the audio processor to control the equalisation and volume.
Audio channels
Audio channels can refer to a few different audio components. The area channels that the speakers in the auditorium are split into (left, right, centre, left surround, right surround, etc.). The channels on an amplifier, typically between two and eight, each of which can power a different area channel. The channels on a speaker, which refer to the components of the speaker that split audio into frequencies. These frequencies are: high, high-mid, mid, and low frequency.
Audio monitor
A piece of equipment which allows the projectionist to hear the audio in the theatre from the projection booth.
Audio processor
The audio processor decodes the audio files provided by the screen server, and routes each channel down to the correct amplifiers. It is also usually responsible for equalising the audio, and setting manual audio delays, to help re-sync the audio and image. Depending on what equipment is in use, the image and audio could take different lengths of time to process, so the processor could be set to delay the audio by, for example, 3 frames, to give the image the chance to keep up.
Content switch
The content switch is responsible for the content network, which deals exclusively with transferring content between the LMS and screen servers. The two networks are kept separate to ensure that user commands are not slowed down by large content transfers using all the bandwidth. Maintaining these separate networks is included as part of the DCI system specifications.
CPL (Composition Playlist)
CPLs are packaged into DCPs, and are instruction sets on how to build different versions of the same piece of content. For example, there would be one CPL for a feature with English subtitles, and another for French subtitles. Instead of sending two full versions of the same film with the amended subtitles (which would take up twice the memory space), a DCP will consist of the feature, the two sets of subtitles, and two CPLs; one dictating where to insert the English subtitles, and one with the French.
DCP (Digital Cinema Package)
A DCP consists of all the files that make up a digital film; the picture, sound, subtitles, and related information that will ensure the content is played out correctly. It may contain several different CPLs (Composition Playlist), which equate to different versions of the film- 3D or Spanish subtitled, for example. They are typically sent to cinemas on hard drives, but can also be transmitted via satellite or over the internet, with each component of the DCP encrypted separately.
Device
A piece of equipment on your cinema network that is addressable by an Internet Protocol Address (IP Address). For example, projector, screen server, or POS system. Complex level devices are devices that operate at the level of the complex. For example, POS systems, and Library Management Server (LMS). Screen level devices ) are devices that operate at the level of the screen. For example, screen servers, and projectors.
Digital Naming Convention
To help cinemas identify their content, the format of CPL titles was standardised by studios and the ISDCF (Inter-Society Digital Cinema Forum) into a "Digital Cinema Naming Convention". Its two main purposes are to keep as much information visible on screen as possible, and to specify the order the information is presented in. The resulting standard CPL file name is usually structured like this: Title of DCP_Content type-Content modifiers_Aspect ratio_Language-Subtitle language_Territory-Rating_Audio type_Resolution_ Studio_ Date produced_Production facility_Version
DLP (Digital Light Processing) / DMD (Digital Micromirror Device)
The Digital Micromirror Device (DMD), commonly referred to as the DLP (Digital Light Processing) chip, was invented in the late 1980s by Texas Instruments, and is key to turning light into an image. The technology has been licensed to three of the four DCI compliant projector manufacturers: NEC, Christie, and Barco. The DLP chip consists of millions of microscopic aluminum mirrors, each corresponding to a single pixel, arranged in a rectangle on a semi-conductor. Electrodes are connected to each mirror and toggle them between an on and off position thousands of times per second. When on, the mirror tilts to reflect light through the projector lens towards the screen, and when off, the mirror tilts to reflect the light into a light-sink so that it results in a black pixel. The proportion of time each mirror spends between off and on positions affects the brightness of the corresponding pixel on-screen.
DN Qualifier
The DN Qualifier is a code that refers to the certificate for an individual screen server. Commonly used by content mastering facilities when they are creating KDMs to identify the specific equipment a KDM will be valid for.
Dolby Atmos
Dolby's proprietary immersive sound solution, which introduces the possibility of separate surround channels above the audience, and has the potential to isolate up to 64 different speakers into different channels. It also allows sound engineers to forego channels entirely if they want to, to place sound 'objects' in a 3D space representing the auditorium. Although not widely deployed yet, this technology has been installed in over 3,000 screens as of 2015.
Enterprise TMS
This software is housed at the head-office of a cinema chain and allows them to control a whole circuit of cinemas. They can centralise much of their schedule building, content management, KDM delivery, reporting functions, and more.
FLM – Facility List Message
A list of a cinema's equipment, and their security certificates. This is required for generating KDMs.
FTP (File Transfer Protocol)
FTP is a network protocol used to transfer files between a device and a server. It allows users to sign-in with a secure username and password that can be encrypted.
HD SDI (High definition serial digital interface)
A high definition digital video technology that transmits 1080P video quality over coaxial cable. The cables are used to connect a projector and screen server, when the screen server is not built directly into the projector.
IMB (Integrated Media Blocks)
A type of screen server that is built directly into a projector.
Ingest
Importing items (content, KDMs, packs, POS files) from external sources into a cinema's hardware. For example, ingesting a DCP off of a hard drive, into the LMS (Library Management Server)
KDM (Key Delivery Message)
A KDM is a small file generated by content mastering facilities and then sent to cinemas to unlock the encrypted content on a DCP for playback. Each KDM is unique to a specific version of content and screen server, so that the content on the DCP can only be played out exactly when and where the distributor wants. The KDM decrypts the content so it can be played, and is usually sent as an email attachment.
Laser projector
A laser projector uses laser light sources, instead of the more traditional Xenon lamps, along with mirrors and other optical components to project a moving image.
LMS (Library Management Server)
The LMS is responsible for receiving, storing, and transferring a cinema's content, and houses its TMS (Theatre Management System). Content cannot be played directly from the LMS, so it must transfer everything to the relevant screen servers ahead of time.
Logs / log collection
The TMS logs playback events as they occur, and saves them to live playback logs (live logs). / Usually refers to collecting (or retrieving) logs from a screen server or similar device. For example, the TMS collects logs from screen servers, and IMBs. These logs are created by the device, and are manufacturer-specific.
Management and content networks
The management network is the connection that allows your TMS to send commands to your screen server, and the content network is a separate connection used exclusively to handle the high bandwidth requirements of content transfers. This means that performing content transfers doesn’t slow down your servers’ response time, so you can continue to complete tasks with it. However, it can cause confusion because even if the server is accepting commands through your TMS, if your content network is down, the transfer will fail.
Management switch
The management switch is responsible for the network that carries user instructions to the equipment in the cinema. The connection allows communication both ways between the LMS and the equipment in the projection booth, so the TMS can push instructions down to the devices, but also receive information about their status.
Metadata
Data about other data. For example, the title and duration of a piece of content.
Patch bay
A piece of equipment with connections you can plug microphones into
PKL (Package Key List)
All files in the Composition Playlist (CPL) are hashed and their hash is stored in the PKL in XML format. When a server ingests the content, it uses the PKL to check if data is corrupt or has been tampered with.
POS (Point of Sale)
The Point of Sale is the place the customer pays for their goods or services. In a cinema this could be at the concessions till or a self-service ticket machine.
POS schedule
A POS schedule is a schedule of showings retrieved from a POS system, each showing is referred to as a POS session. Each session retains key attributes of the schedule, such as title and intended time of projection of each session, thus allowing a TMS schedule to be created based on an imported POS schedule.
RAID (Redundant Array of Independent Disks)
RAID is a data storage technology that creates a single storage device out of multiple physical disk drives.
Router
The piece of equipment where the network connection for the management network originates.
Satellite receiver
This piece of equipment allows cinemas to receive content through satellite. Although most cinemas still receive the majority of their content via hard drives, satellite and internet content transfers are gaining popularity, especially for alternative content, and may soon become more common.
Screen server, also known as SMS (Screen Management Server).
Each screen server stores the screen's content ready for playback. The screen server is either kept separate from the projector and connected with HDSDI cables, or a type of screen server called an IMB (Integrated Media Block) can be built directly in the projector and connected with a single network cable. The screen server also connects to the audio processor through 5x AES connections.
Screen switch
A switch is a device that can split one network connection into multiple outputs so that more devices can connect. The switches in projection booths allow all the equipment to connect to the management network using the one connection provided to the projection booth by the management switch.
SMPTE DCP
SMPTE (Society of Motion Picture and Television Engineers) have improved the current DCP, and the resulting SMPTE DCP is currently in the process of being rolled out. It adds support for things like 3D subtitles, support auxiliary data, markers, and extended CPL metadata, which are designed to help exhibitors with operations and serve as a strong foundation for future innovations.
SNMP (Simple Network Management Protocol)
A protocol used in collecting information from devices on IP networks like servers and routers and amending the information to change the device behaviour.
Sony's Silicon X-tal Reflective Display (SXRD)
Sony, developed a competitor to DLP chip technology that is natively 4k. Their SXRD panels take the place of DLP chips in their projectors and are composed of liquid crystal. The projector splits the light and polarises it, then directs the three primary colours onto the three respective panels. The liquid crystal in each panel allows the light to pass onto a reflective silicon backplane behind it, and when the light is reflected back through, a current is run through the liquid crystal that causes individual pixels to twist into an on or off position to either reflect the light towards the screen or away towards a light-sink. The light from all three panels is then recombined with a prism and directed through the lens onto the screen, similarly to DLP projectors.
Stage speakers
These speakers are located directly behind the screen, and provide the majority of audio for dialogue. These can come with two to four frequency channels, depending on the model.
Subwoofer
The subwoofer(s) provides the low frequency effects, and is located directly behind the screen with the stage speakers. Unlike the stage speakers, they are usually installed on the floor, as low frequencies travel better through solid mediums than through air.
Surround speakers
The surround speakers are located around, behind, and sometimes even above, the audience, and are subdivided into areas called channels.
TDL (Trusted Device List)
When a content mastering facility is asked to create a KDM, they will also secure the content so that it will only play on a particular screen server, connected to a particular projector, at one particular cinema. To achieve this level of precision, they use two Trusted Device Lists (TDL): one used first to identify what equipment is in the one screen they are interested in, and another TDL that is included within the KDM that specifies what equipment the screen server is allowed to connect with. The first TDL, used to identify equipment, lists the serial code, DN Qualifier, and location of screen servers around the world. Content mastering facilities receive this list directly from the manufacturers of the screen servers, so they can always be sure of the quality of the information. The content mastering facility inputs a unique identifier called the DN Qualifier, which refers to the certificate of a single screen server. This, together with the screen server’s serial number, allows the KDM to verify that the content will only play on the one screen server they have selected. They then use the information in the first TDL to build their own miniature TDL within the KDM that lists all the equipment (projectors, etc.) that the screen server is allowed to connect to.
TMS (Theatre Management System)
Software that manages all screens and content within a cinema. Scheduling films and preshow content, transferring content to screen servers, and alerting cinema staff to content errors such as missing KDM’s can all be handled by the TMS.