News & commentary

Feb 7, 2012

Guest post: Being a cinema means sometimes having to say you’re sorry

Luke Buckmaster — Writer, Critic and The Daily Review Journalist

Luke Buckmaster

Writer, Critic and The Daily Review Journalist

As guest contributor Tara Judah observes in the post below, the landscape of the cinema industry is rapidly changing. Exhibitors are currently in the foggy intersection between old and new, with cinemas across Australia — and indeed the world — in the process of replacing 35mm film prints with DCP (Digital Cinema Package) technology.

The issues and problems that arise from good ol’ fashioned film projection are well known, from delivery problems to missing sequences and prints too dirty to screen. Digital projection will remove many of these issues but, of course, will cause problems of its own. This illuminating post by Judah, a part time critic and the PA to the Proprietor at Melbourne’s iconic Astor Theatre, elaborates on one in particular after a screening last month — through no fault of the cinema — went badly wrong.


Tara Judah writes: We all have nights we’d rather forget. But, sometimes it’s better to talk about it the morning after. And given that we’re in a relationship here (we the cinema, you the audience), it’s probably for the best that we tell you what happened and, most importantly, why it happened the way it did.

Last month we had an unexpected, unwanted and unpleasant delay to our screening of Take Shelter – the first feature in our Wicked Wednesday double bill. I use the words unexpected, unwanted and unpleasant because we’d like you to know that it was for us very much as it was for you – and it was also something that arose out of our control.

As the cinema in this relationship there are many aspects of your experience that are within our control; the atmosphere you take in when you visit the Astor is something we work hard at crafting to provide to the best of our ability, given that it too falls within the confines of often extraneous factors. But sometimes those extraneous factors, that we do our very best to work within and to work with, present themselves in such a way that we can’t control the outcome and consequently all we can do is deal with the problem at hand as quickly – and hopefully – as best possible at the times when they occur.

The landscape of the industry is changing, rapidly. Most of you will already know this because we share with you the changes as they occur. Last year, we installed a new, state of the art, Barco 32B 4K digital projector. The reasons for doing so were varied and many. With so many wonderful classic film prints having been “junked” (destroyed) over the years and with the unavailability (certainly commercially) of so many film prints there has always been a huge void in what we were able to show in a theatrical environment (this is not even including the various issues surrounding the availability of valid film rights).

The advent of digital projection and the increase in availability of digital formats for classic and cult films has indeed opened up some truly wonderful opportunities for us to present to you films otherwise confined to the small screen (among them films such as Taxi Driver, Dr Strangelove, South Pacific, Oklahoma! and Labyrinth, to name a few). Further to this, the major studios within the industry are moving towards what is being hailed as the “digital revolution”. The term itself is terrifying. Whilst there are many advantages to digital presentation there are, as with anything, pitfalls too. What we are seeing now is the removal of 35mm film prints in favour of digital presentation, most often DCPs (Digital Cinema Package).

Unlike 35mm film prints that are tangible, come on spools, and run through a mechanical projector, DCPs are files that are ingested into the digital projector which is in many ways simply a very high-tech computer system. Because the physical file is ingested into a projector it can – if the cinema has enough space on its server – be kept there indefinitely and so, having created this situation themselves, the studios and distributors lock the files so that they can only be screened at the times scheduled, booked and paid for by the cinema. This means each DCP comes with what is called a KDM (Key Delivery Message). The KDM unlocks the content of the file and allows the cinema to play the film. It is time sensitive and often is only valid from around 10 minutes prior to the screening time and expiring as close to 5 minutes after the scheduled time. Aside from the obvious fact that this means screenings really do need to run according to scheduled time, it is also means the projectionist can’t test to see if the KDM works or that the quality of the film is right before show time. This isn’t always a problem. But when it is…

When it is a problem we have what happened last month. The KDM we received for Take Shelter didn’t work. We discovered this about ten minutes prior to show time. Being a cinema, and holding evening screenings we couldn’t just call the distributor to get another one because they work office hours. So, our steps began with calling a 24 hour help line in the US. Once we went through the process of authenticating our cinema and scheduled screening we were told we had to call London to authorise another KDM for this particular screening. After calling London and re-authenticating our cinema and session, we were told we could be issued another KDM, but not before the distributor also authorised it. This meant another 5-10 minute delay as we waited for the distributor to confirm that we were indeed allow to show the film at this time. Once confirmation was received we waited for the new KDM to be issued. The KDM arrives as an email zip attachment that then needs to be unzipped, saved onto a memory stick and uploaded onto the server. This takes another 5-10 minutes. Once uploaded the projector needs to recognise the KDM and unlock the programmed presentation. Thankfully, this worked. However, until the very moment when it did we were as unsure as our audience as to whether or not the new KDM would work and therefore whether or not our screening would actually go ahead.

This is one example of one incident in one cinema. There are thousands upon thousands of screenings at cinemas just like us all over the world constantly experiencing these same issues. Had we been presenting the film in 35mm it would have started on time. The projectionist would have had the film print made up, threaded up and aligned before you even took your seats; heck, before we even opened our front doors for the night. But this is the situation the industry has created and one they continue to tout as superior to the presentation of 35mm film.

I’m not saying there aren’t advantages to digital cinema, but what I am saying is that there are problems. And worse still, problems that are often out of our control but that make us look incompetent. We employ fully trained projectionists at the Astor Theatre, you know, the kind who have more than twenty years experience each, who used to hold a projectionists’ license (when there existed such a thing), and if a reel of film were to break, or the projector were to need maintenance, or if a lamp needed changing, they would be qualified and able to solve the problem on the spot. With digital however there is no skill in the problem solving; it requires above all else, phone calls, emails and delays. The fact that I – who holds only the most elementary and theoretical training in cinema projection – can even be a part of the process of “solving” the issue at hand demonstrates clearly just how removed the industry is becoming from its own medium, its own unique essence.

We’re not saying that digital is the devil but we want you know what’s at stake. The industry is determined to remove film prints from circulation – they openly say that there won’t be film prints in theatrical circulation within just a couple of years’ time. There are instances in the US already where some studios are refusing to freight 35mm film prints to cinemas. The pressure this puts on independent cinemas to “convert to digital” however is a topic for another blog post, another time.

What I’d really like to leave you with here is the essence of how the Take Shelter screening last month made us feel: the industry is shifting – not only its medium, not only its focus, but with it – and most significantly for theatres like us – it’s shifting the element of control. We’re in relationship with you, our audience, but it seems to me as though someone is trying to break us up. We want to continue to give you the experience you expect and deserve when you visit our theatre, and we want more than anything for you know that even though we can’t promise it won’t happen again, we’ll do everything we can to continue to fight for this relationship. The first step to repairing the damage done last month is to be honest with you about how and why it happened.

Written by Tara Judah for the Astor Theatre. An original version of this post was published on the Astor Theatre Blog

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6 thoughts on “Guest post: Being a cinema means sometimes having to say you’re sorry

  1. Merran Williams

    I was at that screening and just want to compliment the Astor staff on handling it so well. One of the last great cinemas.

  2. Peter Bayley

    The problem is not at all technical, but the result of a regressive US Movie industry (just google MPAA and RIAA) seeking ridiculous levels of control over their exclusive distribution rights. If they could have implemented a KDM for celluloid they would have. Private consumers have long since nixed DRM (Apple no longer has DRM on iTunes for example) and by-passed it when they have to. The definition of the term “Reasonable Use” is currently in play with a wide disagreement between the few vendors and the many buyers. From the industry that said Radio, TV, Cable, the Cassette Tape the VCR and the PVR would each be the death of media (see here) this KDM B.S. is typical. The same industry that lobbied to get a cut if you sold your old CDs at a car boot sale. The same industry that even imposed hardware controls on your devices (DVD Regions) so they could control distributions globally in order to maximise profit – again quietly bypassed. I’m really getting SO sick of the United Corporations of America and their “All your things belong us!” attitude.

  3. rachel612

    This is a direct result of the ridiculous extension of DRM to encompass such narrow time-based windows as this. Perhaps if it was unlockable for an entire day it might make sense, but a 10 minute window? I bet a lawyer dreamed that one up. For dog’s sake don’t involve more lawyers in this – there are too many in distribution already.

    The fact that they even think they need DRM like this is an indication of how screwed up the film distribution business is. The title is freely available for download elsewhere, so how did securing it for this cinema actually help the cinema, the distributors or the actual viewer at all?

    Not until we see SLAs (with actual monetary rebates) and the distributors and studios start hurting in cases like this will there be any change. Because the studios don’t give a sh*t about the viewers.

    And they wonder why people pirate movies…

  4. Scott Grant

    SLA = Service Level Agreement, DRM = Digital Rights Management. Even with that, I cannot quite make sense of the second sentence in the first post. But I would agree that the Cinema needs to look very closely at the SLA it has with the distributor. I am sure there is one, it is just that it is probably completely in favor of the distributor.

    As the article states, the projection equipment is now a computer system, and it is critical to the business. That means rapid response 24 hour support. If the tools in the distribution chain are going to muck about with such ridiculously restrictive licences then they are obliged to provide rapid response support to such a critical piece of infrastructure, in my opinion. Call in the lawyers.

  5. Edward James

    I have no idea what SLAs and DRM mean apart from a waste of space. Control of intellectual property has become a problem, people selling cars and bikes often tell me they are not selling the intellectual, that is not for sale. We can understand after reading this article the new ways of control and marketing. Shifting the burden of cost off to others dismantles what had for over sixty years been accepted as usual good practice. Cost shifting will eventually cause the bums on seats to get up move away and take their money with them. Edward James

  6. ilolatu

    Cinemas should implement SLAs. If the distributors suffer damages then the must have DRM will become a nice to have DRM.

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